We Are Electric VFX Split

2-11-2018

Since We Are Electric (Indoor) is coming up AND we got 3rd place in the "best aftermovies of 2018" on Festileaks.com, I wanted to do a little special, just like I did with DeWolff.

Every one that ever has done a project with me knows that I like to keep things simple and straight forward. No poehah, no unnecessary crew members, just people that I know what they can do and go for it. We Are Electric Weekender 2018 was no different: just me and Lars on camera, Jurriaan on media management and Tessa running social media. Lars is pretty damn good in catching ambient shots and I'm more of the artist shots guy. Perfect combo for the weekend!

We shot the aftermovie with 3 camera's. I used a Sony FS7 (my go to camera for productions like this) running on S-Log 2, most of the time on 180FPS. Lars shot on his A7SII on Cine4. Why did I choose to let him shoot on that setup? Because it's his rig and knows it through and through. Would it be a heck of a job to colorgrade those to camera's to look alike? Yes, it definitely was!

As a bonus we used the GoPro Fusion 360 camera to add some diversity into the shots. I wanted to work with a 360 cam for a long time now and when the organizer asked me to do something new and fresh with the aftermovie I just had to use it. The up side is that you can shoot and do all the framing in post-production. From wide shots, to "tiny world" shots to ... well basically everything. The down side is that processing these files takes ages. First you got to stitch the footage of the 2 camera's to 1 360 video file and then the editing starts. All in all it takes tons of time, but the result is so awesome if you ask me.

Anyhow, because there were 3 camera's used with 3 totally different color profiles, grading was a nightmare. I wont lie to you, I often cursed while grading, but in the end I think it all turned out great! And to be clear, all clips were graded seperately to get the best result and NOT by applying a LUT to them. I wonder how many people really saw that we used total different cameras. But here it is, the grading and VFX split of the We Are Electric Weekender aftermovie:

Dream jobs: photographing The Drone Racing League

24-10-2018

The Drone Racing League, the Formula One of drone racing. It's run by the company that published a video early 2016 which got me addicted to this "sport of the future". Two and a half years went by and now? Now I'm shooting photo- and video for that USA based company who got me crazy about droneracing in first place.

A drone racing buddy of mine that goes by the nickname of "ShaggyFPV" ended up in this league with his superb drone racing skills. After a few races I asked him if he could put in a good word for me as a photo/videographer. A month went by and I really didn't think anything was coming out of it. Until I suddenly got an email if I possibly had time to shoot the DRL race at BMW World in Munich. After some skype calls and e-mails, I was driving towards Munich on a Friday morning at the end of July. I was so so so super stoked to be part of this gigantic media circus.

I shot some drone races before, some local races, the MWC Shanghai Drone Race and also the DCL final in Berlin in 2017. So I knew the drill for the most part. As a pilot myself I understand racelines (so I know where the drones will be) and get which perspectives are going to end up looking good on a photo. It's a huge advantage and also during the event in Munich it made such a difference in how I could snap some shots. The thing is, in all previous races I could go and stand wherever I wanted, note: everywhere but at my own risk. Not at DRL though, there is a pretty secure system around safety and to be honost, I'm glad they take safety so seriously.

Each heat (whether it's practice or a real race) in DRL works with timeslots of 5 minutes of preperation. In these 5 minutes, the course is opened for a select group of people to forfill their job. Mine ofcourse is setting up a camera for the next heat and getting the angle I want to photograph. After those 5 minutes, the course must be cleared, no one is allowed, no matter how important you are. So how to take those shots? A remote trigger is the magic word. I have 5 minutes to frame a new shot, adjust my tripod (because of the long exposure shots) and see if I can remote trigger my camera from a safe location. 5 minutes seems long, but trust me, picking up your camera, seeking a new vantage point, testing your shot and be safe in time is shorter then you might think.

Besides the long exposure shots I also took shots of the tech-ops at work, aswell as the stars of the show: the DRL pilots. I'm super thankfull that my employer at DRL gave me total freedom during the event concerning where to be at what time, as long as I had the shots. Again, it helped me so much that I already knew some of the pilots and understanding them, so the connection was made easily which also resulted in some cool personal upfront shots that I otherwise would never have made. All in all, it were 3 days of shooting that I will never forget and in which I learned so much about this aspect of (live broadcasting) event photography.

DRL Munich was just the beginning. Not long after DRL Munich I was invited back by DRL to join them at the DRL season finale in Saudi Arabia. Due to NDA's I can't post anything of that trip yet, but I'll get back on that on my blog asap! 😎

Below you'll find some photos I took, you can also checkout the full DRL @ BMW Welt Munich collection.

Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League
Dream jobs: photographing The Drone Racing League

DeWolff - Double Crossing Man live video

11-09-2018

Allthough it's been quite on the blog for a while I've been really busy rounding up the festival season. Shot several artists during the Lowlands Festival, one of which is DeWolff. One of the best Dutch acts in my opinion and I was honered to shoot there new video for Double Crossing Man during their gig at Lowlands.

I joined these guys the first time at their album release of Roux-ga-roux at the famous Paradiso (Amsterdam) in februari 2016 and also their album release for Thrust, again in the magical Paradiso. I ran in to them during some other festivals and joined them last Bevrijdagsdag (Independence/Freedom day in the Netherlands) and always found them to be the nicest people EVER.

At first they asked me to shoot a short recap of their Lowlands adventure. Since the Lowlands festival is the biggest festival in the Netherlands I truly get it. The more surprised I was when a couple of weeks later I got the call from their manager if I liked the idea to shoot the new video clip for their single "Double Crossing Man". Ofcourse I couldn't say no and took the challenge. It's hard to go from a short recap to a full video, but with some static camera placement and running around like crazy I managed to gather enough footage to fill the entire length of the song.

As a bonus for the blog, I rendered out an 50/50 split video of the raw footage versus the edited clip, so you can see how much effort can go in grading and FX, and also what it can add to a video.

So here it is, the new Official video from Dewolff - Double Crossing Man

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