SHOOT STORY | JETMAN
IMAGES Despite being known as drama lenses, Phil used Leitz Summicron’s for people shots. The larger Fujinon zooms were incredibly sharp for flight. when the flying had stopped, and any rain was also a problem because of visibility. There were a lot of days when we were standing at the top of a mountain and it was absolutely beautiful, but down below we had fog and rain. “It was always going to be safety first and whether the pilots were comfortable flying, even if we had the most incredible light and scenery.” The helicopter would fly in very tight formation with the jet wings, sometimes just 20 feet away from them – the optimum distance for tight shots of the formation. The coverage from the jetmen was from GoPros although they did try and use a Red as a head cam. “There was a chance of flying a Red on Vince’s helmet, we did mount the camera on the helmet but felt that we didn’t have the kit to make it work – it wasn’t on the original plan. We couldn’t power it, for instance, because you couldn’t run the
between physical size and a T stop of T2, so they’re fairly fast. “The Fujinon Premier lenses are incredible for what they are,” Phil adds, “and are the perfect action sports lens – they are so sharp, with a really great range.” THE BRIEF This was basically split into two: there was obviously the documentary side of things – everything that goes into making the flying a reality – but the team was also tasked with making the online video that you can see on the website, jetman.com. This short ‘teaser’ online video is important for getting the word out there: “Those shots were always going to come out of the documentary; it’s basically a sizzle action cut. “But the biggest thing was waiting for the right weather. You couldn’t shoot with a cloud base below you because you would need to see where the parachutes landed
battery from the suit and there wasn’t an easy way of releasing the camera in case of emergencies or some type of entanglement. “The main action cameras that are on the helmets and suits are GoPros, and it’s incredible how far these cameras have come and what you can capture on them. We also shot some of the aerials on the DJI Inspire drone shooting Raw, and I don’t think people can spot that footage intercut with the helicopter footage in scenes where the camera isn’t struggling with trees, for instance. With a two- or three-second shot you can really sell it. “I have always been against using small drones such as these and would want to fly a Red or something like that,” admits Phil, “but this has changed my mind, because if it wasn’t for those tools we wouldn’t have got the shots. We’re getting shots from the camera inside the helicopter when it’s in formation with the jet wings and from the Shotover at 300mm, and these are shots we didn’t have in the other videos, which were more about the flying – we never really saw the people behind it.” Further shooting is currently underway – it won’t be obtained in one go but in multiple blocks. The completed documentary should be ready to view and will be out later this year. LOFT: THE JETMAN STORY WILL BE AVAILABLE TO WATCH LATER THIS YEAR
It was always going to be safety first – even if we had the most incredible light and scenery
22 DEF I N I T ION | JANUARY 20 1 9
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