I was lucky enough to work with Director Ryuhei Yokoyama again for Mitsubishi Motors.
We filmed in Australia, and I travelled there with my camera equipment, along with my MoVI Grip and Drone Pilot Josh Dunn.
We bought along our DJI Inspire 1 with X5R RAW Camera. Our company Overview has a CASA Part 101 Operators Certificate for flying in Australia. It's a terrific drone, and because it is so quick to deploy, we were able to film additional material very efficiently.
The line production was expertly handled by Kanta Yamaguchi from Green Tea Film and Television, and my local Brisbane based crew were excellent.
Snakes, crocodiles, spiders, leaches and ticks are an added bonus when working in Australia!
I was honoured to be asked to film this global commercial for Mitsubishi Motors for the terrific new Outlander PHEV 2016. I had previously shot the Japanese release commercial for the 2014 model.
Masaki Yamazaki was the Director, and I really enjoyed working with him again.
We filmed in Melbourne, Australia, and it was a two day shoot. I was already in Sydney with my Grip, Josh Dunn, so we flew to Melbourne with the camera equipment and worked in with the local crew.
For the close ups of the talent I used a low loader and the MoVI M15. This gave me control over the lighting, and I was able to achieve a controlled camera position easily.
The tracking shots were filmed from an open tracking vehicle and I used a Flight Head 5. It was a really great option on the streets of Melbourne as we had a rolling traffic block, with trams and cars doing hook turns to dodge.
Melbourne was a great place to work. I really enjoyed the city and the local crew were excellent. Hopefully I get to film there again one day! (Thanks very much to 2nd AC Michelle Marchant for the photos).
I was the DOP on this commercial for Denso. Masashi Muto was the Director.
The commercial was showcasing both athletes in nature, and cars.
We filmed in New Zealand, at Mount Cook and in Queenstown.
There was a lot of tracking involved. To achieve this, I used a MoVI M15.
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.
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.
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.
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.
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).
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.
I filmed all of the tracking shots with the MoVI M15.
My second Dragon was in Production Mode and this let us move quickly between the various set-ups.
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.