How do you spud a euphony video on a legendary Coney Island roll coaster ? If you ’ve get the budget , you could rent the drive for $ 6000 per day — double director Jeremy Johnstone ’s budget for the entire video shoot .
Here ’s how he shoot Wye Oak ’s video for “ Holy Holy ” in two days in July during arecord - give way heatwavewith no permits and no permission — without killing anyone .
Currently nominated for an Emmy for his piece of work on the titles for the defunct AMC show Rubicon , Johnstone , 29 , has always been a scrappy director , even though he mostly work on commercials for bragging companies like Toyota . He started shooting digital at the starting time of his career , when the industriousness was just get going to switch . “ I realise I could fake grownup budget on a little budget , ” he severalize me . “ My commercial employment is humiliated budget . I just make it wait like $ 300,000 . ”
Shoot Logistics
Johnstone ’s treatment for the video call for shooting not only on the famously jolty - and - tumble , Coney Island Cyclone rollercoaster , but also onthe Tickler - a modern steel curler coaster with tight turning and sharp drops - andthe Brooklyn Flyer - a huge merry-go-round of swings that spins riders over 100 feet in the air .
The first challenge : Not getting caught . Johnstone ’s program sound ludicrously wide-eyed to the point of being impossible . Oh sure , they ’d just sneak bags full of gear past times park stave onto the drive , wait until they were out of sight , place everything up before the ride got too crazy and fritter the video anyway . On several trip to the entertainment parkland , Johnstone and his producer meticulously timed the setup time and figured out that they had 20 seconds on the Flyer , 30 endorsement on the Tickler and 40 seconds on the Cyclone . In other Son they ’d have to set everything up in less than the metre it pick out for a smartphone to business leader on .
Even after meticulous provision , the drive themselves were a destitute - for - all . Each call in for unlike pellet , for which they ’d be struggle against the disabling physics of Coney Island ’s most violent drive . For example on the Flyer , Johnstone hold the camera as tightly as potential while his director of photography watched a monitor and hollo instructions over the noise and topsy-turvyness of the ride . They then hid everything aside , get back in line only to survive the strenuous , discombobulating experience again . Johnstone ’s organic structure suffered more than sickness : While shooting distributor point - of - view footage on the Cyclone , Johnstone break open his knuckle joint . And for a shot on the relatively gentle teacups Johnstone pressed a monopod tightly into his crotch to steady the shot . “ I hurt my nuts pretty big , ” he says .
The Gear You Have , Not the Gear You Want
Johnstone sleep together that despite his readying they ’d still be tossed around , and that the tender footage would ruminate the frantic scurry and pandemonium of the shoot . Johnstone ’s challenge would be to make the TV ambling and ethereal , like the song . To attain this burden , Johnstone had Wye Oak ’s lead Isaac M. Singer Jan Wasner lip - synchronise the strain in double time whenever possible while he shot the footage on aCanon 7D , which can shoot 60 framing per moment . At that speed , the footage could then be slow down without affecting video quality .
https://gizmodo.com/canon-7d-dslr-first-hands-on-18-megapixels-24fps-full-5349829
Many times , though , it was tough enough just to hang on — Wasner could n’t back talk - sync on many barb because ride were just too jolty . On the first day of the shoot , Johnstone had to give up his program to shoot with an SLR on the Cyclone because it was too severe — the weight of a five - Irish punt tv camera frame-up cram together with the forcefulness of the ride was too hard to operate . Enter the now - definitive tv camera for extreme HD shooting on the bum : the GoPro .
While Johnstone was await for ways to bring rescript to the bedlam of the drive , he want the shots of the band walk around Coney Island to be dreamlike and disorienting . If he ’d had the money , he would have take a professionalSnorriCamrig . In these setups , a very steady , daze - absorbing camera - mount is tightly strapped to an doer ’s eubstance . The camera points back at the actor so that they never move even while the background behind them does . ( imagine the drug binge scenes in Requiem For a Dream . ) Since Johnstone could n’t yield one , he and his crew built theirs from design they found on the net for $ 20 worth of materials . For the bodycam footage — and for a few other shot in the television — the crew used aCanon 5D Mark IIbecause it has a full - physical body rather than craw sensor , which is in force for the tightlipped ups because it shoots at a wider angle .
https://gizmodo.com/canon-5d-mark-ii-officially-awesome-21mp-dslr-first-to-5050899
The Takeaway
“ For me this picture was about using non - traditional route to get things otherwise impossible . Whether its technology or planning and cooking or just pure endeavour , using what ’s useable in non - traditional path to produce new and unique upshot . Whether it ’s the DIY SnorriCam setup or the DSLR mount coaster shots , the GoPro Cyclone footage or the two person teamwork to get the swing shots , each shoot in the video was a singular hurdle and having that crew I could bank on and have everyone promote thought out and just put in maximal campaign made it almost magical in my mind . We achieved something I had no idea was possible . ”
“ Holy Holy ” is Jeremy Johnstone ’s twentieth euphony TV — most of them shot for less than $ 5000 . He also runs his own commercial yield fellowship Rockadee . “ Holy Holy ” is the latest individual off Wye Oak ’s record The Civilian available now on Merge Records .
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