The Natural History Museum is now closed.
RedBull, the museum is yours.
So this is basically the first time and the only time
we'll ever get to do this. To be able to skate inside the museum.
So it's super special.
We've got four nights for the main shoot and we have quite
a lot of set ups.
It's crazy, like.
They are still building ramps and I think there are like
100 people out there.
We had multiple cameras running.
We have RBTV and then lots of social side of things.
We have three photographers.
I don't know how many film crews with how many film cameras.
It's crazy.
We had the C500, two C300’s,
an XF605, C70 as well.
We really wanted to create a mixture of the polished cinematography,
but also lots of the much more kind of street style of shooting.
You know, we wanted to keep fisheyes
and zoom lenses to simulate that sort of camcorder look and feel.
But then we just wanted to raise the bar a little bit and bring in the C500
full frame with the Sumire primes just to make everyone look great.
It’s been really fun playing around with those two styles
and bringing two worlds together.
One of the features in the kit
I really enjoy is the servo grip.
Just being able to have a cinema lens which is able to zoom in and out
very quickly.
It's just absolutely amazing to use.
It’s fast, the autofocus is good as well, and it just really brought me back to,
you know, the early days of filming skateboarding.
Camcorders have always just been incredibly useful, you know,
with zoom range and adaptable to fisheyes very easily.
We just wanted to keep that look and feel consistent.
And one of the skaters, Margie, who was actually injured, we gave the
XF605 to her.
Dang!
Nick gave her a little lesson in how to use in a technical sense,
but she got right into it and actually got some really great angles.
I think we might be out of a job.
I’m hired? Alright.
Lets go!
We also had the Powershot V10 which are just small action cams.
It’s great to have something so lightweight that's got a really crisp image.
We got it!
So we're in the mineral room, and this is probably
the most fragile place in the museum.
I've never used a PTZ before, and this was the first time I had heard of them.
So it was really cool to think of how we could creatively use them.
Working with the Canon ecosystem all together has been really good.
You know, they all have the same color profiles.
And it's just been amazing to be able
to not worry about having to match in post.
And something I really like is you can rig them out in the exact same way.
And you've got loads of assignable buttons.
So the picture quality of canon cameras is something I've always been a fan of.
With a Canon camera, like the colors are always perfect.
And they produce skin tones fantastically well.
It just does the job when the job
has to be done in that small amount of time.
I’m getting fine tuned now with shutter speed, aperture and stuff like this.
Right now I use the Canon EOS R5 with the 28-70mm RF.
The Canon EOS R5 is perfect because it's really good in low light as well.
So we've been brought in by RedBull
and Canon to create a bullet time moment.
It's like pulling these ideas
from classic skate photography and classic snowboard,
or sort of extreme sports, photography and applying them in a new context really.
We use Canons for everything.
You need reliability and you need quality.
They are the two things you really want out of the camera.
There's a lot of moving parts with the bullet time rig.
It's an awful lot of camera and an awful lot of cabling, so a lot of things can go wrong.
Fortunately, the cameras are one of those things that don't.
It's just been a really fun shoot really, because we've been able to focus
on the creative and we've had such a range of kit
that’s allowed us to achieve our vision basically.
It's really a dream come true,
being able to film in here, just full stop, but then to be able
to work with Canon and just capture this incredible,
like, session essentially.