JAMIE RAE CASE STUDY
make sure the cameramen on the floor were ticking off what needed to be filmed. I then helped Nick with the edit, which had to be finished before day two started. I think we only got about three hours sleep that night. “On day two, filming stopped at 12pm, because we needed to edit the footage for the highlights to be played at the after- party. It was full on, but the feeling of being able to create something in a live environment with a teamwhere we had to deliver something while on the premises was so exciting,” he enthuses. All limits are self-imposed The videos created for the soft drink brand’s conference, including the highlights, were shot on a Panasonic GH5 with a combination of the Panasonic Lumix G Vario 12-60mm, Canon EF 24- 105mm and Canon EF 70-200mm lenses. Rae says that the event was shot in 1080p and he used 4K for the talking- head pieces, shot prior to the conference. Though he did err on the side of caution with interviewees that were not as
forthright with their answers: “We can’t afford to be shooting hours and hours of content in that quality. The client gives BCD a budget and BCD works out an allowance for lighting, staging, catering, staffing etc. Video content isn’t an exception to this – we have to work with what we’re given, while also meeting the client’s expectations.” But limitations often breed ingenuity and Rae tells us about one instance where he videoed a person over Skype. “I was in
Milton Keynes and he was in Buenos Aires. I mean, no one’s going to pay for me to fly halfway across the world to film a guy for 30 seconds. So, I recorded the interview on Skype and green screened it to look like we were connecting live in the picture. If you can find a creative wrapper, you don’t need to exhaust your budget or manpower.” This philosophy also applies to recces before going on location to shoot. Rae explains: “You can get a good idea of what the location looks like and what kit you need to bring by looking at photographs or by doing video calls with the events team who are already at the site. “I’m doing a shoot at a place called Home Grown soon, it’s a private members club in London – although I don’t really know what that means,” he laughs.
“We have to work with what we’re given, while also meeting the client’s expectations”
ABOVE Jamie Rae and Nick Hamilton at work filming a talking-head piece, which they shot in 4K instead of the usual resolution of 1080p
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AUTUMN 2019 PRO MOVIEMAKER
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