RAM | Lunar Havoc

November 1, 2024

PRODUCTION

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This project was produced remotely from Los Angeles, and shot on location in Utah. We’re so thankful to have had such an awesome crew on the ground, led by Andrew Petersen of Wyser Media. We had many location scouts, until we found the perfect spot.

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We knew we had found our dream location, a place where we could really bring this film to life. A place with both dry lake beds and mountains. It was a bit remote, but our team really stepped up to the plate.

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Jordan Overman, of Override films provided the chase car to handle the elements. Along with him were our favorite drone team. Ace pilots PJ McHale and Bryce Prestiwick. Such rad guys.

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We planned the shoot over two days. Day 1 consisted of storytelling and talent capture while on Day 2 we shot running and hero footage. It was a tightly packed schedule over 2 (12) hour days. We started late each day which allowed us to maximize the afternoon light and shoot into the evening.

TONE & FEEL

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DoP Mike Koziel was integral in developing the look and feel for this piece.

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Muted blues, grays, and blacks. We really wanted to create a piece that not only demonstrated the incredible ability of the vehicles, but also felt like an alternate dimension.

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The sand was blended and turned white in color, to help with the reflection of moonlight throughout. Color was beautifully done by Jacob McKee of Forager.

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We chose to shoot on Tribe 7 Blackwings with the Sony Venice II. Most often we choose to shoot with zoom lenses when capturing running footage, but the look and feel of prime glass is unmatched. While it may take more time to swap lenses for the right shot, the end product is infinitely worth it.

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EDIT & SOUND

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Rob Frenette (Match Cut Edit) really did some fine work with this edit. With clever cuts all around to seamlessly blend from shot to shot, it’s subtle and tastefully done.

Below are some quick clips of his awesome work.

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PHOTOGRAPHER

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Jack Schroeder took the helm for photography. Our teams work so well together, carefully working around one another to deliver the required assets. Being that we had two vehicles on set, we were able to switch out based on the shot list.

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Enjoy a bit of his set below: