Torquay Shoot

Posted by Rosalind Steven on 11 July 2014

Last week Red Engine was off shooting the coastal town of Torquay in Devon! Blessed with a beautiful summer's day we started off early by filming a quaint hotel with a breathtaking ocean view.

In order to capture this scenery, camera operators, Peter and Antony arrived the day before to obtain Go Pro drone shots.

The DJI drone is less restrictive than a crane by allowing wide aerial images, smoothly gliding up into the sky. These grander ethereal shots are perfect for landscapes.

With the drone shots done we pursued the rest of the shoot using a canon 5D3.

Depending on what our director Keith wanted, the camera operators were able to create various mise-en-scènes thanks to their kit.

They alternated between a tripod, a GlideCam steadicam rig, a small crane and even an underwater housing camera case for underwater shots.

The latter device was used in a swimming pool and in the English Channel! Indeed our second location was in fact a sunseeker boat.

Braving the dark waters, our videographer Antony, slipped into his wet suit and splashed into the sea, camera in hand. Doing this allowed him to shoot an impressive wide low angle of the boat sailing by.

We finally had a lunch break that ended with a chance encounter with a very hungry seagull. It was time for us to resume our roles.

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Torquay Shoot

Posted by Rosalind Steven on 11 July 2014

Last week Red Engine was off shooting the coastal town of Torquay in Devon! Blessed with a beautiful summer's day we started off early by filming a quaint hotel with a breathtaking ocean view.

In order to capture this scenery, camera operators, Peter and Antony arrived the day before to obtain Go Pro drone shots.

The DJI drone is less restrictive than a crane by allowing wide aerial images, smoothly gliding up into the sky. These grander ethereal shots are perfect for landscapes.

With the drone shots done we pursued the rest of the shoot using a canon 5D3.

Depending on what our director Keith wanted, the camera operators were able to create various mise-en-scènes thanks to their kit.

They alternated between a tripod, a GlideCam steadicam rig, a small crane and even an underwater housing camera case for underwater shots.

The latter device was used in a swimming pool and in the English Channel! Indeed our second location was in fact a sunseeker boat.

Braving the dark waters, our videographer Antony, slipped into his wet suit and splashed into the sea, camera in hand. Doing this allowed him to shoot an impressive wide low angle of the boat sailing by.

We finally had a lunch break that ended with a chance encounter with a very hungry seagull. It was time for us to resume our roles.

Archive