Pintxo Pote is a tapas bar located in Los Gatos, CA, that offers authentic Spanish-Basque pintxos along with an extensive Spanish wine selection in a special setting. The food is vibrant with colors, flavors & aromas. The wine list is extensive, encompassing the most important Wine-Regions of Spain. Finally, the restaurant’s interior design, with its memorable aquamarine and azure agates wall, creates an exquisite dinning experience.
These 3 unique attributes, food, wines, and interior design, became the guiding visual compass for the commercial, and quickly dictated the choice of gear and style.
First up was camera selection. I quickly choose the Sony F5 CineAlta coupled with the AXS-R5 raw recorder based on my previous experience of shooting with the Sony F55 @ Sony Studios. I liked the simplicity of the F55 when set to RAW: I could treat it as a very compact film camera that only needed power and a light meter, and the F5 shared these two qualities with its bigger brother. For optics I went with a full set of Cooke mini S4/i prime lenses, their beautiful optical qualities and precise construction meant a very enjoyable shooting experience.
Throughout the shoot we made extensive use of a 1-ton grip truck. First order of the day was to block the entire glass, front-wall of the restaurant to exclude all exterior light sources. We then turned to the interior and switched off all light sources. Finally we started setting up for our first shot of the day: the clams. Camera was setup for shooting in 16-bit 4K RAW at 48 fps.
I had previously scouted the restaurant with DP Tom Spingola, and 1st AC Mecky Creus, and we had sketch out our lighting schemes for all the scenes we were shooting based on a storyboard I had created. As shooting began, and memory cards started to fill up, our on-site DIT Technician, Ted Slominski, would verify and transfer all the material to backup disk drives using ShotPutPro, finally putting the cards back into the production cycle.
The spot was cut using Adobe Premiere Pro CC with the VFX being done in After Effects. Color Grading was accomplished with DaVinci Resolve, and the spot was delivered in 2K Apple ProRes 422 HQ. The piece was then scored by Daniel Yarritu using Apple Logic Pro X.
All in all, it was a terrific experience, both from the production and post-production perspective, and the client was thrilled with the completed spot. Check it out here.
RAFAEL RIVERA : Director
THOMAS SPINGOLA : DP
MECKY CREUS : 1st AC
CHRIS CORNBILL : Grip
TED SLOMINSKI : DIT
YVAN ITURRIAGA : Location Sound
DANIEL YARRITU : Sound Score
ALEJANDRO MORALES : Production Assistant