BATTLEFIELD 1

The cinematography in Obscura has to be flawless. It should be a tribute to the history of photography. Every framing and composition will come from an artistic point of view. We want to shoot Obscura digitally with a 65 mm format and an aspect ratio of 2.00:1.

 

This gives us the ability to open up for beautiful compositions as well as letting us capture the natural light of both exterior and interior shots. A tight color scheme is key to make everything coalesce as a work of art in grade.

The cinematography in Obscura has to be flawless. It should be a tribute to the history of photography. Every framing and composition will come from an artistic point of view. We want to shoot Obscura digitally with a 65 mm format and an aspect ratio of 2.00:1.

 

This gives us the ability to open up for beautiful compositions as well as letting us capture the natural light of both exterior and interior shots. A tight color scheme is key to make everything coalesce as a work of art in grade.

KRYLER ÅKERSTRÖM FILM

GAME CINEMATICS

FRIENDS IN HIGH PLACES

Clyde Blackburn, an American pilot posing as George Rackham, an officer in the Royal Flying Corps. Blackburn is tasked with flying a Bristol F2.B along with a gunner/photographer named Wilson in various reconnaissance and combat missions around the Western front of the war.

SCENES & OUTTAKES

THROUGH MUD AND BLOOD

NOTHING IS WRITTEN

BATTLEFIELD 1

directing content for a major game studio

ON SET AND IN POST PRODUCTION

Back at Dice mo-cap studio in Stockholm we edited, selected and shot most of the sequences our self to get full control of the content and visual storytelling in each cut scene. Coming from an editing background we added more cuts than average Cut scene

Danny Edwards, a British recruit joining the crew of a Mark V Landship named Black Bess as their new tank driver. New to the war and inexperienced in driving the unreliable vehicle, Edwards is given a trial by fire with his first mission: punch through the German line at Cambrai with a broken tank and a crew that has no trust in him.

Bedouin Warrior Zara Ghufran who is involved with the Arab Revolt against the Ottoman Empire. Acting as the right hand of T. E. Lawrence, the rebel assists in securing weapons and supplies as Lawrence's band of fighters prepares to face The Canavar, an Ottoman Armored Train that has been wreaking havoc on the rebels.

One of many challenges on set was all the tank interior sequences with a big wooden construction that would fit the crew. It was built in a larger scale than the real on just to fit the head cams and also the length of average man has increased since First World War. Our 20 years of experience in the editing room really paid off when you're on set with basically nothing more than a wooden planks and some attributes from art department.

 

Within this major game with all its possibilities and restrictions the cinematics for us came down to telling a story in the most compelling, visual and emotional way.

 

We have played video games all our life's since basically the first console came out in the late 70s. So for us getting into the seat and directing a game felt natural even though we encountered big challenges and a steep learning curve.

 

Telling stories within the game construction and all its technical challenges was an great experience and we wanted to push the boundaries both technically and visually to get the emotional intensity we experience in film. This meant adding intensity in the scenes, pasing, camera angles, also adding a distinct hand-held camera language for a more intimate experience.