Subaru Legacy Outback



I travelled to Brisbane, Australia recently to film this campaign for Subaru Japan. Ryo Inoue was the Director.





We shot a TV Commercial, and two content pieces that are screening on Discovery Channel Japan.

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I travelled with 1st AC Roger Feenstra and Grip Josh Dunn. This allowed me to bring my two Red Dragon cameras, Cooke and Angenieux lenses, and MoVI M15.

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It was really terrific working with Darren. As a gifted photographer, he was a pleasure to work with. I really enjoyed the opportunity of having a glimpse into his world.

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We filmed the tracking shots on the beach with the MoVI, along with some of the shots in the city.

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We had a Drone for one day at the beach, operated by Rotor Works. There was also an underwater day filmed by Toby De Jong.

It was a great job with an excellent crew. It was a real pleasure to be able to travel with my key crew, and work with the locals in Brisbane.

Great Behind the Scenes Photos from Skippy Donovan

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BMW



I was the Aerial DP for the new BMW 7 Series Launch Film.

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Ottar Gudnason was the DP, and Knut Burgdorf was the Director.

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Alfie Speight was my Pilot and I used the Shotover System. We filmed Air to Air, Air to Car, and also Air to Car with the plane timed to go through the shot.



I also worked on this BMW X1 Launch Film as an Additional DP.

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Peter Refle was the Director, and Ottar Gudnasson was the main DP.

I was responsible for some of the tripod sequences. Shot near Wellington, New Zealand.
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Denso



I was the DOP on this commercial for Denso. Masashi Muto was the Director.

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The commercial was showcasing both athletes in nature, and cars.

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We filmed in New Zealand, at Mount Cook and in Queenstown.

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There was a lot of tracking involved. To achieve this, I used a MoVI M15.

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I like to use the MoVI with a two man team. My Grip, Josh Dunn carries it using an Easyrig and Serene arm. We communicate with intercoms and I adjust the framing using the joystick.

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This setup also works well with a small tracking buggy, and in this commercial I used the MoVI on the mountain runner, the swimmers (from a tracking boat), the cyclists, and the jogging couple.

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The client requested a Go Pro to be mounted on the bike. I did not want to drop quality by using a Go Pro, so Grip Sam Strain rigged a Dragon for me. I really like the small size of these cameras. They are so versatile.

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It was a great shoot with lots of locations, and a lot of set-ups. We had some challenging weather which really added to the images. I worked with my Queenstown based crew and we had a lot of fun with the Japanese crew.



Here is a wonderful Behind the Scenes video filmed by Emi Arai.
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‘Love from Land Rover’



I was the Director / DP for this Land Rover Commercial.

The Commercial was part of a viral campaign:

Four university friends from New Zealand had listed their beaten and broken 1957 Series I Land Rover, christened ‘The Landy’, for sale on an auction site, following 15 years of ownership. The listing told the story of their many adventures and their sorrow at parting with their beloved Land Rover.
Fate intervened when the team at Land Rover New Zealand read the ad and hatched a covert operation with Will’s wife, Claire, to give ‘The Landy’ a painstaking ground-up mechanical restoration.
And now, for Valentine’s Day, the four friends have been reunited with their Series I thanks to Land Rover.

I worked closely with the agency Y&R, and Location Scout Phil Turner. We established the elements of the journey that the Land Rover would undertake. (We wanted to include an iconic river crossing, the journey through a forest, and the climbing of a mountain).

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We had a very small crew, which was an asset for us. It enabled me to work quickly and use several locations that are off the beaten track.

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I filmed all of the tracking shots with the MoVI M15.

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My second Dragon was in Production Mode and this let us move quickly between the various set-ups.

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It was a terrific shoot for such an iconic vehicle. I really enjoyed working with the crew, agency and client. It was a fitting tribute to mark the end of production of a motoring legend.



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Mitsubishi 'Triton'



Director Masaki Yamazaki asked me to DP this car commercial in Western Australia.

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The creative was very exciting.

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We started with the truck flying through the air. I shot this sequence on a Phantom Flex 4K.

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We then have a series of tracking shots in the desert. (No fancy tracking vehicles here... we made it work with a local buggy).

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I travelled with two of my Red Dragon cameras and my Cooke lenses. I also bought a MoVI M10 and my Grip Josh Dunn with me.

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We picked up additional local crew and equipment out of Adelaide and Brisbane.

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The filming was mostly on location at Parachilna. A terrific place to film... but so many flies!

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We finished off the advert with city tracking in Adelaide.

It was a great shoot with a good crew and it was fun to be filming in the outback again.
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Cam Scott 'Somethin bout a Girl'



My old friend Josh Wallace asked me to DP this music video for him. Josh and I used to work together over ten years ago, when we had a small production company and released a couple of Snowboarding films. Josh had a great concept, and the song was good. I was happy to come on board.

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We filmed for three days, in and around Queenstown.

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I used my Red Epic Dragon cameras, and I was assisted by my local crew. Cam Stoltz Camera Assist, Josh Dunn Grip, and John Hogan Gaffer.

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I filmed the first part of the clip as a bit of a road movie, prodominently with a handheld camera, and an organic feel.

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There was a flashback component. I didn't want to go the usual cheesy post treatment for this, so I achieved the effect in camera. I used a custom made lens, and shot right on sundown.

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The performance was one of my favourite setups. I always like creating an environment with light. We chose a small Church Hall as the location, and I had a great time lighting it to look like a small town pub concert.

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We didn't have the budget for a Dolly or a Jib... but, luckily I own a MoVI, and my Grip Josh Dunn was happy to haul it around the concert. I operated remotely from a 17" monitor.

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We continued using the MoVI on some of the Jetboat shots, and we also used a Quadcopter with a GoPro4 on it for the aerials of the boat.

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It was a very ambitious shoot, with lots of locations and components. But, it was a great opportunity to make something we could be proud of, and I really enjoyed working with Josh again.

Stills Photography by: Paul Green, Holly Wallace, Cam Stoltz



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Bridgestone 'Blizzak VRX'



Director Toshihisa Koike asked me to film these two commercials for him in New Zealand. The agency was Dentsu, the Production Company Dentsy Creative Cross, with AJ Films working as the New Zealand Line Production Company.

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The two commercials were both very different, and very technical. We had to shot the Tyres performing on very specific road conditions.

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To achieve this, we filmed at SHPG near Queenstown, New Zealand. They had the facilities that we needed to make various road conditions. Varying from pure ice, solid snow and slushy snow with road surface below. Art Director Ken Turner did a great job liaising between the various teams to deliver the surface that the client needed.

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We experienced some extreme weather on the first day. A storm came through and we experienced wind chill of minus 18 degrees celsius. We achieved a few shots before the weather forced us to wrap early. Thankfully, it cleared and we had good weather for the remaining two shoot days.

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I used two Red Epic Dragon cameras. I always prefer to work with two cameras when shooting car commercials. It saves a lot of time, and lets me move from one set up to the next with no delays.

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We had a mixture of rig shots, built by the great grip team of Sam Strain, Josh Dunn and Chris Thomson.

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We also shot a variety of tracking shots, where I used the MoVI M10 on a small tracking buggy.

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The second spot involved a few stock shots from Japan and also several VFX shots, where the background was composited in to match with the foreground elements that I shot in New Zealand.

With 15 second spots, so much of what you shoot on the day does not make the final broadcast edit. There is also an online web version.

It was a great shoot, and the client is very happy.






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Smile 'Pyaw Aung Nay'


I travelled to Myanmar, (formerly known as Burma) back in 2013 to shoot and direct this music video for the pop star 'Smile'.


I bought one of my Red Epic cameras and a set of lenses. I picked up local crew and basic lighting and grip equipment.

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I took advantage of a local nightclub for the dance scenes. We had a great group of enthusiastic extras. Communication was challenging, but I managed to control the club's lighting fixtures. I also supplemented the disco lights with beauty lighting on Smile and her onscreen partner.

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The bulk of the performance was at the beautiful park location, that I shot past dusk... until we were ordered out by the security guards.

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For the second performance scene I had the lighting team make up festoons of lightbulbs in a semi covered location. We only had the location during the day, so I blacked out two sides, used the ambient daylight for fill and keyed with HMI's.

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It was a challenging shoot. We had limited access to locations, and no art department. The local crew that I had were a great bunch. We had very limited resources, but everyone was there to help and solutions were always found.
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Mini Cooper 'Goodbye Pork Pie' Scene Remake



I was lucky enough to be asked to DP the Mini Cooper 2014 'Goodbye Pork Pie' scene remake.

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The original film 'Goodbye Pork Pie' is an iconic New Zealand film from the 1980's, directed by Geoff Murphy. It's a very popular movie, still to this day. I remember watching it when I was younger, and the film made quite an impact on me.

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Director Matt Murphy (son of Geoff Murphy) asked me to shoot the project for Mini New Zealand, and Production Company Goodoil Films.

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We filmed at Lake Hawea, near Wanaka. We had to keep the shooting day within 10 hours, including travel time and meal breaks. This left us with 6 hours and 15 minutes to shoot the job.

Fortunately, Matt was very organised, and he knew exactly what shots were needed to tell the story. We wrapped onetime, and I even managed to sneak in a couple of extra setups.

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I decided to shoot on Red Epic cameras. I used two, and kept one in production mode for the tripod shots and the handheld in the back of the Mini.

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The second Epic started the day in the MoVI M10 on the back of the tracking ute, after we go these shots it became the rig camera.

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Aerials were provided by Peter Thompson with his Cineflex.

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With such a short shooting day, and so many stunts the pace was non stop. Fortunately all of my crew were very focussed. With a good plan, and good management, we moved from one setup to the next smoothly. It was a great day, and a really fun variation on the traditional car commercial.

Photo Credit: Simon Darby




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Mitsubishi Outlander PHEV (三菱アウトランダーPHEV)



Japanese Director Koshi Horibe had seen some of my previous car work and he asked me to DP this commercial for Mitsubishi Outlander PHEV.

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The commercial was for the Japanese market, and we actually scouted two completely different locations. After some input from the client, the decision was made to shoot in Queenstown.

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I decided to shoot on Red Epic cameras, mainly because I wanted to take advantage of the small size so that I could use the MoVI M10 Handheld Gimbal Stabiliser on the tracking vehicle. I really liked the organic look of the MoVI, as compared to a crane and remote head. It also meant that I could devote the Libra mount to the Helicopter full time. Pete Bradshaw bought a lot of experience as Tracking Vehicle Driver, and I could count on him to line up the best moments freeing me up to work in with my MoVI Grip Josh Dunn.

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I shot all of the aerials with a Libra stabilised head, Red Epic and a wide zoom. Alfie Speight was my pilot and we achieved some really dynamic images.

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I had a third Epic with a long lens dedicated to my B Camera Team. Operated by Takashi Chiba.

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Kanta Yamaguchi from Greentea Film & TV was the Line Producer, and we wrapped the shoot on time and on budget.



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