Around the world in 80 days, more like around San Francisco in 3 hours with Golden State Warriors player Swaggy P (Nick Young) and ESPN senior writer Sam Alipour. When working with SportsCenter’s “Hang Time,” we never know what Sam and the producers have in mind. We do know that the projects are a great deal of fun, but strenuous.
Strenuous because when working with athletes, their schedules are unpredictable. What was planned to be a full day became a 3-hour shoot, and we were up for the challenge. We know that if we’re successful with our quick thinking and problem solving, clients will love us. Plus our knowledge of the Bay Area and our access to crew and equipment, ESPN producers rely on us for coordinating these shoots.
So how exactly did we use the 3-hour block of time to create a storyline that’s fluid? With pinpoint accuracy. Printed out maps with a preset route, pin drops, and sharing our locations helped us stay the course. As one location was being filmed, the next one was being prepped. Our crew kept in constant communication via two way radios. Preparation was the key because we only had one chance to capture these moments.
The Iconic Cable Car
Filming for the video began at the Cable Car Museum, a brick building in the Nob Hill neighborhood. After filming the introduction, we hopped on a cable car to ride to our next location. The plan was to film the interview while onboard, but the noise created by the locomotion of the trolley didn’t allow for the best audio. We made a pit stop on the route to film a brief interview about how Swaggy P signed with the Warriors. The scenic ride also allowed us to film b-roll to establish San Francisco.
The Crookedest Street
Upon arrival to the top of Lombard Street, our crew was waiting with two bicycles fitted with GoPro cameras. A cameraman on a Freefly Systems’ MōVI filmed from street level while one waited at the bottom with an Ikan DSLR handheld gimbal. Following behind was our camera vehicle mounted with the Eyecon Gimbal system.
The challenge for this location was coordinating talent and our camera crew. We needed for both Sam and Swaggy P to ride at a pace that was suitable for our team to film the best moments of the ride. Both of our riders wore lavaliers to capture audio. Along with a boom operator on foot, we followed from behind on a bicycle carrying the receiver and recorder.
On The Waterfront
A visit to San Francisco isn’t fulfilling without stopping by Fisherman’s Wharf. With a cameraman on rollerblades and one in a Burley bike trailer, we followed Sam and Swagy P as they rode through Ghirardelli Square. Our next stop was Nick’s Lighthouse where a PA was waiting with location and talent releases already signed. Once on set we wouldn’t of been afforded time to sign these forms. It was a high octane shoot that needed to keep pace.
We moved onto Pier 39 to finish the segment. The pier was bumpy and crowded, but we made due. With a plan in hand, making our way through this densely populated area was much less cumbersome than if we weren’t prepared.
We Left Our Hearts In San Francisco
With a final stop at the historic Golden Gate Bridge and ride across the span by Sam and Swaggy P, filming wrapped for the day. We started off the day with a list of locations we wanted to visit, each with its own priority and time slot. If we didn’t arrive at the destination within that period, we scrapped it. By prioritizing locations, we kept on schedule, and at the end of the day we missed out only on Crissy Field.
The success of this project is because of precise planning. Shooting schedules change leading up to production, even on the day of. You can’t let it stir you. The confidence in decision making you reveal during these moments are telling. It tells your client that you’re capable of working under stress and that you’re able to think quick. Qualities like these are paramount in this industry. Keep calm, don’t stress, and shoot the heck out of your next project!
For more articles about how we go above and beyond for clients, be sure to read How To Shoot Through A One-Way Mirror.
