TESTIMONIALS
in brief…
“I wanted to pass along that Angie (Angelina Jolie was super happy with all of the material we shot.”
“We chose the Shot Over F1 mount. It was really worth the extra investment.“
“The stability of the K1 is astounding. We could shoot at the long end of our lens, getting incredibly tight on our cast with rock solid images that require no post stabilisation.”
“Using this system, for me, took out the risk and unknowns of weather, stability and the “have we got the shot” factors. We got the shots we needed plus more.“
in detail…..
“We chose the Shot Over F1 mount. It was really worth the extra investment. It is so stable and gave us the flexibility to shoot in different directions to get more dynamic and cinematic shots. The images are really beautiful. Pete did an amazing job.”
“When working with Kriv Stenders on Kill Me Three Times we discussed several options for our aerial work. Kriv liked the simplicity of the aerials on The Shining and we looked at the opening nose mount shots following the VW through an incredible landscape. This became the initial template to show our characters moving around Cape Naturaliste, in south west WA.
When we finally settled on the Shotover K1 and saw what it was capable of our vision and shot list expanded. We lucked out with weather and had mostly good light. The shots and their stability were extraordinary. I have worked with Spacecam in the US and the Shotover KI is equal if not better. It is a beautifully designed and built piece of equipment. Greg Read assembled the airframe extension and did the mount installation. Our pilot was Matt Corbett from Helicopter Logistics who I have flown with before. and Aerial Cinematographer Peter Beeh operated the camera controls. Michael McDermott acted as director after being briefed by Kriv and myself. This team pulled off some of the most amazing aerials seen in an Australian film. Great work and many thanks to all concerned. If Stanley Kubrick were still around he would insist on the Shotover K1.”
Aerial Film Australia is operated by films makers, so they understand the business. They made the remarkable K1 Shotover available to capture the best possible pictures for the brief with the same camera and record system as Main Unit. Everybody happy.
I wanted to pass along that I heard from Angie (Angelina Jolie) that she was super happy with all of the material we shot. As I suspected she wants to use a lot more of it than originally planned, especially in the raft sequences. Thanks again to all of you for some really smashing good work.
This extraordinary aerial system allowed us to use the same camera format that we photographed our film with, the Sony F65 coupled with a Angenieux 24-290mm. This allowed maximum flexibility and creativity in the types of shots we wanted to achieve in the air. The stability of this system is nothing short of remarkable. Using this system, for me, took out the risk and unknowns of weather, stability and the “have we got the shot” factors. We got the shots we needed plus more. I love it. It’s a brilliant piece of tech and an excellent team. Thanks guys!
The K1 was the perfect rig for what we needed, being able to use our F65 production camera with a 24-290 zoom on it meant that we didn’t have to compromise by shooting our aerials on a different model camera or filter package to the rest of the film. The stability of the K1 is astounding. We could shoot at the long end of our lens, getting incredibly tight on our cast with rock solid images that require no post stabilisation. Operator, Peter Beeh took onboard our direction and delivered the shots flawlessly we achieved all the shots that director Jim and I wanted plus we got some bonus cinema gold, all very efficiently without any compromises. Happy to add anything else. Because it is true, we are really happy with our aerials, they have added some huge production value to the film.
Thanks so much for Saturday. The aerials are simply amazing! It will be a pleasure to have you on board whenever we do aerials.
“The campaign has gotten a lot of attention and found its way in cinemas as well so all in all we couldn’t be happier with the end result. Thanks again for everything and hopefully it won’t be long before we get to plan another shoot!”
“Amazing job on Saturday night. Everyone absolutely loved your work. Can’t believe you did it without comms. Really appreciate the hard work you put in. Please book us in again for the same for New Year’s fireworks which ABC will be doing. I’ll contact you soon regarding dates for that job.
in brief…
“I wanted to pass along that Angie (Angelina Jolie was super happy with all of the material we shot.”
“We chose the Shot Over F1 mount. It was really worth the extra investment.“
“The stability of the K1 is astounding. We could shoot at the long end of our lens, getting incredibly tight on our cast with rock solid images that require no post stabilisation.”
“Using this system, for me, took out the risk and unknowns of weather, stability and the “have we got the shot” factors. We got the shots we needed plus more.“
in detail…..
“We chose the Shot Over F1 mount. It was really worth the extra investment. It is so stable and gave us the flexibility to shoot in different directions to get more dynamic and cinematic shots. The images are really beautiful. Pete did an amazing job.”
“When working with Kriv Stenders on Kill Me Three Times we discussed several options for our aerial work. Kriv liked the simplicity of the aerials on The Shining and we looked at the opening nose mount shots following the VW through an incredible landscape. This became the initial template to show our characters moving around Cape Naturaliste, in south west WA.
When we finally settled on the Shotover K1 and saw what it was capable of our vision and shot list expanded. We lucked out with weather and had mostly good light. The shots and their stability were extraordinary. I have worked with Spacecam in the US and the Shotover KI is equal if not better. It is a beautifully designed and built piece of equipment. Greg Read assembled the airframe extension and did the mount installation. Our pilot was Matt Corbett from Helicopter Logistics who I have flown with before. and Aerial Cinematographer Peter Beeh operated the camera controls. Michael McDermott acted as director after being briefed by Kriv and myself. This team pulled off some of the most amazing aerials seen in an Australian film. Great work and many thanks to all concerned. If Stanley Kubrick were still around he would insist on the Shotover K1.”
Aerial Film Australia is operated by films makers, so they understand the business. They made the remarkable K1 Shotover available to capture the best possible pictures for the brief with the same camera and record system as Main Unit. Everybody happy.
I wanted to pass along that I heard from Angie (Angelina Jolie) that she was super happy with all of the material we shot. As I suspected she wants to use a lot more of it than originally planned, especially in the raft sequences. Thanks again to all of you for some really smashing good work.
This extraordinary aerial system allowed us to use the same camera format that we photographed our film with, the Sony F65 coupled with a Angenieux 24-290mm. This allowed maximum flexibility and creativity in the types of shots we wanted to achieve in the air. The stability of this system is nothing short of remarkable. Using this system, for me, took out the risk and unknowns of weather, stability and the “have we got the shot” factors. We got the shots we needed plus more. I love it. It’s a brilliant piece of tech and an excellent team. Thanks guys!
The K1 was the perfect rig for what we needed, being able to use our F65 production camera with a 24-290 zoom on it meant that we didn’t have to compromise by shooting our aerials on a different model camera or filter package to the rest of the film. The stability of the K1 is astounding. We could shoot at the long end of our lens, getting incredibly tight on our cast with rock solid images that require no post stabilisation. Operator, Peter Beeh took onboard our direction and delivered the shots flawlessly we achieved all the shots that director Jim and I wanted plus we got some bonus cinema gold, all very efficiently without any compromises. Happy to add anything else. Because it is true, we are really happy with our aerials, they have added some huge production value to the film.
Thanks so much for Saturday. The aerials are simply amazing! It will be a pleasure to have you on board whenever we do aerials.
“The campaign has gotten a lot of attention and found its way in cinemas as well so all in all we couldn’t be happier with the end result. Thanks again for everything and hopefully it won’t be long before we get to plan another shoot!”
“Amazing job on Saturday night. Everyone absolutely loved your work. Can’t believe you did it without comms. Really appreciate the hard work you put in. Please book us in again for the same for New Year’s fireworks which ABC will be doing. I’ll contact you soon regarding dates for that job.