{"id":9135,"date":"2019-11-07T17:53:18","date_gmt":"2019-11-08T01:53:18","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=9135"},"modified":"2021-05-30T18:09:26","modified_gmt":"2021-05-31T01:09:26","slug":"wheels-of-steel","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/wheels-of-steel\/","title":{"rendered":"Wheels of Steel"},"content":{"rendered":"\r\n\r\n\r\n

Check out the biggest, baddest (and safest) reality competition show to ever hit the small screen.<\/span><\/p>\r\n\r\n\r\n\r\n

by David Geffner \/\u00a0<\/span>Photos by Daniel McFadden \/\u00a0<\/span>Courtesy of Netflix<\/span><\/p>\r\n

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How best to describe\u00a0<\/strong>Hyperdrive\u00a0<\/strong><\/em>to a reality TV fan?<\/strong>\u00a0<\/em>Imagining an unlikely (but spectacular) amalgam of three diverse cultural icons \u2013 NASCAR,\u00a0Blade Runner<\/em>, and\u00a0American Ninja Warrior\u00a0<\/em>\u00ad\u2013 is a good start. Ensuring that the inherent dangers (for both contestant and crew) of a show with vehicles traveling more than 90 mph are minimized and\/or nearly eliminated is another road down which this one-of-a-kind unscripted show travels.<\/p>\r\n\r\n\r\n\r\n

Hyperdrive<\/em>, at its core, is an automotive spectacle,\u00a0similar to America\u2019s most popular televised race series, NASCAR, where the combination of speed and lightning-quick decisions mean disaster is ever-present. And, like NASCAR,\u00a0Hyperdrive\u00a0<\/em>benefited from the highly specialized work of Broadcast Sports International (BSI), which pioneered onboard action cams. BSI\u2019s 13-person team installed six to eight GoPros (shooting 4K linear footage) around each racer\u2019s car, and two Blackmagic Design 4K cameras (with ARRI\/Fujinon zooms) inside each vehicle, as well as RF audio feeds back to the mobile production truck.<\/p>\r\n\r\n\r\n\r\n

But that\u2019s mostly where the similarities end.\u00a0Hyperdrive\u00a0<\/em>contestants (hailing from Japan, Brazil, Poland, Germany, and the U.S.) are \u201cdrifters,\u201d who intentionally\u00a0over-steer their vehicles at high speed (typically losing traction in just the rear wheels), while navigating\u00a0a series of obstacles\u00a0\u00e0\u00a0la\u00a0American Ninja Warrior.\u00a0<\/em>Like\u00a0Ninja,\u00a0<\/em>each obstacle is named, often for its degree of ferocity \u2013\u00ad\u2013 \u201cSupernova,\u201d \u201cThe Water Canon,\u201d \u201cPipe City,\u201d \u201cThe Gauntlet,\u201d and the show\u2019s most iconic obstacle, \u201cThe Leveler,\u201d which looms over the course like a T-Rex waiting to gobble up the (comparatively) Tonka toy-sized race cars.<\/p>\r\n\r\n\r\n\r\n

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Director of Photography\/Lighting Designer Adam Biggs says that because they couldn’t light every “square foot” of the 112-acre Eastman-Kodak Film Processing Plant, in Rochester, NY, “the mantra was to make darkness our friend.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

As for\u00a0Blade Runner<\/em>, that look came courtesy of Director of Photography\/Lighting Designer Adam Biggs, who made the most of an epic location \u2013 the former Kodak film processing plant in Rochester, NY. Biggs bathed the 112-acre \u201cfilm set\u201d in a stark, steam-punk feel \u2013 menacing blues, grays and purples that highlighted the plant\u2019s steam-bellowing industrial chimneys. Working closely with director Patrick McManus, Biggs gave the big canvas an appropriate capture platform (best seen during opening titles and driver change-overs) with two DJI Inspire drones (equipped with Zenmuse X8 fixed lens cameras), as well as two Spidercams (rigged on 150-foot-high lifts with Sony HDC-P43 4K cameras and Fujinon wide-angle zooms), which were vital for dynamic aerial counter moves, and establishing the overall gameplay of the course.<\/p>\r\n\r\n\r\n\r\n

Biggs, who also shot the car reality series\u00a0Top Gear USA<\/em>, explains that he came on through Brandon Riegg, VP Unscripted Originals & Acquisitions at Netflix, who was the EP at\u00a0Ninja Warrior.\u00a0<\/em>“[Reig] said there\u2019s this very cool show, co-produced by Charlize Theron\u2019s company that is a mega-car obstacle\/challenge series shot at nigh,” Biggs recounts. “I don\u2019t think I paused more than four seconds before saying: \u2018I\u2019m in!\u2019\u201d In fact, Biggs says\u00a0Hyperdrive\u2019s\u00a0<\/em>unique location impacted the lighting, gameplay, and camera coverage areas more than any other project he\u2019s shot in his many years in unscripted television, with Production scouting for months to find a fit.\u00a0<\/p>\r\n\r\n\r\n\r\n

\u201cWe needed the proper surface for all the different competitors\u2019 cars, and the look had to just feel monstrous,\u201d he continues. \u201cWhen we first visited the Kodak facility in Rochester, it was over the winter holidays, and it was bitterly cold with snow on the ground. There were mercury vapor and sodium lights everywhere, and these amazing steam stacks, because it\u2019s still a working factory. It was, literally, straight out of\u00a0Blade Runner<\/em>. I even referenced that film for the producers when showing them how we wanted to light the series, as it was crucial to keep the gritty, steampunk look of the Kodak factory both cinematically and creatively.\u201d<\/p>\r\n\r\n\r\n\r\n

And light Biggs, did, employing hundreds of Quasar LED tubes, along with programmable Elation Lighting units that included Pixel Bars, Paladins, Cuepix, and Proteus. He says both\u00a0Hyperdrive\u2019s\u00a0<\/em>Producers and Netflix executives wanted the Kodak plant to be \u201ca mind-blowing character,\u201d in the series. And while Biggs did some enhancement with lighting and fog, \u201cthe place was already bleak and menacing,\u201d he insists. \u201cThere were alleys, tunnels, and black corners everywhere; knowing we couldn\u2019t light every square foot, our mantra was to make \u2018darkness our friend.\u2019 Combine that with these wildly colorful cars and Patrick\u2019s ability to cover it all like a sporting event, and [Hyperdrive<\/em>] feels brand new for unscripted TV.\u201d<\/p>\r\n\r\n\r\n\r\n

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Director Patrick McManus (right), whose r\u00e9sum\u00e9 includes Indianapolis 500, Daytona 500 and Le Mans, says that because he only had six [fixed, long-lens] cameras, “I knew the high-speed footage had to rotate throughout the different obstacles every night to keep it visually interesting.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Executive Producer Aaron Catling <\/strong>(ICG Magazine, November, 2018, Exposure<\/em>) says McManus\u00a0was at the top of a very short list when it came to hiring a director for\u00a0Hyperdrive<\/em>. \u201cWho else but Patrick has all that experience from an obstacle show like\u00a0Ninja,\u00a0<\/em>televised racing like IndyCar, and has the best long-lensed cameraman in the business on speed-dial?\u201d Catling shares. \u201cThe budget did not allow for a lot of fixed\/studio-type cameras, so we\u2019ve got footage happening on specialties \u2013 [more than 25] GoPros [placed each night], handheld [RED cameras] in the pits \u2013 which we didn\u2019t necessarily have eyes on. Patrick\u2019s experience in creating that narrative in the truck, with the cameras he had available, was huge.\u201d<\/p>\r\n\r\n\r\n\r\n

With a\u00a0r\u00e9sum\u00e9 that includes Indianapolis 500, Long Beach Grand Prix, Watkins Glen, Michigan 500, Daytona 500 and Le Mans, along with large-scale sporting events like the Super Bowl Pre-Game and the Rose Bowl, McManus was the perfect fit for a new hybrid type of racing show. \u201cI knew there was a market for [Hyperdrive<\/em>] because today\u2019s younger audiences don\u2019t relate their vehicles to NASCAR, as my generation did,\u201d he states. \u201cBut the challenge was how to create a visually compelling narrative from nothing \u2013 there was no template for this show.\u201d<\/p>\r\n\r\n\r\n\r\n

When McManus and Biggs first saw the Rochester location, the producers wanted to shoot in an area about\u00a0three square miles<\/em>. \u201cAdam and I said, \u2018There\u2019s no way you can light it,\u201d he remembers. \u201cThat car going 125 miles per hour will pass those $80,000 lights in two seconds. Even after they scaled the course back, it was still enormous. And I knew the show couldn\u2019t just be the drivers in the car. We needed a \u2018spotter\u2019 to guide them, and the announcers [standing on a special bridge over the start\/finish line and covered by Guild operator Steve Ritchie on Technocrane] had to see the spotter. That type of interaction was crucial to building a narrative.\u201d<\/p>\r\n\r\n\r\n\r\n

Having spent his whole career in broadcast trailers, McManus praises the mobile production truck provided by Clark Media \u2013\u00a0specifically designed for Netflix\u2019s 4K\/HD parameters. \u201cUsually a truck is designed either for sports or entertainment,\u201d he shares. \u201cBut this truck has the agility to be both.<\/em>\u00a0Highlights were the OLED 4K monitors and scopes in a daylight shading suite, the multiple EVS XT4s that enable quick replay in unpredictable content, and twenty-four 4K 23.98PSF S-log3 ISO records to the post team for complete color correction.\u201d<\/p>\r\n\r\n\r\n\r\n

The veteran unscripted director says he also wanted full visual coverage of the course, without blind spots, \u201cespecially if there was a safety issue,\u201d he adds. \u201cSince we only had six hard cameras, I knew the high-speed footage had to rotate throughout the different obstacles every night to keep it visually interesting. That was also challenging because the cameras could easily have failed if any of the five miles of fiber-optic cabling we ran was compromised. I\u2019m very proud to say we did not have a single failure on the camera side, which is amazing.\u201d<\/p>\r\n\r\n\r\n\r\n

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Operator John Armstrong praises Hyperdrive’s <\/em>safety protocols. “All of the fixed camera positions,” McManus and Biggs established, he notes, “were in a direct line of sight to the car, but far enough away [or up in a Condor] that even if [the car] crashed into a barrier, it wouldn’t hit us.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

What\u2019s also amazing, according to the Guild operators<\/strong>\u00a0who regularly work with Biggs and McManus, is the consideration both men evince for the operator\u2019s craft. John Armstrong, who has worked on 10 of\u00a0American Ninja Warrior<\/em>\u2019s\u00a0<\/em>11 seasons, doing mainly handheld work, shot long-lens fixed coverage on\u00a0Hyperdrive<\/em>. An amateur racecar driver (and Porsche 996 GT3 owner), Armstrong knows fast cars. \u201cThe racing I do has nothing to do with going up huge ramps or spinning out through water,\u201d he offers. \u201cBut I am acutely aware of what can happen to a vehicle moving 100 miles per hour if something goes wrong. There were so many moving parts to this show that every aspect had to be perfectly coordinated. I really appreciate how serious they were about safety in all areas of the production.\u201d<\/p>\r\n\r\n\r\n\r\n

According to Armstrong, all of\u00a0Hyperdrive<\/em>\u2019s\u00a0<\/em>fixed camera positions were put in places with a direct line of sight to the car, \u201cbut we were far enough away that even if [the car] crashed into a barrier, it wasn\u2019t going to hit us,\u201d he adds. \u201cPatrick and Biggsy always made sure we had enough glass [Fujinon 107-\u00d7-8.4-mm Sports Box telephoto lenses on Sony PXW-Z450 4K cameras] to be far enough away to be safe.\u201d<\/p>\r\n\r\n\r\n\r\n

McManus\u2019s extensive experience directing car racing helped to keep\u00a0Hyperdrive<\/em>\u2019s\u00a0<\/em>operators safe. As he explains: \u201cThe only way to get down low and near a car traveling at that speed was with a robotic camera. And those would not have the long glass look we wanted or the feel provided by our fixed-cam ops. The only way to get a camera over the track was with a Condor, with the base behind the barrier, arming it over the track, and tethering it. That\u2019s 15 feet up in the air so there would be no issues with the operator\u2019s safety, even if a car lost control and flipped.\u201d<\/p>\r\n\r\n\r\n\r\n

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Operator Jeremiah Smith describes\u00a0Hyperdrive\u00a0<\/em>as an adrenaline-filled show “where each shot was like a mini-action movie that got the heart pumping.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Armstrong covered such segments as the \u201cSupernova,\u201d where the drivers must race forward and backward \u2013 with a 360 spin in the middle \u2013\u00a0between vertically parallel rows of LED light tubes (wireless\/battery-controlled units provided by PRG), and the \u201cHead-to-Heads,\u201d where drivers did a short version of the course side-by-side, trying to stave off elimination.\u00a0<\/p>\r\n\r\n\r\n\r\n

\u201cOne very cool position I had was at the end of \u2018Pipe Alley\u2019 [an industrialized maze of metal scaffolding where Biggs rigged chasing tubes of light], where the drivers come directly toward me,\u201d Armstrong adds. \u201cNot everyone may know that [unscripted operators] pull their own focus and control iris, which is interesting when the subject\u2019s going 90 miles per hour, and you also need to see the obstacle in the shot. Unless told otherwise by Patrick, I usually kept the framing as tight as I could on the car, while still getting all the key atmosphere around it.\u201d<\/p>\r\n\r\n\r\n\r\n

All of\u00a0Hyperdrive<\/em>\u2019s\u00a0<\/em>operators say the relationship McManus has with them is unique in the unscripted world. \u201cHe\u2019s so accepting of input, and also tolerant of any side-banter or insights we may have,\u201d Armstrong notes. \u201cWhen your director is not being hypercritical and letting you just do your job the way you see fit, that makes for a great working environment.\u201d\u00a0<\/p>\r\n\r\n\r\n\r\n

Operator Jeremiah Smith, who also works on\u00a0Ninja,<\/em>\u00a0says\u00a0Hyperdrive\u00a0<\/em>was an adrenaline-filled show where each shot was like a mini-action movie that got his heart pumping. \u201cI was on \u2018Rapid Response,\u2019 where the drivers would weave through LED tubes, do a 360 and come back around, before going on to do the donuts in \u2018Light Box,\u2019\u201d Smith recalls. \u201cWe were in a minivan with the Sony Z450, and the Fujinon 4K lenses [Netflix requires 4K deliverables] strapped down with the door open, following the car on the course. There was no time to turn around when the racers did their spins, so the van had to go in reverse to get the action going the other way.\u201d<\/p>\r\n\r\n\r\n\r\n

Smith says working off an eyepiece (instead of a monitor) \u201ccreated another point of contact\u201d with the van. \u201cI was wedged behind the front passenger seat, and the grip team had bolted everything,\u201d he continues. \u201cThe base, tripod, and van door were all ratcheted, so the only thing not locked in was the camera itself, which is on a quick-release plate. I felt completely safe at all times, as there were barricades between the van and racer at all times. Of course, that\u2019s a concern \u2013 when cars are doing donuts at 80 miles per hour, things can happen.\u201d<\/p>\r\n\r\n\r\n\r\n

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“Not everyone knows [unscripted operators] pull their own focus and control iris,” Armstrong says, “which is interesting when the subject\u2019s going 90 miles per hour, and you also need to see the obstacle in the shot.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Things\u00a0did\u00a0<\/em>happen in front of\u00a0Hyperdrive<\/em>\u2019s\u00a0<\/em>cameras\u00a0<\/strong>\u2013 nail-biting moments that define the best of unscripted television. Examples include German drifting champion Corinna Gr\u00e4ff (part of a husband-and-wife duo who both made the final round) stalling her Mercedes E500 V8 under the \u201cWater Canon.\u201d When the full force of the watery blast pancakes her windshield, Graff is sent to the hospital for evaluation. There was also Austin, TX wild-man Fielding Shredder crashing his 1997 Nissan 240SX into a brick wall just beyond the course, 28-year-old former veterinary assistant Brittany Williams screaming with delight as her 2008 Nissan 350z careens down a watery rail slide on two wheels in one of the knockout rounds, and perhaps most memorably, Japanese drifting veteran Atsushi Taniguchi jumping his 2002 Toyota Crown\u00a0over<\/em>\u00a0a safety barrier on the monstrous \u201cLeveler\u201d before the obstacle has reset.<\/p>\r\n\r\n\r\n\r\n

Course designer and safety advisor Martyn Thake (who was in the control truck behind McManus each night) has overseen safety for professional racetracks all over the globe, but even he says\u00a0Hyperdrive\u00a0<\/em>was something new to his portfolio.\u00a0<\/p>\r\n\r\n\r\n\r\n

\u201cI was involved from the start with the concept and engineering design, and provided lots of input into the obstacle design from the racing and safety side,\u201d Thake recalls. \u201cBecause the obstacles and their placement evolved, my first challenge was connecting the dots \u2013 getting the drivers from one place to another \u2013 safely.\u201d\u00a0<\/p>\r\n\r\n\r\n\r\n

Thake says that after the start\/finish line was determined \u2013 per the needs of production design, lighting, and camera \u2013 he started paving over existing asphalt, particularly in areas where there was iron that could pop tires. \u201cSome roads on the course didn\u2019t even exist,\u201d he adds, \u201clike the one up to the \u2018Leveler\u2019 \u2013 and had to be paved in. Areas where we knew the drivers would hit high speeds required asphalt replacement.\u201d\u00a0<\/p>\r\n\r\n\r\n\r\n

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Daily safety meetings went well beyond standard cautions about hydration, fatigue, and set awareness. \u201cEvery single person on the crew had to wear a safety vest at all times,\u201d describes DGA 1st AD Dave Massey. “Reviewing the lighting safety system, along with encouraging respect for these young local P.A.\u2019s, was always on the agenda.”\/ Courtesy of Adam Biggs<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Figuring out where to place all the safety barriers<\/strong> was a prime focus for Thake. \u201cSome were concrete, others water-filled,\u201d he describes. \u201cAnd because the circuit changed each night, we were moving 400-500 water barriers every afternoon.\u201d Thake, who was the director of circuit development for IndyCar series for six years, says he\u2019s used to interfacing with a TV production company to field their requirements. \u201cSo, if Patrick and Adam needed to put a camera where it couldn\u2019t be I\u2019d say: \u2018Hey, guys, let\u2019s have a walk-about on the course to figure out another way.\u201d<\/p>\r\n\r\n\r\n\r\n

DGA 1st<\/sup>\u00a0AD Dave Massey was the other key player, along with Thake, in creating the show\u2019s\u00a0<\/em>extensive safety protocols. Massey describes\u00a0Hyperdrive\u00a0<\/em>as not only the largest set he\u2019s had to control but also the most dangerous. \u201cWe had to figure out the simplest method of communication for a crew of more than 150 people spread out over two square miles,\u201d Massey explains. \u201cThe usual 16-channel two-way walkie-talkie approach wasn\u2019t feasible, so we came up with two systems\u00a0\u2013 one audio and one visual.\u201d\u00a0<\/p>\r\n\r\n\r\n\r\n

As Massey describes it, his voice boomed out on a massive P.A. system, aka a \u201cVoice of God,\u201d heard throughout the entire set (and replaced with a computerized female voice in the final edit), and announced when the track was \u201chot,\u201d which is long-time racing protocol for when a car is on the course, and when it is \u201ccold,\u201d i.e. when crewmembers could safely access an obstacle for re-set, lighting tweak or camera displacement.\u00a0\u00a0<\/p>\r\n\r\n\r\n\r\n

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Safety protocols for the massive exterior location included a “Voice of God,” and using Biggs’ show lighting for visual communication. Pictured above is “The Gauntlet” with all-magenta lighting, which cued Hyperdrive <\/em>crew members the course was safe for a re-set.<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

\u201cWe worked closely with Adam to use his show lighting for visual communication,\u201d Massey continues. \u201cThe normal show lighting meant the track was hot; all magenta lighting meant it was safe for a re-set, flashing magenta and yellow meant we were one minute to race-start. If anyone needed to hold the race they would communicate directly with me or with Martyn.\u201d<\/p>\r\n\r\n\r\n\r\n

Massey\u2019s AD team also had to contend with a handful of working Kodak employees, who would communicate with one of his 20 local P.A.\u2019s if they needed to move from their location. \u201cIt\u2019s a little disconcerting to hear, \u2018There\u2019s a guy who needs to get to his truck\u2019 a minute before race start,\u201d Massey smiles. \u201cBut I credit my other AD\u2019s \u2013\u00a0Ben Simms, J.R. Osborne, Sean Galvin, and J.C. Babas \u2013 and all those local P.A.\u2019s, who had the thankless job of standing all night in dark corners and alleyways, to make sure we had a complete lock-up.\u201d<\/p>\r\n\r\n\r\n\r\n

Daily safety meetings went well beyond standard cautions about hydration, fatigue, and set awareness. \u201cEvery single person on the crew had to wear a safety vest at all times,\u201d Massey describes. \u201cAnd reviewing the lighting safety system, along with encouraging respect for these young local P.A.\u2019s, was always on the agenda. This is a crew that has worked together a long time, and there\u2019s a strong level of trust. It\u2019s late at night, in the middle of nowhere, and I said: \u2018If you need a break, for whatever reason, talk to me on my dedicated channel and I will make sure that happens without the producers being overly concerned the schedule or content will suffer.\u2019\u201d<\/p>\r\n\r\n\r\n\r\n

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Course designer and safety advisor Martyn Thake calls “The Leveler,” a \u201cBailey Bridge erector set\u201d made up of parts and pieces. \u201cWe knew we had to have a safety stop, but we weren\u2019t sure exactly what that would be,” Thake notes. “So we came up with water barriers strapped underneath, and a dampening mechanism to slow the thing down.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Eventually, all roads (and conversation) on\u00a0Hyperdrive<\/em>\u00a0<\/strong>lead to\u00a0\u201cThe Leveler.\u201d\u00a0By virtue of its massive size, it garnered the most attention from Production; gameplay wise, it was often the make-or-break moment in each contestant\u2019s run. Smith, who says he\u2019s always searching for \u201ccinematic frames\u201d that will lift reality coverage beyond conventional expectations, points to Biggs\u2019 lighting throughout the show, but particularly on \u201cThe Leveler,\u201d as making it easy to create \u201cbeautiful images whenever I pointed my camera.\u201d<\/p>\r\n\r\n\r\n\r\n

Thake calls the obstacle a \u201cBailey Bridge erector set\u201d made up of parts and pieces. \u201cOnce it was built,\u201d he recounts, \u201cwe knew we had to have a safety stop, but we weren\u2019t sure exactly what that would be. We came up with water barriers strapped underneath, and a dampening mechanism to slow the thing down. When a car was actually on \u2018The Leveler,\u2019 there was a driver coordinator responsible for saying, \u2018Turn the lights from red to green.\u2019 He was keyed off a spotter, who was underneath \u2018The Leveler,\u2019 who determined when it was all the way down in the water, and the ramp and platform were actually level.\u201d<\/p>\r\n\r\n\r\n\r\n

Biggs says one of the main photographic challenges to \u201cThe Leveler,\u201d indeed the entire series, was trying to fuse two different styles of lighting. \u201c[Executive Producer] Charlize Theron comes from cinema, and she wanted a very filmic look,\u201d Biggs explains. \u201cBut we also had to make sure the sporting aspect was satisfied \u2013 viewers had to see where the car was at all times. Fortunately, we had a camera and lighting team that bridged both worlds seamlessly.<\/p>\r\n\r\n\r\n\r\n

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Part of the compliance\/gameplay mandate was that lights could not be placed in the drivers\u2019 eyes, blinding them coming into an obstacle. “That meant everything had to be up cranes and truss,” Biggs states, “or low from a three-quarters back edge like they do in pro racing.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

\u201cPart of the compliance\/gameplay mandate,\u201d Biggs continues, \u201cis that the lights we placed could not be in the drivers\u2019 eyes, blinding them coming into an obstacle. So that meant everything had to be up cranes and truss, or low from a three-quarters back edge like they do in pro racing. \u2018The Leveler\u2019 was made of iron girders, like a suspension bridge, and it needed a menacing look that would stand out from the background. The lighting [and production design] also had to be a part of the gameplay, insofar as they had to provide a visual signal for when a driver leveled [or was unable to level] the bridge and could move on.\u201d<\/p>\r\n\r\n\r\n\r\n

Thake says that because\u00a0Hyperdrive\u00a0<\/em>was \u201cbrand new for everyone, even though we all had plenty of experience in different areas of the show, one key to keeping everyone safe\u201d was to send out test cars\u00a0\u00a0\u2013 with a professional stunt driver \u2013 every day at full speed.\u00a0<\/p>\r\n\r\n\r\n\r\n

\u201cAfter so many years on racetracks,\u201d he continues, \u201cI know the best places to artificially slow a driver down and protect them from their own best\/worst instincts. And if something does happen, there must be a plan already in place. We had a plan if a car was on \u2018The Leveler\u2019 and its engine blew. We had our safety truck within five seconds of \u2018The Leveler,\u2019 even though you never saw them in the shot, and equipment to make sure no one ever fell off.\u00a0Hyperdrive\u00a0<\/em>will stand out, not only as a large step forward in keeping film crews safe on productions where there is a very high risk for serious injury, but as an example of everyone working toward making the set safer, without taking anything away from the creative intent.\u201d<\/p>\r\n\r\n\r\n\r\n

Biggs says there was a lot of off-camera lighting he placed to ensure the drivers could see where they were going throughout the course. He placed 200 light beams and fog in the deep background for added texture, and to help \u201cThe Leveler\u201d further pop out. \u201cIt was tricky because the obstacle moves up and down,\u201d Biggs smiles. \u201cSo just mounting and cabling lights when you\u2019re four stories in the air, even if the rig is stabilized, is no easy matter. Of course, those challenges are what made\u00a0Hyperdrive\u00a0<\/em>so fantastic. I\u2019ve never lit a \u2018Leveler\u2019 before. The closest I\u2019ve ever been to a Leveler was back in England when I was four years old on a seesaw. It\u2019s kind of similar, I suppose, if you\u2019re a few hundred feet off the ground with a car!\u201d<\/p>\r\n\r\n\r\n\r\n

\"\"\r\n
Hyperdrive<\/em> crew members were required to wear orange safety vests at all times. Thake says the series\u00a0<\/em>will go down as a “large step forward” in keeping film crews safe, where there is a very high risk for serious injury, “but, also, as an example” of a shared goal “to keep the set safer, without taking anything away from the creative intent.” \/ Courtesy of Patrick McManus<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Hyperdrive – Local 600 Crew List<\/strong><\/span><\/p>\r\n\r\n\r\n\r\n

Director of Photography\/Lighting Designer<\/strong>:<\/p>\r\n\r\n\r\n\r\n

Adam Biggs<\/p>\r\n\r\n\r\n\r\n

Operators (Hard)<\/strong><\/p>\r\n\r\n\r\n\r\n

Jeff Rhoads<\/p>\r\n\r\n\r\n\r\n

Markos Alvarado<\/p>\r\n\r\n\r\n\r\n

Megan Drew, SOC<\/p>\r\n\r\n\r\n\r\n

Mark Renaudin<\/p>\r\n\r\n\r\n\r\n

Dave Anderko<\/p>\r\n\r\n\r\n\r\n

Operators (Hand Held)<\/strong><\/p>\r\n\r\n\r\n\r\n

Daniel Whiteneck<\/p>\r\n\r\n\r\n\r\n

Jeremiah Smith<\/p>\r\n\r\n\r\n\r\n

John Armstrong<\/p>\r\n\r\n\r\n\r\n

Operator (Spidercam):\u00a0<\/strong>Darren Sanders<\/p>\r\n\r\n\r\n\r\n

Operators (Techno)<\/strong><\/p>\r\n\r\n\r\n\r\n

Adam Vessels<\/p>\r\n\r\n\r\n\r\n

Jason Kay, SOC<\/p>\r\n\r\n\r\n\r\n

Operators (Reality\/Paddocks)<\/strong><\/p>\r\n\r\n\r\n\r\n

Mario Pendilla<\/p>\r\n\r\n\r\n\r\n

Jed Udall<\/p>\r\n\r\n\r\n\r\n

Rodrigo Rodrigues<\/p>\r\n\r\n\r\n\r\n

David Ortkiese<\/p>\r\n\r\n\r\n\r\n

Lead AC<\/strong>: Dominic DeFrank<\/p>\r\n\r\n\r\n\r\n

ACs<\/strong><\/p>\r\n\r\n\r\n\r\n

Shelby Cipolla<\/p>\r\n\r\n\r\n\r\n

Patrick Bellante<\/p>\r\n\r\n\r\n\r\n

Andres Cuevas<\/p>\r\n\r\n\r\n\r\n

Rick Smith<\/p>\r\n\r\n\r\n\r\n

Ian Mosley<\/p>\r\n\r\n\r\n\r\n

Video Controller<\/strong>: Alan Pineda<\/p>\r\n\r\n\r\n\r\n

Lead Utility<\/strong>: Austin Rock<\/p>\r\n\r\n\r\n\r\n

Utility<\/strong>: Sean Cross\u00a0<\/p>\r\n\r\n\r\n\r\n

Video Utilities<\/strong><\/p>\r\n\r\n\r\n\r\n

Mike Vinyard<\/p>\r\n\r\n\r\n\r\n

Ryan Jordan<\/p>\r\n\r\n\r\n\r\n

Tim Farmer<\/p>\r\n\r\n\r\n\r\n

Nicholas Kent<\/p>\r\n\r\n\r\n\r\n

Matt Trujillo<\/p>\r\n\r\n\r\n\r\n

DITs<\/strong>: Stuart Hammond, Chase Parson<\/p>\r\n\r\n\r\n\r\n

Digital Loader<\/strong>: CJ Miller<\/p>\r\n\r\n\r\n\r\n

Lead POV GoPro Camera<\/strong>: James Martinez<\/p>\r\n\r\n\r\n\r\n

Assistants (POV GoPro Camera)<\/strong><\/p>\r\n\r\n\r\n\r\n

Jesse Martinez<\/p>\r\n\r\n\r\n\r\n

Jared Link<\/p>\r\n\r\n\r\n\r\n

Still Photographer:<\/strong>\u00a0Daniel McFadden<\/p>\r\n","protected":false},"excerpt":{"rendered":"

Check out the biggest, baddest (and safest) reality competition show to ever hit the small screen. by David Geffner \/\u00a0Photos by Daniel McFadden \/\u00a0Courtesy of Netflix   How best to describe\u00a0Hyperdrive\u00a0to a reality TV fan?\u00a0Imagining an unlikely (but spectacular) amalgam of three diverse cultural icons \u2013 NASCAR,\u00a0Blade Runner, and\u00a0American Ninja Warrior\u00a0\u00ad\u2013 is a good start. Ensuring that the inherent dangers (for both contestant and crew) of a show with vehicles traveling more than 90 mph are minimized and\/or nearly eliminated […]<\/p>\n","protected":false},"author":2,"featured_media":9137,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-9135","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nWheels of Steel - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/wheels-of-steel\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Wheels of Steel - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Check out the biggest, baddest (and safest) reality competition show to ever hit the small screen. by David Geffner \/\u00a0Photos by Daniel McFadden \/\u00a0Courtesy of Netflix   How best to describe\u00a0Hyperdrive\u00a0to a reality TV fan?\u00a0Imagining an unlikely (but spectacular) amalgam of three diverse cultural icons \u2013 NASCAR,\u00a0Blade Runner, and\u00a0American Ninja Warrior\u00a0\u00ad\u2013 is a good start. 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