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New Kestrel website

Earlier this summer we got the fantastic opportunity to work with Kestrel Aircraft and LEAP on the creation of some film assets for the launch of a new website and 2012 EAA Airventure Airshow.

Our component was the interview with Alan Klapmeier as well as associated “B” roll up at their new facility at the Brunswick Executive Airport in Brunswick Maine.  As I mentioned in a prior post, Alan Klapmeirer was one of the founders of the Cirrus Aircraft, and a tremendous innovator in the aviation industry.

To see how we shot Alan’s interview, click here:

Alan Klapmeier, CEO Kestrel Aircraft

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We just delivered the assets for our shoot up at Kestrel Aircraft in Brunswick, ME and I thought this a good chance to talk about how we shot the interview.

Kestrel CEO Alan Klapmeier

First off, I should say that this was a really cool job for me personally as the principle protagonist of this film is Kestrel CEO  Alan Klapmeier.  For those of you aircraft nuts out there, you will recognize that name immediately as the founder of the Cirrus Aircraft Corporation.   Alan was an amazing guy and a pleasure to meet.

But I digress…

Giant hangar doors provide easy load-in

Anytime I begin to light a scene, there is always a bit of head scratching.  I think for some people, the solution to problems come very easy.  For me, there is a bit of noodling about before I get everything just perfect.

As with everything, the best place to start is at the beginning, and the best beginning is to choose a location.  Things to think about here are control, sound, light, power, acoustics, access, etc… You can pick the most beautiful location in the world, but if there is a construction crew on the other side of a wall driving piles, you ain’t gonna hear a word.

 

Chris sits in for testing

 

With Kestrel, even before I got on site and took a tour of the location, I had a feeling that the best place to shoot the interview was going to be right in the hangar with the aircraft in the background.  The big concern with shooting in such a huge space like the Kestrel hangar was would we in fact be able to stop all the other work that was going on in the background?

After a quick meeting with the Kestrel team and a subsequent tour of the facility, it was made clear that we could have carte blanche and shoot anywhere we wished.  Perfect!  The hangar it was.

Door acts like a big soft box

We definitely didn’t bring enough light to fill a space this big, so we closed all the doors save one just enough to use as a background fill.  This worked perfectly and would make any Dutch painter proud!  We angled the plane to take advantage of its lines and catch the light streaming in from the side.  All that was left was to light the interview.

For this, we ended up using two Kino Flo Diva’s and one LED Light Panel.  The Divas we used for a key, and then winked in just enough Light Panel to fill in the dark side.  Below you can see a photo with and without the notes so you can get a better idea.

 

For the audio, we used two lavaliers(one wireless and one wired,) a boom mic (for safety and redundancy.)   We shot with three cameras, the Sony F3 Super 35 as “A” cam, the Sony FS100 for “B,” and the Nikon D4 for a “C” camera.   Both the “A” and “B” were fairly far away from the subject with a Nikon 180mm and 105mm prime.

In the end, it was a great shoot with a great bunch of folks.  Thanks to everyone who worked so hard to pull the day together, especially to Aaron for the opportunity to work on this film!  FYI… if you are a Kestrel fan, make sure to stop by their booth out at Oshkosh this summer.  This new aircraft is really going to be a game changer!

Chris jumps for joy in front of the original Kestrel prototype

 

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