BE YOUR OWN CAMERA CREW
As a media and communications student in my final year of university I’m interested in the ways collaboration between industry, emerging technology and myself as a creative can co-exist based on more than just one skillset. I started in Digital media because I wanted to innovate the filmmaking space, using drones to create a start to end video project using only drones as the main camera rig, in all sizes and methods, I wanted to use them for not only the aerial birds eye views, but the spaces at eye level for more intimate shots. Upon leaving, we’ve leveraged a blog, sometimes a YouTube channel and written essays toward topics that often get left in a subject dropbox and forgotten about. I believe new technologies such as autonomous robotics are going to help creative content producers like myself gain an exciting edge over the “creating” gap in industry and graduates.
A digital portfolio was my answer to the question of how individuals can “Be (their) own camera crew” and how a series of previous projects and indeed subject specific works can be organised to showcase themselves to industries in filmmaking and creative spaces as having experience making start to end projects. I wanted to incorporate autonomous film devices such as my drone, so that I may be not only the filmmaker, but now the technology enables us to be the subject. YouTube and consequently video as a platform allowed me to address the creative accumulation of content for a portfolio, as well as showcase the potential these devices have to make professional standard works. YouTube was chosen to continue to produce works in an openly featured platform to invite stakeholders as well as constructive comments to improve elements of a work. Using this type of device highlights my interest area as well as the space left by filmmaking theory thus; “Though there is a range of techniques to automatically control drones for a variety of applications, none have considered the problem of producing cinematographic camera motion in real-time for shooting purposes”(Q Galvane J Fleureau F.L. Tariolle P. Guillotel, 2016)
The filming process included a shot list that i’ve created below, that can all be done by myself whilst riding the board or not, the drone can be programmed to actively track a subject. This is done by clicking and dragging a box on the live video on a smartphone whilst the drone is in the air. This further amplifies the potential of creating a work that I believe can be taken to a major production company to showcase a skillset.
Upon talks with my tutor, the way i’ve presented this is in a 3 part video series titled: “Be YOUR own camera crew” on YouTube. I detailed that this would allow an accumulation of different angles of what can be showcased with a single recording device, an internet connection and a great idea. Some of the anxieties about these emerging technologies, I also wanted to lay to rest, by sparking discussion and address a tool that’s being heavily regulated at the moment. “Despite all of the new tools, drones are still only used in about 10 percent of film productions where a camera drone and crew can cost less than $3,000 compared to $25,000 for a helicopter shoot.” (A Marken, 2017) I believe will change the way not only filmmaking is approached, but also journalism and surveillance.
A Dalton, 2016, This Sci-fi Film was shot entirely by Autonomous Drones, Engadget, Blogpost, viewed 1st June 2017, <https://www.engadget.com/2016/09/27/in-the-robot-skies-sci-fi-film-shot-autonomous-drones/>
A Marken, 2017, Visable Flight: Drones Raise Filmmaking Opportunities, Robotics Tomorrow, webpage, viewed 1st June 2017, <http://www.roboticstomorrow.com/article/2017/05/visible-flight-drones-raise-filmmaking-opportunities/10110>
Chris Moore, 2016, Cybercultures Week Two 2016 (w.2), Prezi lecture, DIGC335, University of Wollongong, 8th March 2016, viewed 28th May 2017, via <https://prezi.com/poqmln3hslyh/cyberculture-and-cybernetics>
Civil Aviation Safety Authority, 2017, Remotely Piloted Aircraft Systems: Can I Fly Here?, Australian Government, viewed 30th May 2017, <https://casa.dronecomplier.com/external>
C Rollins, 2017, Mavic Pro – Active Track on a boosted board, May 26th, YouTube, Online Video, viewed 30th May 2017, <https://www.youtube.com/watch?v=1mXo6yz4cv4>
L Young, 2016, In the Robot Skies, Vimeo, online video, viewed 1st June 2017, <https://vimeo.com/184429206>
Q Galvane J Fleureau F.L. Tariolle P. Guillotel, 2016, Automated Cinematography with unmanned aerial vehicles, WICED ’16 Proceedings of the Eurographics Workshop on Intelligent Cinematography and Editing, Portugal May 9th, p.p. 23-30, Eurographics Association Switzerland, viewed 29th May 2017, <http://dl.acm.org/citation.cfm?id=3056987&preflayout=tabs>
My first real trial of the active track feature with the DJI Mavic Pro. Very useful feature and allows the ability to be your own camera crew…i used a skateboard to see how well it keeps up.
edited in iMovie.
Music Available @ [https://www.youtube.com/watch?v=1KoWCGl73u8]
Check out FreeLook Online @ https://freelookweb.wordpress.com/
Follow me on Twitter @samnoakes95 OR
3 mates surfing at Puckeys Beach Wollongong, NSW Australia. Music inspo came from Beach boys (obviously) and NBA 2k9 …
Just some cool shots put together for a short movie using DJI Mavic Pro and iMovie.
Surfin USA – Beach Boys
Loose – Benny Blanco & Spank Rock (Instrumental)
I mounted a GoPro HERO4 to the handlebars of a hire bicycle in downtown TOKYO.