![]() Fortunately, the crew does take some time to experience an unexpected school of Orcas with their own eyes instead of behind the lens.įinally, to capture the last shots needed for the shoot, a hike up a hill, in the blistering cold, with snow up to their knees is needed. There is no time to not be shooting - so production was non-stop. Swapping cameras, swapping batteries, swapping media cards. “It’s curse and a blessing, it looks great, but we have no time to capture greatness.” The other issue is the fact that with such beauty all around you - you had to be shooting all the time. Unlike influencer work, in this case he’s on the clock to create - not to be the personality.īack on to production, the struggle of shooting in the Arctic Circle in November is that the sun is VERY limited. “I like it, almost more, and a lot of people might not expect that answer,” Peter says about this kind of work. He’s not here as Peter the YouTuber, he’s Peter the Filmmaker. If there was any question about the work that goes into production, this answers it! What’s interesting about this experience is that unlike traditional ‘influencer’ roles, Peter is here as more of a freelancer. Considering this is literally in the middle of nowhere, generators have to be lugged into power the equipment they need to shoot. The third shoot location involves a cave system with creative lighting. The ‘chase’ shot looks especially epic in this behind the scenes shot. This is no small task, but Peter McKinnon’s team is up for the challenge. Not only does it require multiple flybys for distance shots, but actual shots need to be taken on the plane itself. This time employing a seaplane for shots in the air and water. Even the nighttime shots involve a ton of planning and effort - with their own set of issues, including a smoke alarm triggered by a fog machine.Īs night becomes day, we move on to the next shoot. While Peter makes the end video look polished and easy, the actual work that goes into it is extreme. We cut to some of the shots being captured through the day via drones, boat cameras, and handheld as well. ![]() Fortunately, a lucky landing prevents the card from being lost forever. First with a few flying errors, then Peter manages to drop the SD card, almost ending up in the water below. The first shot involves Ooyy on a small boat, using a drone to capture the scene - but things don’t go exactly to plan. For Peter to shoot a mini-doc about Ooyy as he creates a song inspired by the experience! For Ooyy to create a new song inspired by the experience. To catch you up, we brought Peter McKinnon to Norway to meet up with Henrik Olsson aka Ooyy. Not only do you see how that video came together, but you get to see how the creative process works. This raw look at how Peter McKinnon and Ooyy shot their video together will give you insight into film production. ![]() You might do this, for example, to switch between an overhead map view and a first-person view.If you’ve seen our Chasing Sounds in Norway video, you’ve got to see our behind the scenes of the shoot. By disabling one camera and enabling another from a script, you can “cut” from one camera to another to give different views of a scene. Switching camerasīy default, a camera renders its view to cover the whole screen and so only one camera view can be seen at a time (the visible camera is the one that has the highest value for its depth property). However, you can have as many cameras in a scene as you like and their views can be combined in different ways, as described below. When created, a Unity scene contains just a single camera and this is all you need for most situations. ![]()
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