Clients often wonder what type of work-station is optimal for their job. Going with either a laptop or tower configuration is based on the location and the specifics of the job, but if we’re using an external monitor we almost always suggest using a 30” monitor because the pictures present with greater details and a 30” monitor will always have that ‘Wow! Holy mackerel!’ impact on the client when they see the pictures enlarged up on the big screen.

2.   Retouching and Photoshop comps are often a crucial component on product shoots. Instead of explaining things with words, a comp can easily show the client what the final picture will look like. A well-made mock-up that shows the different options will help make the client sign-off with confidence and with peace of mind.

3.   We rarely talk about hard-drives, but the client hard-drive that you buy can sometimes be of more importance than just getting the cheapest one. Solid State Drives are hard-drives that transfer data 4-10x times faster than regular hard-drives. If you just need 1 drive at the end of the day then a regular drive is fine. Your Tech should already have been backing up everything, and you can leave the studio once the shoot is done. However, if the last scene of the day was a crushing 1000-2000 raw files and the client is asking for everything to be processed out and delivered on multiple hard-drives, then there will be a bottleneck because it takes a longer time to process and transfer this amount of data onto regular hard-drives. The cost of SSD drives is higher, yet may be more practical when compared to waiting around the studio after a long shoot or the costs of location going into overtime.

4.   Hire a crew that gives the impression everything is under control. If the client senses that there’s panic, then it will be difficult to get that smooth sailing atmosphere back on set. The Digi Tech should know his/her role on set. Hiring people that have been working for many years and with big clients is essential. Witholding some of the technical conversations from the client is often to be preferred. 

5.   Bring backups of everything possible: cameras, lenses, cables of all types (they will eventually go bad), power adaptors, an extra computer, even an extra monitor. Be prepared for every worst-case scenario. Back-ups will ensure that even if the equipment gets dropped on the floor, the shoot will continue.

6.   Lithium batteries. We all depend on them, but often neglect to maintain them properly. The simple rule is that they prefer to be in a charged state between 20% and 80%. Topping them off at 100% will unnecessarily put a toll on them. Slow charging vs. Fast charging? Slow charging is better unless you’re running out the door for a shoot and need the batteries right away. Remember, if that’s the case, don’t forget to give us a call.

Happy Shooting,
Esben // Captureforce

Is there a more exhilarating way to start a week-long job, than to leave the city on a road trip that takes you to a breathtaking landscape of frozen waterfalls and the sun setting behind snow-covered mountains?

Like a Mission Impossible movie, everyone was arriving from somewhere else. Our photo crew came from NYC, the photographer from Munich, the car crew from Florida and an amazing precision driver from Atlanta. All the cars were transported from Florida and were each selected for their look and ability to display the tires in action in the icy winter surroundings. We had five long action-packed days and weather that for the most part cooperated nicely for those unique moments required to capture the pictures. We got it all wrapped on time and we have the pictures to show for it. 

We recently worked on an interesting project for EPSON shot by LA photographer Glen Wexler. The idea was to show how the world would look like in the near future with the help of technology from EPSON.

The project started out in NYC and continued for two weeks in Tokyo. The job was brought to life by an excellent team of video and still professionals consisting of creatives and assistants from the US as well as our local kick-ass team in Tokyo. Working with a local crew and on multiply locations in a foreign country is no news. Things went smooth, but with a daily doses of funny bone moments. Captureforce has years of experience working in foreign locations including Asia and east Asia, Russia, South Africa, Europe, and in most of the states within the US. Large projects like these can be resource draining and there’re always an element of surprise, but you’re also met with new people who will help make things happen and it’s rewarding to look at the finished outcome and know you’ve been a part of it.

On the tech side, we were shooting with the Hasselblad H cameras and a Phase One IQ 80Mpix digital back to create the unique files needed for the final composites. We were shooting after sunset when the energy of the city visualizes against the night sky. The final images were created by shooting around thirty 80Mpix files in a multi row cubic panorama formation, keeping the camera at its own nodal point, to create one large file. This process and the amazing retouching / CGI animation done by Glen Wexler’s own in-house post production department made the project incredibly special and we’re looking forward to share more EPSON moments with you in the future.

Best wishes,

Esben // Captureforce

Director: Glen Wexler

Client: EPSON America

Campaign name: Where there’s business there’s EPSON

[The theme of the campaign is to show a glimpse of how the world could look like in the near future with technology from EPSON computers, printers, projectors, robotics and industrial equipment. The 30 second commercial use imagery from the NYC downtown skyline and incorporate green screen footage together with CGI content and animation.]