Jump in the sea, do your thing, yeah?
Have to wax cause the board has no wax.
Okay. That's a nice thing to shoot.
Yeah. Nice process. Where would you do that? On the front?
Yeah. Closer to the car you know, as soon as I take the board out.
I put the wax.
And you put a wet suit on?
Of course. (laughs) Just the wide shot of Dan taking his boards off the truck. (camera clicks) I've given Dan really minimal direction here. He's totally in his element. I want him to do his thing, concentrate on what he does best, working with his boards, setting himself up, ready to ride these waves. If I see anything that I like the look of, I might step in and stop him and ask him to repeat it, just so I know I've got it on my card. But otherwise, this is his time. (camera clicks) So I'm just shooting everything associated with the activity Dan's about to do which is getting in the water and riding these waves. So that's waxing the board, attaching his fins to...
the board and shooting it from a variety of angles through the land Rover, against the land Rover, wides, with of both them in the frame, capturing the cliffs, also really close in crop details. So when I bring all of those together in the edit, it tells a full, rounded, rich story. (mumbles)
Yeah. (ocean waves) (camera clicks) Yeah, you do your thing. These are our last few moments before he gets in, and I'll lose contact with him. So I just wanna get some shots of him walking up and down the beach, connect the beach to the ocean, him to the ocean. I'm really excited to shoot this next bit. (ocean waves) (camera clicks) So it's now time for the big guns, bringing back in range, 7200, 2. as the light drops. This will be able to keep up. This is magic moment, this part. I'm really excited, it's like the end of three days. This is the culmination, you know? And I think he's the happiest at this point. He's happy, I'm happy, all winning. For the final image, I actually want something really elegant. I'm hoping he'll stand on the front of his board, arms outstretched. I've shown him a shot that I'd like him to mimic. It shows me it's easy to do the move. I don't know about shooting it, we're about to find out. This isn't necessarily the end image I had in mind. I actually have an image of him packing up his boards on the top of a cliff as the sun sets behind him or something like that. And I may use that to round off the sequence. So this may be maybe be like a a culmination image, everything's coming together. This is him enjoying his moment. (mellow music) That's good. It's a waiting game, bit like fishing, love the silhouette against the sun as its setting. So this is it, the end of the shoot. The sun's sitting behind me, Dan is out there doing his thing. I'm super happy with how everything's gone. The majority of the process went smoothly. We did a ton of preparation over the summer me talking to Alex back and forth, but also preparing mood boards that I shared with Coolant Vintage, and also with Dan out there. So everyone was on the same page from the outset. I looked into the history of Coolant Vintage, I looked into the history of Land Rover. I looked into the history of surfing, I referenced old vintage surf posters and Land Rover posters, which produced my colorway, my palette, which influenced my edit, basically prepared everything before I came out here. My takeaway for you guys, if you're gonna shoot anything, is make pictures, don't take them. It's, you'll come away with a better product if you put thought into the prep and produce what's in here. So if you come up with a concept, you have an image in your head, make that picture. Don't just ball up there and take it hit and home. Prepare, create a mood board, have a look on the internet for inspiring images. Anything that like sparks your interest, put it all together, share it with whoever you're working with, bring it on the shoot day so everyone's on the same page. You will end up making the pictures you want not just taking whatever's happening.