BMW Dealership of Bloomfield, NJ, has just unveiled a super sized screen. It's a 8.5' x 22' Mini LED Billboard with a 16mm Full Color LED Display . Reality Pictures, Ltd., provided the visuals that can be seen from passing cars as well as customers in the dealership. The screen and installation were provided by Skysight Signs & Axia Art, LLC.

Rolling hills, wine vineyards and zooming cars were all part of the scenery in Napa Valley, California.

From here we brought back footage for the latest national spot for BMW’s 2011 5 Series Grand Turismo.

Utilizing the Russian Arm, a “unique combination of a gyro stabilized remote system the ‘Flight Head’ and a [car mounted] remote camera crane..” and the talents of our crew we were able to capture the beauty of both our subject and the stunning backdrop.

reality pictures specializes in shooting studio and dynamic automotive footage.

The spot is currently airing.

Directed by Kim Takal. Director of Photography, Mark Chamberlin.

Check out our work.

We just finished up post production on the BMW 5 Series Gran Turismo We shot it down in the Carolinas. In addition to our regular high definition camera packages, we brought down three of the new Canon 5D Mark II still cameras. If your not familiar check out the Canon site:

http://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=139&modelid=17662

Our primary use for the Mark II was as a mount camera on our picture car. Before heading down south we did a little research. A quick Google search turned up a few promising results.

The appeal of this particular still camera was it’s ability to shoot 1080p HD video. The light compact body, and the option of multiple prime and zoom lenses appeared to be a great, less expensive alternative to HD lipstick cameras.

We knew the camera could capture beautiful images. But we were still faced with a lot of unknowns. How would the camera physically hold up to the intense rigors of high speed automotive film making, and what would our post-production workflow look like.

We had a variety of mounts planned, both interior and exterior. After some thought and clever rigging we settled on a combination of clamps and foam to brace the lens against the mounting plate. The camera body has so many external buttons it’s difficult to find a place to grab it, however we found it to be much easier to mount than other larger heavier cameras.

Dealing with the media on location was the next hurdle we had.
We were using three, eight gigabyte cards. Which translates to a gigabyte a minute when recording 1080p. Just as with our second unit camera the Panasonic HVX200, we found that the same combination of a laptop, card reader, and two redundant drives worked perfectly. The cards off loaded at approximately the same speed as P2.

The similarities to P2 media continued when we got back to New York to begin post-production. Like P2, the media had to be transcoded before it could be played back with in our Avid system.

The Avid handled the transcoding internally but the process took quite a long time and the clips almost tripled in size. We ended up archiving the media on a dedicated drive and putting it up on the shelf next to our shot tape stock. With hard drives dropping in price, this workflow just about equals a traditional tape based system.

With gorgeous images, and a manageable workflow, the Canon 5D Mark II has become another amazing tool in our arsenal. Check out the video above to see us in action on set.

We're really looking forward to putting this camera to work for us more often. In fact we have a production coming up that we’re considering shooting exclusively with the Canon 5D Mark II. Stay tuned!

Watch here: http://exposureroom.com/members/realitypictures/0228d29d422d450f95a488d3eacae1d8/