Ad Campaign: Mitsubishi Eclipse Cross
A few months ago I shot a bunch of images for Mitsubishi for their new car in Australia, the Mitsubishi Eclipse Cross.
When we did this shoot this was the only Mitsubishi Eclipse Cross in Australia. It has a busy schedule and the only days I had to shoot it just happened to coincide with the Melbourne Cup race in Victoria, which is something of a holy week there. We couldn't find a location scout who was available (i.e. wanted to take time out of the Melbourne Cup festivities to find locations) so I had to go down to Victoria a week early and find my own locations. Because I really didn't know the Victorian countryside I started every morning looking at Google satellite maps for terrain and roads that might have something interesting to shoot on- especially private properties that looked like they had roads on them that we could get permission to use. I would then spend the next 12 hours driving every day combing over every road in that area and then try and contact homeowners that might have a nice road. After driving around 1000kms of small backroads, at the 11th hour I finally found a family that let us shoot on their land. We couldn't have asked for more amazing weather.
To do the aerial shots I worked with Flying Dragon, a drone company that specialises in high-end cinematography. I had experimented with several readily available drones like the Phantoms and the still image quality just didn't stack up for the size we were going to have to use for the stills. We had to use a camera that was over 30 megapixels to satisfy their print needs and the only drones that can hoist up a camera large enough to do that are the heavy duty 8 blade drones that require professional pilots and cost a fortune. The operator was in charge of the flight controls and navigation on one monitor and I controlled the camera gimbal and captures on the other. I have to say, despite the challenges of short flight times due to battery power, I definitely preferred using a big drone to hanging out of the side of a helicopter.
Client: Mitsubishi Eclipse Cross
Agency: Richards Rose Executive
Executive CD: Adam Rose
CD: Liam Hillier
Ad Campaign: Mistubishi ASX and Outlander
I recently had opportunity to shoot images of the new Mitsubishi ASX and Outlander in a car campaign for the Sydney agency Richards Rose. I spent a week in Melbourne working on the shoot, shooting alongside a large TVC crew and taking the cars off whenever I had a chance to shoot whatever I could grab. It was a lot of fun and the weather was surprisingly wonderful for Melbourne in the winter.
Client: Mitsubishi
Agency: Richards Rose
Producer: Katie Morton
CD: Christopher Johnson
Sr AD:George Bassiakos
Mazda BT-50 Shoot: Zoom Zoom Magazine
Last month I was asked by the UK's Redwood Media Group to shoot a story featuring Mazda's new BT-50 model for its award-winning online presence, Zoom Zoom Magazine. They wanted to tell a story about a day in the life of a BT-50 owner with a natural, reportage feel- showcasing its versatility by following the owner through rough terrain, a surf trip, a trip to the zoo "glamping" (glamorous camping) with his nieces and capped with a night out on the town.We had a looonngggg shot list for the 2 day shoot and I was working alongside Jefferson Grainger, from Corporate Video Australia, who was shooting the motion segment of the piece for the web.
Last month I was asked by the UK's Redwood Media Group to shoot a story featuring Mazda's new BT-50 model for its award-winning online presence, Zoom Zoom Magazine. They wanted to tell a story about a day in the life of a BT-50 owner with a natural, reportage feel- showcasing its versatility by following the owner through rough terrain, a surf trip, a trip to the zoo "glamping" (glamorous camping) with his nieces and capped with a night out on the town.We had a looonngggg shot list for the 2 day shoot and I was working alongside Jefferson Grainger, from Corporate Video Australia, who was shooting the motion segment of the piece for the web. Working alongside a motion crew on the same production can be pretty challenging for a still shooter because it can significantly cut into the time there is to shoot- especially if the motion crew is shooting sound or if they don't want to give time to the still shooter (which happens a lot). Thankfully that wasn't the case in this shoot as Jefferson and I both realized that we were going to have to really work together to make sure that each of us got what we needed and it was actually a lot of fun bouncing ideas off one another as to how to get as many good shots as we could in the time that we had. The client was really happy with the results and I just finished shooting a second feature in Sydney for Zoom Zoom Magazine last week. I've included the tears and just a few of the images from the shoot here.
