Jazz Cartier – Red Alert/100 Roses

Red Alert / 100 Roses

Case Study

Artist: Jazz Cartier
Songs: Red Alert, 100 Roses

Creative Director: Jon Riera
Technical Director: Connor Illsley
Produced by: Matt Powers, Dave Gardiner
Production Company: Mad Ruk Entertainment


Funded by: muchfact

The video for Jazz Cartier Red Alert/100 Roses was Combo Bravo’s first major 360 video project. It took 3 months of testing and research and development and 1000’s of hours of post production. Every moment of the 2 songs were thought out, developed in line with the technology to create a video that you could not make as a traditional 2D experience.

The Challenge

The idea from the start was to create the World of Jazz Cartier. To fully immerse the viewer every angle had to be filled with something to look that ultimately contributed to the story and vibe of the video. We broke the video down into 3 scenes so we could better understand the issues to tackle in each.

The Underground Parking Lot Scene
-Find a location that could support the set dressing and built to make 4 main spaces around the camera
-Be big enough to fit out picture vehicle and have it drive out
-Have room to light the scene and control the light

The Car Chase and Crash
-Build a custom drone system to fly a VR camera that would stabilize the rig and allow us to remove the drone in post
-Rig the camera off a car moving 40-50kph and have it by stable
-Hide the rigging and safely allow the performer to hang out the window while the car was moving
-Find the right stretch of road we could lock down, is smoothly paved, and wide enough for both picture vehicles


The Finale Mulit-Jazz Scene
-Find the right circular clearing that was the right dimensions and had an opening in the tree canopy at the top to see our overhead storm
-Figure out how to evenly light each version of the performer in a way the 6 different shots would be able to be blended seamlessly
-Balance a night shot with a big light source and still get some sort of decent dynamic range out of our GoPros

Our Approach
Dream it, build it, test it, repeat.

Every camera position and setup was exhaustively tested for the video. We shot at every location scout, stitched and reviewed with the team and department heads.

The good folks at The Wholesome Drone Co., Ed Jaunz and Lee Smith, built a light weight stabilized camera arm to fly off their 8 prop cinestar S1000 drone and be able to power all 10 cameras off the drone battery while shooting.

For the multi Jazz scene we used an Airstar Gaff Air light that we simply moved around the camera rig. It gave us an even wash across the whole scene and meant we would get a great exposure and detail on Jazz even at night. Additional lights were positioned throughout the forest to give the scene depth and the mixed colour temperatures helped make the foreground performance pop against the more natural looking layered forest.

As we shot each version of Jazz we monitored the HDMI out feed of the specific GoPro he was performing to. This let us get the blocking exact and make sure he was always contained inside one frame meaning we were able to get him super close to the camera without worrying about stitch lines in post.

For the CG storm element, car crash, and floating particles we turned to our friends at Call Me Smith. Their stellar composting team created and incorporated some stellar photorealistic assets that put the video over the top.

The Outcome

We delivered 2 formats for the Jazz Cartier Red Alert/100 Roses video. Our main deliverable was a Youtube 360 4K files for immersive playback, and a 2D 16:9 version for broadcast. To make the broadcast version we utilized the 8K video master and used a virtual camera in After Effects and the Mettle Skybox suite of plugins to add motion, rotation and zoom to the final perspective. The goal was to have both versions be equally rewardng to watch.

From the production of this video we have developed technologies, filming techniques and post production knowlege that we have applied to every project that has come after.

Below find the 360 version of the video, the 16:9 broadcast version, and the behind the scenes doc.

Our Work