From Cine line to Cinema
Timothy Fare-Matthews

Hero From Cinema line to Cinema

If you’re an avid Fast and Furious fan in the UAE and got the chance to see the latest F9 ‘The Fast Saga’ film. Then you probably witnessed a rather lively sanitizer spray advert featuring Ahmad Daham and his Red Bull Lexus RC F drift car.

The production and idea came about because ShieldME Global(the brand behind the sanitizer spray) thought it would be the perfect opportunity to appeal to a younger audience and leverage the advert space before the film aired in cinemas across the country.

In keeping with the Fast and Furious style, I was brought in due to my previous automotive work and business relationship with Ahmad Daham. (With whom we have shot with many times before).
We had sourced some content already previously shot on file (of the vehicle), so the execution part solely existed inside one of the Dubai Autodrome garages.

The production wasn’t large, and it didn’t need to be. Overall it went very smoothly on the day. We managed to execute everything within six hours with a team of three, and the FX6 was a perfect choice of camera for the production.

The first challenge for Ludovic Blot (my senior operator) and myself was that we needed to control the environment enough to light and capture details of the COVID-19 fighting spray droplets. Naturally, that meant the look and feel had to be very moody and dim. (Almost like we are in a dark studio).

Thanks to a pair of Aputure 300D II / Light Dome with honeycomb grid and an Aputure spotlight with some Red / Blue Gels, we could complement the variegated livery on the Lexus. With a prominent use of daylight 5500k rim lighting and bright red gels as our primary key light, we got some really interesting looks which aligned with the patterns and colours of Daham’s racing overalls.

Without the use of the incredibly flexible Variable ND on this FX6, this production would’ve been made a bit of a nightmare. The background had to be almost non-existent in terms of exposure, so the challenge of trying to create a studio look without being in the studio means you really need to rely on these ND filters if you’re shooting below f/2.8.

The lenses used on the day predominately were the:
– Planar T* FE 50mm F1.4 ZA | SEL50F14Z | Sony AE,
– FE 90mm F2.8 Macro G OSS | SEL90M28G | Sony AE
and the
– FE 85mm F1.4 GM | SEL85F14GM | Sony AE

From Cine line to Cinema

The asset had little time to be produced, so we shot the entire thing in S-Cinetone, which meant we saved the colour grading hassle in post. Thankfully the asset sailed through the tech check of all VOX, REEL, NOVO and ROXY cinemas in the region and was complimented by many as it was aired.

Numerous individuals at these venues thought that the commercial must have shot it on something much higher level (i.e. Sony Venice). Still, if anything, that illustrates the power of the Sony Cinema line and what it represents.

Its compact ergonomics and ability to get in the car and grab shot to shot within six hours really meant we could be efficient and take time with our content. The prestigious shared technology of the Venice really came through, and it makes me question that if you are not a large crew, what camera could’ve been better than this?

From Cine line to Cinema

Overall it was nice to use a camera from the Sony Cinema Line and see the content be used in cinema as the end platform. I had the pleasure of witnessing the advert in person, and the novelty of seeing it on the big screen was a great thing to see.

For something so compact to have this kind of clout shows testament to the Sony Cinema range available to the market. It’s encouraging for those also starting out (in filmmaking) that you now have a seat at the big boys’ table if you know how to use the camera well and light correctly.

If you have any further questions about this production or would like to know more about the ILME-FX6 and its day to day use in my productions, feel free to reach out to me via DM – @timf.matthews

Timothy Fare-Matthews

Timothy Fare-Matthews


Timothy Fare-Matthews is the co-founder of First and Ten Productions and FTEN X, one of Dubai’s leading production houses, working with entrepreneurs to produce their online video and photo content. He has with his team executed thousands of projects, and their clients include Will Smith, The Pope and Red Bull.

Driven by a passion for supporting small business, during the global pandemic of 2020, companies faced a crisis; Timothy partnered with Sebastian Bates to launch FTEN X Academy.

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