Onesize creative director Rogier Hendriks:
We ended up with the idea to have two fighters on a children’s playground. Kind of a metaphor for a creative process, which can be a battle sometimes.
We focused on the image, the look and feel, a bit more than we usually do, simply because we wanted to. We did some research, especially on the visual style in photography, the air we wanted the film to breathe. Initially, the film needed to be very slow-paced, almost like a dance to classical music in ultra slow motion—this was still the idea at the time when we shot the images.
Shooting with a phantom camera would not do the trick for us. We wanted to have more control over the slow motion in post production, to be able to decide camera angles and motion. To do this we used the camera mapping technique in 3D.
The production was made fairly simple compared to live-action shoots with high speed camera’s shooting on location. By using this technique, we only needed still images. We wrapped the shoot in 3 hours. Our photographer, Jasper Faber, did an outstanding job by using only two flash lights, a camera and a Macbook.
In post production, we changed the direction a little—we wanted more action. Jasper took a bunch of photos which I found out could work just fine in a quick sequence. The contrast between the ultra slow-motion image and super fast paced short sequences made it more powerful and dramatized the impact of the slow motion sequence.
Joris, our sound designer did what was necessary to enhance the impact even more.
For the production of this shoot we contacted Rotterdam-based production company Revolver and asked them if they wanted to help us out producing the shoot. Luckily, they said yes.
They contracted photographer Jasper Faber, who was willing to shoot the images and help us out with the production, since we knew that post production would be very time consuming. Revolver helped us out producing it, so we could focus on direction and post production.