When I first received the call to be Director of Photography for this TV commercial campaign, I knew it would be a ride—both literally and creatively. The brief was ambitious: produce three interconnected sequences that would each stand on their own but also weave together as a larger narrative. The catch? We had to do it inside a bustling airport, on a real aircraft, with a small crew, tight schedule, and a minimal rig setup.
This project wasn’t just about visuals—it was about fluid movement, fast transitions, and seamless storytelling. Enter: the Todd Anthony factor. Working with Todd as the director was a true highlight. We had an instant creative sync, and our trust in one another allowed us to push the limits of what we could pull off under high-pressure conditions. He knew exactly how to bring emotion and rhythm into the scenes, while giving me the freedom to craft a visual style that flowed with the narrative energy of each spot.
We shot across multiple high-security and high-traffic locations, including terminal lounges, boarding gates, jetways, and inside the aircraft itself. That meant zero space for large rigs, no time for lengthy setups, and a crew size that had to stay lean and efficient. Every shot had to be pre-visualized with precision, but also adaptable for sudden changes—like lighting shifts from windows, or real passengers passing through.
THE TOOLS THAT MADE IT WORK
This project demanded extreme agility without compromising on cinematic quality. From the start, I had to build a kit that could handle fast, mobile shooting while still delivering a polished, filmic image. Here’s a breakdown of the gear that made it possible—and why it was the right choice.
Sony FX6
For a production like this—highly mobile, fast-paced, and location-heavy—the Sony FX6 became the clear winner over heavier cinema systems like the ARRI Alexa Mini LF.
FX6 Pros:
Mobility: At under 1kg, the FX6 is ideal for gimbal work, especially in tight aircraft interiors and long days.
Low-light performance: Excellent dynamic range (14+ stops), particularly in S-Cinetone and S-Log3, allowing for smooth roll-off and great skin tones.
Battery life: Efficient, long-lasting with compact V-mounts or BP-U batteries.
Cons (vs Mini LF):
Codec limitations: While XAVC-I is solid, it’s no match for the bit depth and robustness of ARRIRAW or ProRes 4444, especially for aggressive grading or heavy VFX workflows.
Highlight roll-off is good—but not Mini LF good. The ARRI sensor still leads in pure dynamic range and skin tone nuance.
Bottom line: The FX6 was the right camera for this campaign, balancing agility and cinematic quality in ways the Mini LF couldn’t match in this specific context.
Tilta Float System
Pairing the FX6 with the Tilta Float and DJI RS3 Pro was the secret sauce for keeping our shots dynamic and fluid across dozens of locations.
Why Tilta Float?
Weight Support: Rated for ~10kg payloads, perfect for FX6 + RS3 Pro + Cooke SP3.
Vest + Arm Integration: The spring arm absorbs footsteps and body bounce, reducing the fatigue of handheld or gimbal-only setups. Great for long takes through terminals or jetways.
Modular and Affordable: It’s a fraction of the cost of a full Steadicam system, but still delivers very smooth footage for medium-sized setups.
Quick Balance: Faster to rig than a traditional gimbal + vest + arm setup, and perfect for location work with limited setup time.
Performance Notes:
Best with lighter cameras like the FX6 or the Komodo. Not suitable for fully rigged cine cameras like the Alexa 35 or Venice 2.
Needs precise balancing and practice to avoid bounce or sway, especially when changing direction quickly or walking in tight spaces.
With the RS3 Pro’s improved motors and focus system (paired with a wireless follow focus), we were able to nail shots in a single take—even in narrow plane aisles.
Cooke SP3 Lenses
The Cooke SP3 series brings the soul of vintage Panchros into a modern, full-frame, compact housing—ideal for handheld and gimbal work.
What Stands Out:
Image Rendering: Creamy, organic bokeh with a gentle fall-off. The SP3s have that signature “Cooke Look”—a warm, smooth, cinematic roll-off that makes faces glow without looking overly sharpened or clinical.
Color: Slightly warm bias, with natural contrast and a subtle halation around highlights. Perfect for skin tones, especially when paired with Sony’s S-Cinetone or S-Log3 workflows.
Coating: The multi-coated optics reduce flaring just enough to retain a classic look without washing out the image. Great for mixed lighting or strong backlight situations inside airports.
Size & Weight: At under 1kg per lens, the SP3s are beautifully balanced on a gimbal or Tilta Float rig. No need for counterweights or crazy recalibrations when changing focal lengths.
Build Quality: Metal housing, cinema-standard gears, and smooth focus throw. These are true professional tools—no compromise in feel or focus precision.
Panchro Heritage:
The SP3s draw from the DNA of the legendary Cooke Speed Panchros (originally from the 1920s-1950s), but with full-frame coverage, modern coatings, and mechanical reliability. They maintain the subtle softness and painterly texture that made Panchros iconic—but in a body that suits today’s compact cinema rigs.
Final Thoughts
This technical setup—Sony FX6 + Tilta Float + Cooke SP3—let us shoot fast, light, and beautiful. We moved through airport corridors, boarding gates, and aeroplane cabins with the confidence of a larger production but none of the bulk. Every creative decision was supported by gear that stayed out of the way and delivered high-end results..
The Final Product: Three Stories, One Journey
The result? Three videos that capture different aspects of the travel experience—departure, journey, and arrival—each with its own visual tone and energy, yet tied together through continuous motion and cohesive cinematography. The floating camera gave viewers the feeling of being part of the experience, always moving, always discovering.
This campaign reminded me how powerful a small, focused crew can be when everyone is in sync and the right tools are in hand. The constraints pushed us to be more creative, and I’m genuinely proud of what we were able to achieve.
Massive thanks again to Todd Anthony for being such a collaborative force, and to the entire crew for their tireless work. Can’t wait to share the final spots—stay tuned.
