Do you want to know how I filmed this Blu Glauco Lamborghini Aventador SV Roadster at Lamborghini Manchester? Yeah. Here's How I've filmed this Aventador SV Roadster.
Before I Filmed This Lamborghini Aventador SV Roadster
I asked Jonny, "please could we visit Lamborghini Manchester if we can film the stock in the showroom?" Jonny messaged with, "sure, "please can you help me pack the Edelkrone equipment before visiting the showroom?"
I messaged Patrick (Lamborghini Sales Executive), "please, can I film and photograph the stock in your showroom?" Patrick said, "sure. I'm not in the showroom today, but you can get film and pictures in the showroom today."
When I arrived at Jonny's house, Jonny showcased the new tripod to suit the video rig better and the Edelkrone SliderPlus. Now we had one hour to place the Edelkrone equipment into the car, so we could head to the showroom before it closed.
Around the same time, the U.K had a fuel crisis where gasoline prices went up exponentially. So we had to make the most of our limited time at Lamborghini Manchester.
When we arrived at the showroom Jonny, and I had under 60 minutes to say hi to the manager, set up the equipment and film the Blu Glauco Lamborghini Aventador SV Roadster.
How I Filmed This Video Of The Lamborghini Aventador SV Roadster
Whilst Jonny set up the Edelkrone JibOne, I spoke to Ari (Maserati Manchester Manger) and talked about the MC.20. Ari mentioned, "there's only one MC.20 at the U.K at the moment due to travel and import embargos."
"I think they'll be a Maserati MC.20 in the dealership network and showroom in the coming weeks." I said, "ah, that makes sense. I reference the story you mentioned to me about Maserati, Enzo Ferrari, the endless need for competition and the need to progress."
After giving Ari a print of the Ghibli, I went back to Jonny to help find the parts for the JibOne from the video equipment suitcase. I felt the time closing in.
The first shot Jonny I planned was a front crane angle of the Aventador SV Roadster showcasing the different perspectives of the Lamborghini with the rig going up and down. We had the manual lens, so I adjusted the focus on the scenes.
After that, I assisted Jonny with moving the Edelkrone equipment to a front-three-quarter angle of the Aventador SV Roadster. I refocused the lens for the next scene of the Lamborghini, so the subject looked sharp throughout the clip.
While filming the front-three-quarter scene of the Blu Glauco Lamborghini, someone came in with their photographer son and asked, "what's the filmed equipment called?" I said we'd got an Edlekrone Headplus with a Jibone".
The person mentioned, "the equipment looked very similar to what I've seen at a nuclear factory. I'm a Nuclear Physicist." I said, "I've brought my son so that he can take a few pictures of the cars around the showroom."
I asked, "what's your hobby at the weekend?" The parent said, "I'm a supercar instructor for a track experience firm where we drive a variety of classic to modern performance cars."
After the conversation with the supercar instructor, Jonny and I had a finite amount of time to switch the Edelkrone JibOne to the DollyPlus so we could do a side profile of the Aventador SV Roadster.
Jonny and I had a focus issue on the Lamborghini Aventador SV Roadster. Is auto or manual focus better? We chose my first suggestion to autofocus the Aventador SV Roadster, but it was patchy. Se, we chose Jonny's manual suggestion - which worked better.
How I Edited The Video Of This Lamborghini Aventador SV Roadster
Two days later, I imported the Lamborghini Aventador SV Roadster video files onto my laptop and later imported the folder onto my project file. I placed the videos into a film folder, where it's more straightforward to find clips.
I began with starting a front-three-quarter angle of the Aventador SV Roadster for an excellent establishing scene of the subject, which I later spliced the film for a reversed effect.
Next, I placed a front angle of the Lamborghini, showcasing the athletism and beauty of the Aventador SV Roadster. I later spliced the scene of the Lamborghini to provide a dramatic edit to the film.
For the side profile scene of the Aventador SV, I shortened the clip then applied colour grading and warp stabilisation. After that, I exported the video I re-imported the scene into the video folder.
Next, I placed the Aventador SV Roadster side profile into the timeline and sped up the clip for a faster feel to the overall video. After that, I applied colour grading to the previous two scenes and added warp stabilisation to the two previous scenes.
Conclusion
Does time make or break you? Whether you're trying to get an excellent mark for your exam before the term ends or filming a £250k+ hypercar with film equipment in an hour - don't let time break you.
Outro
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