Lexus 'What Drives You'



Director Luke Huxham asked me to come to Tokyo and work as the Director of Photography on this commercial for Lexus LC500.

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I shot the commercial on Red Monster 8K.

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Accompanying the TVC shoot, there was a heap of SNS content.

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I shot some of these smaller social clips on Red Helium and Canon K35 lenses.

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We had a small crew, with everyone pitching in to achieve a great result.

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Produced by @huxhamcreativestudio .
Producer @taka.oshir
DOP @ben_ruffell
Editor @piersfh
Grade @bennyconkey
Sound Design by Source Sound
First AD @artem.skiy
Second Camera @yosukesuga_scfilms
Second AC @akira_the_padawan

Kuro Deko "A Ghost in Town"



Directors: Artem Skiy and Luke Huxham asked me to DP this music video in Tokyo, Japan.
It won a NZCS Bronze Award in 2018 for Cinematography.

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We filmed it in just one night. With a small studio set, and the rest shot on location in Tokyo.

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The make up and styling by Tomoko Yamaguchi was really amazing, and inspiring to light.

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Shot on Red.

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We had a tiny crew, with everyone pitching in and helping out over the long night.

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Director Luke keeping the energy going as the sun rises after a full night shoot.

Director of Photography: Ben Ruffell

Skoda 'Jurassic World: Fallen Kingdom'





I was the DOP on these fun spots that were Directed by Ian Robertson.

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I shot on Alexa Mini with Leica Summilux C lenses.

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Rig shot.

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Ian keeping a close eye on the action.

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Night shoot.

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Lens in place of the rear view mirror.

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Arm car.

Director of Photography: Ben Ruffell

Mitsubishi Pajero Sport





I was the Director of Photography on these Mitsubishi commercials filmed in Australia.



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Luke Huxham was the Director.

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I used the Scorpio Head, Arm and Tundra from Scorpio Ops.

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Shot on Cooke Anamorphic Lenses.

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Overview.nz handled the drone shots with Josh Dunn piloting. I was the Aerial DP.

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Phantom Flex 4K was used for the slow motion shots. Red Dragon 6K for the rest of the frames.

Director of Photography: Ben Ruffell
Aerial Director of Photography: Ben Ruffell

Kirin



A really fun small job for Kirin with Director Erika Konno.

Jeremy Brown from Red Sneakers asked me to be the Director of Photography, and equipment supplier for this TVCM filmed in Queenstown.

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Actress Nana Komatsu was wonderful to work with.

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Filmed near Queenstown New Zealand. Shot on Sigma Cine Primes.

Director of Photography: Ben Ruffell

Asahi Super Dry



I was the Cinematographer on this Asahi Super Dry commercial filmed in Tokyo. Luke Huxham was the Director.



This excellent Behind the Scenes Film was made by Edward Khoma.

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Studio

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Studio street set.

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Rooftop bar set.

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Gen Ito 1st AC and Yudai Sato Grip.

Director of Photography: Ben Ruffell

Nissan X-Trail



Director Takeshi Asai asked me to DP this winter commercial for Nissan Japan. Line Produced by Jeremy from Red Sneakers. We shot on location at SHPG, Snow Farm, and also Cromwell, New Zealand.

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I used a Can-Am Tracking buggy with my MoVI XL and Black Arm.

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I decided to shoot on Red Dragon camera's.

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Aerial shots were operated by myself, pulling double duty as the Aerial DP and piloted by Josh Dunn from Overview.nz

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I also used a Phantom Flex 4k shooting at 1000fps for some of the action.

Director of Photography: Ben Ruffell
Aerial Director of Photography: Ben Ruffell

Vera Blue 'Regular Touch'



Director Benn Jae asked me to be the DP for this music video for Vera Blue.

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We filmed it all in one day in Cardrona, New Zealand. I shot on my two Red Dragon cameras. Running two different sizes on most takes.

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I also had the drone team from Overview.nz filming with the DJI Inspire 2 drone and X5S RAW Camera. It cut in perfectly with the Red footage.
For some of the drone shots, I was the Aerial DP, and also the Operator. On several occasions Robbie Howie took over the Drone Operator duties.

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It was a really fun shoot with an excellent small team. I think that we can all be proud of the released clip.

Director of Photography: Ben Ruffell
Aerial Director of Photography: Ben Ruffell

VW Gran Lavida



'Small, but powerful'

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Filmed over two days. I used a Russian Arm for the tracking shots.

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The concert scene was fun to light, and I shot it with a GF-8 crane and a flight head.

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I ran two sets in the studio, pre-lighting the rev counter shot, while I was shooting the bathroom scene.

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The wake boarding was filmed with a flight head… on a very small boat.

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I used a Phantom Flex 4K for the slow motion water shots.

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It was another great shoot with Director Jem Chen.

Director of Photography: Ben Ruffell

BMW X1



I was the Director of Photography on this commercial for BMW with Director Jem Chen.

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I shot on Arri Alexa, using two cameras. (One Alexa Mini for my rigs and as a production camera, and an Alexa XT on the Scorpio Arm).

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We also shot multiple cars for alternative releases globally.

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It was a great shoot with an excellent local crew.

Director of Photography: Ben Ruffell

Mad Mike Conquers Highlands



I am very proud to have been the Cinematographer on this clip with Mad Mike Whiddett and his Rad Bul.

It won me a Bronze Award for Cinematography at the NZCS Awards.

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Director Ryan Heron and myself had previously shot the Conquer the Crown clip, and it was great to work together with Mike again.

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We had one day to film the clip, and we could only drive the car on the track between 8am and 6pm, so we needed to be fully prepared.

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To achieve this tight schedule Ryan and I broke down the sections with the team and we shot only what we needed.

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I used several different cameras, and I kept the camera and grip teams busy by shooting one setup while they were prepping and rigging the next.

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I am very happy that we managed to keep the quality high. It's a testament to the talented crew behind the scenes. The reaction to this film by the fans has been great!

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To see some more images there is a terrific Behind the Scenes video from Andy Deere and Heath Patterson.



Huge thanks to Miles Holden for the photos!

Director of Photography: Ben Ruffell

Mitsubishi Pajero Sport



I was the DP on this global release commercial for the new 2016 Mitsubishi Pajero Sport.
(Also, known as the Mitsubishi Montero Sport).

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The Director was Ryuhei Yokoyama and we filmed in Australia, near Sydney.

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I travelled to Australia with my Queenstown based MoVI Grip Josh Dunn and we used the MoVI M15 for the off road tracking shots.

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For the on road tracking I used the Scorpio Arm.

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The lifestyle shots with talent were important, and I really enjoyed lighting the house and the car interiors with gaffer Matt Russell.

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I was in good hands with my local Focus Puller Paul Shakeshaft and Grip Jason Weekes.

It was a big shoot, and everything ran smoothly. Line Production by Kanta Yamaguchi from Green Tea Film and Television.

Director of Photography: Ben Ruffell

Mitsubishi Outlander PHEV



I was honoured to be asked to film this global commercial for Mitsubishi Motors for the terrific new Outlander PHEV 2016. I had previously shot the Japanese release commercial for the 2014 model.

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Masaki Yamazaki was the Director, and I really enjoyed working with him again.

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We filmed in Melbourne, Australia, and it was a two day shoot. I was already in Sydney with my Grip, Josh Dunn, so we flew to Melbourne with the camera equipment and worked in with the local crew.

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For the close ups of the talent I used a low loader and the MoVI M15. This gave me control over the lighting, and I was able to achieve a controlled camera position easily.

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The tracking shots were filmed from an open tracking vehicle and I used a Flight Head 5. It was a really great option on the streets of Melbourne as we had a rolling traffic block, with trams and cars doing hook turns to dodge.

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Melbourne was a great place to work. I really enjoyed the city and the local crew were excellent. Hopefully I get to film there again one day!
(Thanks very much to 2nd AC Michelle Marchant for the photos).

Director of Photography: Ben Ruffell

Denso



I was the DOP on this commercial for Denso. Masashi Muto was the Director.

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The commercial was showcasing both athletes in nature, and cars.

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We filmed in New Zealand, at Mount Cook and in Queenstown.

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There was a lot of tracking involved. To achieve this, I used a MoVI M15.

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I like to use the MoVI with a two man team. My Grip, Josh Dunn carries it using an Easyrig and Serene arm. We communicate with intercoms and I adjust the framing using the joystick.

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This setup also works well with a small tracking buggy, and in this commercial I used the MoVI on the mountain runner, the swimmers (from a tracking boat), the cyclists, and the jogging couple.

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The client requested a Go Pro to be mounted on the bike. I did not want to drop quality by using a Go Pro, so Grip Sam Strain rigged a Dragon for me. I really like the small size of these cameras. They are so versatile.

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It was a great shoot with lots of locations, and a lot of set-ups. We had some challenging weather which really added to the images. I worked with my Queenstown based crew and we had a lot of fun with the Japanese crew.



Here is a wonderful Behind the Scenes video filmed by Emi Arai.

Director of Photography: Ben Ruffell

‘Love from Land Rover’



I was the Director / DP for this Land Rover Commercial.

It won some awards:
Spikes Asia - Silver
NZ Effie - Gold

The Commercial was part of a viral campaign:

Four university friends from New Zealand had listed their beaten and broken 1957 Series I Land Rover, christened ‘The Landy’, for sale on an auction site, following 15 years of ownership. The listing told the story of their many adventures and their sorrow at parting with their beloved Land Rover.
Fate intervened when the team at Land Rover New Zealand read the ad and hatched a covert operation with Will’s wife, Claire, to give ‘The Landy’ a painstaking ground-up mechanical restoration.
And now, for Valentine’s Day, the four friends have been reunited with their Series I thanks to Land Rover.

I worked closely with the agency Y&R, and Location Scout Phil Turner. We established the elements of the journey that the Land Rover would undertake. (We wanted to include an iconic river crossing, the journey through a forest, and the climbing of a mountain).

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We had a very small crew, which was an asset for us. It enabled me to work quickly and use several locations that are off the beaten track.

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I filmed all of the tracking shots with the MoVI M15.

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My second Dragon was in Production Mode and this let us move quickly between the various set-ups.

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It was a terrific shoot for such an iconic vehicle. I really enjoyed working with the crew, agency and client. It was a fitting tribute to mark the end of production of a motoring legend.

Director/ DP: Ben Ruffell

Mitsubishi 'Triton'



Director Masaki Yamazaki asked me to DP this car commercial in Western Australia.

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The creative was very exciting.

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We started with the truck flying through the air. I shot this sequence on a Phantom Flex 4K.

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We then have a series of tracking shots in the desert. (No fancy tracking vehicles here... we made it work with a local buggy).

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I travelled with two of my Red Dragon cameras and my Cooke lenses. I also bought a MoVI M10 and my Grip Josh Dunn with me.

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We picked up additional local crew and equipment out of Adelaide and Brisbane.

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The filming was mostly on location at Parachilna. A terrific place to film... but so many flies!

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We finished off the advert with city tracking in Adelaide.

It was a great shoot with a good crew and it was fun to be filming in the outback again.

DOP: Ben Ruffell

Bridgestone 'Blizzak VRX'



Director Toshihisa Koike asked me to be the cinematographer on these two commercials for him in New Zealand.
The agency was Dentsu, the Production Company Dentsy Creative Cross, with AJ Films working as the New Zealand Line Production Company.

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The two commercials were both very different, and very technical. We had to shot the Tyres performing on very specific road conditions.

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To achieve this, we filmed at SHPG near Queenstown, New Zealand. They had the facilities that we needed to make various road conditions. Varying from pure ice, solid snow and slushy snow with road surface below. Art Director Ken Turner did a great job liaising between the various teams to deliver the surface that the client needed.

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We experienced some extreme weather on the first day. A storm came through and we experienced wind chill of minus 18 degrees celsius. We achieved a few shots before the weather forced us to wrap early. Thankfully, it cleared and we had good weather for the remaining two shoot days.

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I used two Red Epic Dragon cameras. I always prefer to work with two cameras when shooting car commercials. It saves a lot of time, and lets me move from one set up to the next with no delays.

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We had a mixture of rig shots, built by the great grip team of Sam Strain, Josh Dunn and Chris Thomson.

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We also shot a variety of tracking shots, where I used the MoVI M10 on a small tracking buggy.

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The second spot involved a few stock shots from Japan and also several VFX shots, where the background was composited in to match with the foreground elements that I shot in New Zealand.

With 15 second spots, so much of what you shoot on the day does not make the final broadcast edit. There is also an online web version.

It was a great shoot, and the client is very happy.

DOP: Ben Ruffell

Mitsubishi Outlander PHEV (三菱アウトランダーPHEV)



Japanese Director Koshi Horibe had seen some of my previous car work and he asked me to DP this commercial for Mitsubishi Outlander PHEV.

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The commercial was for the Japanese market, and we actually scouted two completely different locations. After some input from the client, the decision was made to film in Queenstown.

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I decided to shoot on Red Epic cameras, mainly because I wanted to take advantage of the small size so that I could use the MoVI M10 Handheld Gimbal Stabiliser on the tracking vehicle. I really liked the organic look of the MoVI, as compared to a crane and remote head. It also meant that I could devote the Libra mount to the Helicopter full time. Pete Bradshaw bought a lot of experience as Tracking Vehicle Driver, and I could count on him to line up the best moments freeing me up to work in with my MoVI Grip Josh Dunn.

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I shot all of the aerials with a Libra stabilised head, Red Epic and a wide zoom. Alfie Speight was my pilot and we achieved some really dynamic images.

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I had a third Epic with a long lens dedicated to my B Camera Team. Operated by Takashi Chiba.

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Kanta Yamaguchi from Greentea Film & TV was the Line Producer, and we wrapped the shoot on time and on budget.

DP: Ben Ruffell

Uketamau

I Directed this Documentary Film in Japan in 2012, where I was invited to be an Artist in Residence. This was an incredible shoot. Very physical, it was hot and humid and there were many challenges.

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I travelled to Yamagata Provence in Northern Japan. It was an amazing place. Very spiritual, and I did not see another westerner for a week.

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My crew consisted of Mile Nagaoka from Green Valley and Camera / Sound Assistant Taigo Kawaguchi. We communicated in pigeon English. We were here to film the Yamabushi training. Essentially, this involved us taking part in the training, as well as making the film.

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Fumihiro Hoshino is a 13th generation Yamabushi, someone who guides people on Shugyo ascetic training in Japan. He was the Master, and I decided to structure the film around him. It was very challenging interviewing him in loosely translated Japanese, but after spending several days with the group - I was confident that I understood the sentiment.

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The first night was wonderful. An amazing meal with just the crew and the Yamabushi Master. The next day was a little bit different….

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We began to walk. Lot's of walking. Day one I was told that we would take a short stroll… we walked up 4500 steps to a temple. This in itself was a challenge, but to throw in the heavy Red Epic camera equipment, and the awkward clothing, and I struggled. Myself and my crew did not make it all the way, we were carrying too much weight and my giant western feet that stuck out of the split toe Japanese slippers were in pain.

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We were all living in the same tatami mat room. I grabbed a corner for battery charging and downloading.

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A far cry from the first night's meal, we were now on a starvation diet consisting of one bowl of rice, soup and two vegetables. The chanting and prayers stopped at 11pm, and after a mosquito filled night we were woken at 4am.

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This was the big day, and I had negotiated to be allowed to wear my own clothes and shoes. This was to prove to be a great decision. I stripped back the camera equipment to two lenses, 3 batteries and 3 Redmags. Weight was going to be critical. (I must also admit that I cheated and packed some extra water, a Pocari Sweat Isotonic Drink… and a couple of candy bars…)

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I was told that the walk would take us about 2 to 3 hours… so I assumed 5. In the end the hike up the mountain took over 8 hours. It was a massive day. I had to film the group as they would pass me, then run ahead to catch up and repeat the process. It was tough, but it was also absolutely beautiful and satisfying.

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Chanting and prayers again along with the starvation meal. Everyone was exhausted. I was so tired that I really had to concentrate on my downloading… I could not afford to make a mistake.

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Up at 4am again, woken by the sound of the conch. We loaded up and started off back to the 4500 steps that had defeated me earlier. I have to say, after the previous days marathon, it was a breeze. I practically ran up the steps, and the morning light was beautiful to work with.

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We got to the top, and the temple was very cool. I looked over… and a car drove past. I couldn't believe it! Apparently there was a road up to the top, but we took the steps!

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The weekend was over. Everyone was tired, but we all had a great sense of accomplishment. We sat around and had a feast, including the biggest cup of Sake I have ever seen. It was a great experience, and I was honoured to be invited into the group and I am proud to be Yamabushi.
Director + DP: Ben Ruffell

Red Bull vs Peugeot



Following on from our Red Bull: Conquer the Crown film, Director Ryan Heron asked me to be the Director of Photography on this clip for Peugeot and Red Bull.

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We filmed at Auckland Film Studios which bought back memories as the last time I worked there was back in 1990's when I was camera assisting on Hercules and Xena.

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Ryan wanted the piece to be dark and moody. It was a great lighting challenge. I decided to put in a row of Par Can's along the back wall to add some visual interest and backlight the smoke. With the shiny black Peugeot I was basically playing with large reflected sources.

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Tane Kingan was my Gaffer, and I had access to a lot of lighting fixtures… keeping my lighting team very busy! I used a bunch of 5K's and 10K's, pulling power from two and a half studios.

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I shot on Red Epic as the main camera. Haimona Ngata was my B Camera Operator on a Red Scarlet.

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We bought in Daryl from Phantom Effects with his Phantom camera on the second shoot day. I shot this at 1000fps, for the stunt sequence. This involved a pretty substantial relight to lift the levels for the Phantom exposure, while keeping the dark moody look that we had established.

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I am really happy with the final film. It was a big job and a busy couple of days. With everyone working together we came in on time, and on budget. There will be commercial cut downs on broadcast television soon.

Thanks to Graeme Murray and my Camera Assistant Jymi Best for the stills photographs.

DOP: Ben Ruffell

Red Bull 'Conquer the Crown'



Director Ryan Heron asked me to be the Director of Photography for this clip for Red Bull.

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To be perfectly honest, when we first started talking I thought "what a fantastic idea… it will never happen…they will never give permission for a road closure." When Ryan called me up with the green light I couldn't believe it!
We shot on location at the Crown Range Road, between Queenstown and Wanaka, New Zealand.

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This job involved a lot of logistics. There was plenty of prep, and we had a great, experienced crew. We were able to section off the road into three parts. With each section we were able to have a five minute road closure every thirty minutes. Which mean't we could send Mad Mike Whiddett through for one run each block. With such a small shooting window we needed to make the most of each run.

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We used several cameras on the job. Two Red Scarlet's shooting at 4K so that we could reframe and stabilise in post. I shot one of the Scarlet's for the establishers and end sequence, and it was also the camera I had on the tracking vehicle. Simon Tutty operated the other Scarlet on the tripod shots. Jamie McKenzie bought down his Sony F5 and he was shooting the slider shots. Daryl from Phantom Effect came down with a Phantom V642 which we shot at frame rates up to 2500fps. Minicam expert Ben McAlister was in charge of the Go Pro Hero 3's. Finally, we had Peter Thompson there with his Cineflex in the helicopter.

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We were lucky enough to have Pete Bradshaw as the Grip / Precision Tracking Vehicle driver. It was the last job for the 'Expert' vehicle before retirement… and I think we gave it a good send off. I shot from both the front and the rear using a gyro stabilised bungy system. We planned through the shots careful, and chose the corners where mike would be at a close (but safe) distance to the lens. We essentially kept to separate lanes and Mike would then drift the car through frame with Pete holding a safe line, and me holding on and locking into the frame that I wanted. It was fantastic seeing the control that Mike had and the shots that we were able to pull off.

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Post Production was handled by Mandy in Auckland with Smoke Artist Andy Timms and Colourist Dave McLaren.

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This was a great job to shoot. Really different to conventional car commercials where we have to stay at the speed limit and keep within the white lines!

Photos courtesy of Graeme Murray and Miles Holden

Cinematographer: Ben Ruffell

Nikon 'D5200'


I was the 2nd Unit DP / B Camera Operator on this TV Commercial for Nikon.

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Henrik Hansen was the Director and Marc Flennert was the DP.

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Big Fish was the production company and Leilani Tomaszewski from the Sweet Shop handled the production in both Australia and New Zealand.

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We filmed exclusively on Nikon D800 cameras. At the time they had only just been released, and we were pleasantly surprised by the image. They were great to work with, and provided a really nice picture.

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We mostly used their Prime Lenses, and a semi flat picture profile. We did tests with an external recorder, but found that there was little benefit for the added bulk and complications.

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We filmed part of the spot in remote Fiordland, New Zealand with access by Helicopter.

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We filmed the other part of the commercial at Lake Gairdner, Western Australia. We stayed at Mt Ive Station. It was a major undertaking to get the crew there. We travelled in convoy, in Toyota 4x4's with extra water, tyres, and in constant radio contact. It was a very long journey… but the location was worth it.

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Lake Gairdner is a Salt Flat Lake, and it was beautiful. We travelled all that way for the early morning reflections and we spent about a week to get the perfect shot.

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Our Australian crew was excellent and their expertise at working in the outback was very appreciated.

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We also shot a few more stand alone clips for Nikon, and they will be released over the coming months.

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It was a great shoot with a wonderful crew, and I am hoping to work with my Australian friends again soon.
Thanks to Joe Wigdahl and my assistant Paul Shakeshaft for the photos.

2nd Unit DP / B Camera Operator: Ben Ruffell

Ssang Yong 'Rexton'



Leigh Hart from Moon TV asked me to be the DP on this car commercial for the new Rexton.

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We only had one day to shoot the job, and there was a lot to get through. Stunts, pyrotechnics, bonnet rig, side rig, dialog, tracking vehicle and aerials. The only way to achieve all of this in one day was to shoot without road closures. Moon TV found a great private track at Boomrock, just outside Wellington.

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I flew up from Queenstown with my Grip, Josh Dunn. All of my equipment is packaged for travel. I bought up a Red Epic, Red Scarlet, Leica Primes, Canon Zooms, Monitors, Mattebox, Filters etc. Everything we needed for a two camera shoot. Josh travelled with his full rigging kit and even a 3' slider. With my Air New Zealand status we flew with all of this gear for only $60 excess luggage costs!

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We picked up the rest of the crew locally, with Roger Fenstra on focus, and Kim Thomas assisting.

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Because we had a very small crew we were able to move quickly and efficiently. Leigh was Directing as well as staring in the commercial. Once I was happy with a take, we would review playback directly from the Red camera and move on.

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Having both the Red Epic and the Red Scarlet on set was a huge time saver. I was able to shoot one of the cameras while the second one was being pre-rigged for the next set up. This allowed us to move very quickly. Also, because of their small size I was able to rig both cameras on the bonnet at the same time, so we could shoot a two shot and a close up simultaneously.

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A few of the behind the scenes pictures of the 'camera crew' being taken out by the water were 'leaked' on Facebook before the commercial was released. This caused a huge amount of feedback, and the viral campaign was a great success.

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Here is the infamous 'Camera' that was taken out during the filming of the commercial… (rest assured, everything went as planned).

I really enjoyed shooting this commercial. Everyone involved was fun to work with. The script was refreshing, and I am very happy with the result.

Thanks to Brady Dyer for the photos.

DOP: Ben Ruffell

Sarah Alainn 'Breathe in Me'



Universal Music Japan asked me to be the Cinematographer and Director for this music video for Sarah Alainn, for her debut album 'Celeste'.

(This online copy is a very low quality short version. There is a HD Blu-ray disc included with each CD).
The Album has just been released in Japan, and is currently ranked at number 5 in the iTunes charts.

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We filmed around Queenstown for two shoot days, taking advantage of some of the beautiful locations. Miz Watanabe was the NZ Line Producer. The Japanese Production company was Cinq. I had worked for them previously, almost 10 years ago, and it was good to strengthen the relationship.

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I chose to shoot at several spots around the region where I have not filmed at previously. Taking advantage of the sun at each location.

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I shot on my Red Scarlet camera, and used my vintage lenses. I decided to use a lot of lens flares and optical effects to make Sarah look ethereal.

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Sam Strain was my grip and we used a Panther Mini Jib extensively, along with some tracking shots in the forest.

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Stu Gotting was my DIT and we delivered Colour Corrected ProRes 422 movie files at the end of the shoot.

It was a great shoot with a high quality result achieved by a small team. Sarah is hugely talented and I really enjoyed working with her. I am confident that her album will be a success.

Director + DOP: Ben Ruffell

Hanna Grace 'Red Lips'



I was on an Air New Zealand flight recently, and as we were boarding this clip was playing. The boys around me were all staring at the screen, the flight attendant commented 'If only you would pay that much attention to the safety video!' The irony was that as the DP I was responsible for the images!t if it is disabled in your browser.

Produced by Fish n Clips, the video was Directed by Sally Tran. This was our first project together. After this video we went on to shoot a short film called "Toi La Who" in Wellington. The film is not out yet, but it again showcases Sally's unique visual style.

alex-mcdonald

We shot the Red Lips video in Auckland on location in one day. We used a Red One camera from Metro Film, and I was lucky enough to have Alex McDonald as my Steadicam Operator.

dolly

Spencer Locke-Bonney was my Gaffer and we made full use out of his fantastic combo truck. The art department and wardrobe were also instrumental in the look that we achieved, along with Sally's great choreography.

5d-still

I find having a decent digital stills camera on set really helps me with my exposures. I have pretty much replaced my spot meter with a Canon 5D2, and a Zeiss 50mm prime. I am now setting the exposure using a combination of incident meter, stills camera, HD monitors, waveforms and histograms.

hanna-dancers

For this video I went with classic beauty lighting. Using big soft sources inside and a lot of daylight control outdoors. I used a little diffusion on the lens, and the grading was done at ToyBox.

Director of Photography: Ben Ruffell