With a quest to take the Bentley Continental GT Speed road car to it’s maximum velocity, the British auto-maker headed to the Australian Outback, and the unrestricted speeds of the Stuart Highway.
Piloted by legendary Australian motor-racer, John Bowe, the expectation was to reach 200mph. With safety of utmost concern, a 20km stretch of highway outside of Alice Springs was closed in 20-minute intervals, with aerial support spotting for errant wildlife and human intervention.
DP Matthew GORMLY travelled from Sweden to Australia for the two-day shoot, serving an establish British producer. Joining Matt in photography was Australian aerial specialist Peter BEEH, who provided the Shotover H1 stabilising system for aerial and car-to-car photography, along with camera assistant/Shotover-technician Bastien CHAPIGNAC.
Primary photography originated on 2 x Sony F55’s, Matt’s ably supplied by Sydney’s VAhire.com and sporting a set of Arri Master Primes. In-car & secondary photography on Travmatt’s Canon C300, with external car-mounts with a Canon 5D Mk3, GoPro4 Black & GoPro3 Silver with PolarPro polarizers.
Director: Adam KALETA. DP’s: Matthew Gormly & Peter Beeh. Camera Assistant/Shotover Technician: Bastien CHAPIGNAC. Sound: Matty VAUGHAN
On the back of a corporate video filmed for Lantbrukarnas Riksförbund or the Federation of Swedish Farmers earlier in 2016, national airtime was purchased, and a 20sec TVC commissioned. The premise, to promote the resources of the land and it's untapped potential.
DP Matthew GORMLY joined Director Urban ERMLING, and the team at Brid Content to execute the concept. In addition to the 20sec TVC, a longer form 90sec corporate video would be cut, featuring the people, the technology, and the land.
With a short timeline, production took place over three days in the areas of Uppsala & Norrtälje to the north of Stockholm, around Jönköping, Värnamo, Västervik, and Matt's hometown of Mönsterås.
Originated on the Canon C300, with additional imagery on the GoPro 4 Black, and DJI Phantom 3 4K Pro. Camera and equipment supplied by Travelling Matt.
The new year broke with a nine-day tour of Sweden, shooting a testimonial film for Sweden’s Lantbrukarnas Riksförbund (LRF) or Federation of Swedish Farmers. Striking out across the kingdom, a three-man crew travelled from the flat lands of Skåne in the south, to the famous forests of Småland, and on to the lush snowbound territories of Luleå and Åre.
Accumulating an impressive 3,800km on the road, with a few flights to boot, the film reached LRF members in all areas of agriculture. From carrot & potato farmers, to grain, dairy & cattle, machine providers, fuel manufacturers, and forestry workers – it truly covered the gamut.
Along for the ride was a cold front, which made for a unique filming opportunity. Agricultural films are rarely filmed during the snowbound winter months, so it was a welcome insight into the year-round industry. The -10C temperatures made for challenging days out in the farmyard & fields, operating delicate equipment with numb fingers and shocked electronics.
Originated on the Canon C300, with the Phantom Pro3 4K drone, DJI Ronin, GoPro, and slider. The Brid Content production was lead into the field by the intrepid Creative Director Petter EDELSWÄRD, helmed by VD Colm O’CALLAGHAN, DP Matthew GORMLY, and sound recorded by Anton ENBOM & Johan PETTERSON.
As part of celebrations for SAS's 70th birthday, a commemorative livery was launched on a Boeing 737-800 LNG-RGI. DP Matthew GORMLY was enlisted to capture the launch for a 30-sec film destined for web, in-terminal, and inflight applications.
Tucked away in the SAS service facility at Stockholm Arlanda airport, 30kg's of wrapping was applied to the fuselage, whilst the video crew awaited word of the job's completion. With the green-light, the crew moved in at dusk, and prepared for the confetti spectacular.
The hero aircraft, and those sharing the hangar, had sensitive areas plastic-wrapped, and paper confetti was the only option with jet engines involved. With a strict budget, and thus confetti limited to 25kg, the charges were judiciously selected, climaxing in a confetti 'white-out' over the entirety of the aircraft, twice.
Shooting deep into the night, the production wrapped at 2am, before the massive clean-up began. Filming was primarily originated on the Sony FS7 at 180fps in HD 1080p. Secondary options included the Canon C300, Canon 5D, and GoPro 4 Black (120fps).
An OTW production, directed by Anders OLSSON, DP Matthew GORMLY, gaffer Peter Övgård, Producer Helena LINDBLAD.
One of a series of pre-movie etiquette reminders for Bondi's VMA Open Air Cinema patrons. Core to most of the spots was phone etiquette - no surprises there.
Shot on the Canon C300 w/ Wally Dolly. Small crew, with gaffer, Producer Andrew LORD, and directed by Tony WHITTAKER for Golden Duck Productions.
With an award-winning standard set by Garpen’s Europa (GE) first series, Matt joined the OTW production on a 10-day tour of Scotland, Czech and Denmark, covering draws in the Champions Hockey League (CHL).
A NordicBet Sverige piece of branded-content, GE is hosted by legendary Swedish and ex-NHL player, Johan Garpenlöv & journalist Jacob Nyström. The pair visited clashes featuring visiting Swedish teams in Glasgow, Pardubice and Vojens. From dissecting the upcoming game, to examining an aspect of the home club’s success, whilst wagering a cheeky bet in the process.
For a pair of presenters that were simply cast together, the chemistry is outstanding, making for a most excellent tour both on and off-screen. From a chance encounter in a Danish cafe, leading to a most excellent afternoon with the keys to a castle, and many more spontaneous adventures.
Originated on the Canon C300, supported by GoPro & DSLR – including the innovative puck-cam. Crewed with a 2-person camera/sound crew, and masterfully orchestrated by producer Sanna Lennartsson of OTW.
“Garpen’s Europa, Series 2” went on to win Gold at the 2016 Swedish Content Awards in the category of “Travel / Entertainment / Leisure”.
A 30-sec promo spot for Foxtel's Main Event pay-per-view channel. Featuring Australian boxer Daniel "The Real Deal" Geale for an upcoming world title fight. A great experience with a great guy.
Filmed in the Foxtel Studios against green-screen, on a four-hour call. Originated on the Canon C300, with DP Matthew GORMLY and minimal crew. Directed by Tony WHITTAKER for Carnivore Films.
With gun control legislation being considered by US law-makers, comedian John OLIVER ventured to Australia to file a series of reports for Comedy Central’s “The Daily Show”. Initially scheduled to be a single 3-min piece, the story soon filled 3 x 3-min segments, and collected an Emmy award along the way.
The heart of the report lay in the gun controls enacted in Australia in 1996 following the Port Arthur massacre. On 28 April 1996, thirty-five people lost their lives to a lone-gunman equipped with automatic weapons. The ruling conservative government, lead by Prime Minister John Howard, acted swiftly and against the electorate for the community’s greater good. Draft legislation was introduced to parliament within three-months, and a buy-back of automatic weapons was enacted. Since 1996, Australia has had zero mass-shootings (four pax or more), with firearm offenses and suicide remaining down on 1995 levels.
A fabulous shoot, highlighted by John OLIVER’s quick-wit & take on all things Australian. Shot over 10-days, with 2 x XDcam ENG cameramen Matthew GORMLY & Peter BEEH, sound recordist, assistant, and production manager. Crew assembled by Sam DOWNS of RMK Crew. Emmy award for best-editing on segment 3/3 “Aftermath”.
Winner of Australian Cinematographer’s Society (NSW) Gold award 2012 for "Reality, Lifestyle & Magazine".
On the tail of a 30-day documentary shoot in Europe, a pilot was shot for the proposed series “Guardians of Time”. Shot in Westminster Abbey, Ely Cathedral, and Bradford Cathedral, with British presenter Aled Jones.
Shot in 2011, on the Sony PMW350 with external recording to a Convergent Design NanoFlash. Primarily shot as a one-man band, travelling with producer, talent, and photographer/scriptwriter.
A longstanding campaign filmed in 2007 for the George Patterson agency. Six x 30-sec TVC’s filmed over five days on the Townsville Army base, highlighting various jobs and apprenticeships within the Australia Defence Force.The campaign ran in excess of five years.
Originated on the Sony F900R, with an array of secondary camera units. Being the days before Go-Pro, an array of high-resolution CCTV cameras were used in the mix. Directed by Michael GOODE, produced by Lizzy NASH for The Feds, Sydney. DOP Matthew GORMLY.
Director of Photography / Executive Producer - Event Coverage 2013, 2014, 2015. Vivid Sydney - Light, Music & Ideas festival.
An initiative of the state tourism authority, Destination NSW, VIVID has become a major event on the Sydney event & tourism calendar. Designed to draw people into the city centre during the winter months, VIVID now draws 2.3-milion visitors during it's three week run in May.
The three elements of VIVID are the light-based sculptures & art installations, the TED-style ideas conferences, and concert series staged throughout the city. From once dotting the Sydney Harbour precinct, the events have grown to include locations deep into Sydney's sprawling suburbs.
Having served Destination NSW on a series of tourism films, Travelling Matt teamed with production company Vokyo to secure the filming contract for the 2013 event. From the success of 2013, the contract was won again in 2014, and again in 2015. With Travmatt firmly based in Europe, Vokyo secured the contract for a remarkable fourth year in 2016.
The demands of the filming contract are complex, requiring several shifts in filming, distribution, and editing styles as the event progresses.
With up to eight film crews operating in the early days of the festival, it's vital to maintain a cohesive and uniform look, whilst pushing the boundaries in securing original and leading imagery. At an event like VIVID, everyone has a camera, so pressure is on to impress.
Video News Releases (VNR) play a vital role in drumming up the initial publicity prior to launch night. Here, ENG practices are employed to provide the news-style footage and sound-bites required by the networks. Rehearsal nights provide opportunity for B-roll of the new light installations, which are then rapidly packaged and distributed to the heart of the newsroom via optic fibre and web portals. Turn-around speed is of the essence here.
As the event progresses, the style shifts to both documenting the event and installations, and to providing more filmic imagery for use in domestic & international tourism campaigns.
Meanwhile the Ideas conference is generating hundreds of hours of content to be dealt with as the client & stakeholders require. Furthermore, the Music event is a cultural masterpiece, with outstanding artists and dazzling stage-shows - requiring coverage to match.
Filming a night-time event in vast crowds carries it's own challenges, withOH&S & logistics are an ever-present concern. Tremendous foot miles were clocked up each night.
VIVID event coverage for 2013-15 was originated on the Canon C300, recording both natively, and to Atomos Samurai Blade in ProRes, for fast edit turnaround. The C300 was chosen for it's outstanding low-light capabilities, and versatility. ENG elements originated on XDcam 800, to match the look of network news. Camera motion via DJI Ronin, Steadicam, dolly, micro-Jib, Jimmy Jib, Technocrane, and helicopter aerials. Crews consisted of cameraman, camera assistant, producer, stills photographer, with occasional sound recordist. Editing on Final Cut Pro & Adobe Premiere.