Produced for The Official Vodafone Big Top 40, this is one of four videos that I post-produced with Visualise for launch on the Top 40 YouTube and Facebook. Working with footage from the Google Jump / Yi Halo, in stereoscopic 360.
The other videos can be seen here:
Sigrid – Strangers (Live)
HRVY – TBC
HRVY – TBC
After years of building my 360˚ video and virtual reality skills, putting together a dynamic showreel has pulled all the best projects together. As ever, pushing the boundaries of what I know, creating a fast-paced showreel is certainly an energetic way cut between the range of my work. I’d advise multiple watches on all platforms.
Nicole Yershon, innovation champion and influencer have written her first book, documenting her journey and inspiring others to keep pushing towards their goals. As part of this, she has released pre-orders on a crowdfunding publishing site publishizer. Therefore a punchy, stand-out video is required to fully push the book out from the crowd – just like the book requires.
Music can be fully immersive, so it makes sense to add further experience with the best immersive visuals to truly complement the audio.
I worked with band Naropa to bring their debut single come to life through 360˚ video. I took a mix of live action, green screen and digitally crafted scenes to put together the crazy dream-like narrative the band were after.
Taking on the ambitious project, I looked to merge all my combined knowledge in 360 virtual reality video to really test my skill and produce something bigger and better than I have ever tried to.
Working with the band creatively was a great opportunity to delve deeper into the meanings of the song and have a great time creating weird and wonderful visuals.
Travelling to Abu Dhabi for 2 weeks along with Visualise to produce these 360˚ videos for CNN & Visit Abu Dhabi, I was able to quickly solidify my virtual reality production skills in a range of challenging conditions. During the 2 weeks, we captured a variety of shots across the area, rigging to roller coasters, cars and boats. The challenging environment was certainly interesting, especially when trying to keep the cameras cool and out of the direct sunlight. However, the variety of shots we secured was worth it, all coming together for a great innovative look at a typical travel video.
One moody autumnal morning at the end of October I decided to pop down to Greenwich Park to capture the amazing colours and feel of the park. Whilst there, I met artist John Syndey Matthews who kindly allowed me to film him painting for a short while. As a result, the landscape shots now have a purpose and a story can be pulled together in the edit.
In addition to the narrative, the post production involved painting the nadir and removing myself from the background, before colour grading and publishing. I decided not to add graphics in order to keep it pure and simple, allowing the views and colours to do the talking.
Ever considered doing a bungee jump? Well, now you can take a look at the view from the top, watching a brave customer take a plunge out of the cage, 160 ft in the air. Learning quickly from mistakes of others, the fast falling moment is probably the worst thing you can do in VR. Working the UK Bungee Club, we created the world’s first comfortable bungee view in 360 degrees. Don’t worry about motion sickness, the cage stays as a constant, you might feel like you are floating but you’ll never fall away from the cage in this view.
Created as one of my final portfolio projects on my degree, The Last Hope offers a monologue from an unknown stranger explorer. Crashed on a new planet, alone and without hope of rescue, the self-written script draws the audience into the scenes they are viewing. With a mixture of stock and self-shot footage, the post production of this piece plays a vital role in its narrative appeal.
An experimental 360˚ music video, commissioned by a fellow student at the time. This video plays with some of the basic maskings and blocking fundamentals used in 360˚ storytelling. By using a selection of takes in each of the four zones, I have built up a mirrored and replicated environment that plays host to a variety of dance narratives to accompany the music track.