Towers Of Tigray is a short film made for The North Face and shot by the award-winning husband and wife filmmaking team, Will Lascelles and Olya Dendyaeva, using entirely the URSA Mini Pro G2. Y.M.Cinema Magazine interviewed them on the making of this challenging project. Read on to explore how well the UMP G2 performed under this extreme environment.
URSA Mini Pro: Cinema Camera for adventurers
Personally, this is not the first time I stumble upon a complex adventurous project that was shot on the URSA Mini Pro. I believe most of you are familiar with Free Solo that was also filmed on the UMP (read: “Free Solo” Multiple Award-Winning Film was Shot on C300 Mark II and URSA Mini). It seems like this camera was made for adventure filmmaking from many aspects. For instance, the case study demonstrated below constitutes as a valid example of the utilization of the UMP G2 to get the shots in the most challenging environments.
Towers Of Tigray: The North Face’s latest project
Towers Of Tigray follows climbers James Pearson & Caro Ciavaldini and their young son Arthur to the giant walls and ancient routes of Ethiopia’s Tigray region. In their search for these spiritual routes and a unique adventure, they discover unexpected challenges, fresh perspectives, and the motivation they need to undertake some breathtaking climbing. The Sandstone Towers of Tigray may seem an unlikely place to go climbing. Apart from being close to the troubled border with Eritrea, the region is always one of the worst-hit in times of famine. That being said, it’s one of the unconventional climbing destinations. Now, thanks to New Zealand filmmakers Will Lascelles and Olya Dendyaeva from Colab Creative, Towers of Tigray’s power, uniqueness, and beauty can be revealed. Explore the film below:
Adventure Filmmaking
Will and Olya are an inspiring example of filmmakers who have successfully shaped a dream career through collaborations with global brands. They’re very knowledgable about what it takes to travel around the world shooting action/adventure films, from a DP’s perspective. We were privileged to interview them about the making of Towers Of Tigray. Read the interview below.
Filmmaking together as a married couple
Y.M.Cinema Magazine: Please tell the readers about yourself. How did you get to work as top-notch filmmakers? Also, how’s it like to work as a married couple? What are the challenges, cons, and pros of making a film together?
Will: I have pretty much had a camera in hand in some form or another since I can remember. In the early days, I was making sponsor tapes for my friends who were good at skiing/snowboarding, freestyle motocross, wake-boarding, etc. As is still the case today, the camera allowed me to learn about and participate in a much more dynamic world. In 2010, I was working on a documentary project in Kashmir, India. At the same time, Olya was on her first big world trip outside of Russia. When we met, there was an instant attraction. Even with the language barrier, it was easy to see that we had a similar inquisitive nature to the world around us. We have been together ever since!
Olya took a keen interest in filmmaking herself. Over the years, she started coming on projects more and more until she became an essential part of our operation. She looks at scenes very differently from myself, which is great. We have been working together so long that we don’t really need to discuss much how we are going to tackle a new project… We just kind of know what the other will be capturing and trust that there will be a bit of yin & yang action going on. Working so closely with your spouse definitely has its challenges, but we are on the road so much of the year, I really couldn’t see it working out any other way. We are pretty lucky!
We have been working together so long that we don’t really need to discuss much how we are going to tackle a new project… We just kind of know what the other will be capturing and trust that there will be a bit of yin & yang action going on.
Filmmaker Will Lascelles
Working with top-notch brands
Y.M.Cinema Magazine: What does it take to work with a global brand like The North Face? The readers are eager to know how they can reach those brands and work with them.
Will: We are extremely lucky to work with the brands that we do. Having built up a rapport with The North Face over the years, there is a lot of freedom and trust that comes from them, allowing us to explore some fantastic stories. In working with such a large company, there are always hurdles, but for the most part, it’s great to contribute to their great portfolio and hopefully inspire viewers to enjoy this beautiful world in their own way! The key to working with larger clients is the quality and continuity of your work. Take all opportunities given and try to make each project better than the last. Your time will come!
The key to working with larger clients is the quality and continuity of your work. Take all opportunities given and try to make each project better than the last. Your time will come!
Filmmaker Will Lascelles
From RED Dragon to the URSA Mini Pro G2
Y.M.Cinema Magazine: Why did you choose to shoot with the UMP G2? Have you considered filming with other cameras as well?
Will: For the past 6 years or so, we have been using RED Dragon and Sony Cameras for 99% of our work. Whilst both systems were great, they both had their drawbacks for the type of work that we do, which is primarily remote, adventure-based production. When the UMP G2 came to market, it really turned my head. Here was this camera that on paper had everything I needed in a camera at an extremely affordable price point. Although the price isn’t the bottom line, it does become a factor when using cameras the way that we do! We really put the G2 to the test in Ethiopia… It was easy to climb with. It didn’t have any problems with the heat. It captured beautiful images in all types of light. I was thoroughly impressed. I truly think this is the best camera I have used for the type of work that we do.
For the past 6 years or so, we have been using RED Dragon and Sony Cameras for 99% of our work. Whilst both systems were great, they both had their drawbacks for the type of work that we do, which is primarily remote, adventure-based production.
Filmmaker Will Lascelles
UMP G2 as a robust tool for Adventure Filmmaking
Y.M.Cinema Magazine: What are the pros and cons of the UMP G2 regarding this project? Please elaborate on the strengths of the camera, as well as its weaknesses and challenges.
Will: As far as cons go, I can’t fault the camera too much. We decided to shoot to 1TB SSD cards via USB-C cable. Unfortunately, the only way to plug this into the camera is via a slot behind the monitor ‘door’, which means the built-in monitor on the camera is always in the open position. We use external monitors, so having the extra monitor in the open position was a little tedious and left it susceptible to damage, especially when climbing. It would have been easy enough to just use different cards instead, but the workflow of the SSD was great! All in all, there are 100 times more positives than negatives to this system. I loved the size of the camera in the hand. I loved the beautiful skin tones. I loved the intuitive menu system, the frame rates, the audio options… I could go on and on, but then readers might think I am being paid! (I am not!)
I loved the size of the camera in the hand. I loved the beautiful skin tones. I loved the intuitive menu system, the frame rates, the audio options… I could go on and on, but then readers might think I am being paid! (I am not!)
Filmmaker Will Lascelles
Drones and lenses
Y.M.Cinema Magazine: Please elaborate on the equipment being used for the project (rigs and lenses).
Will: The majority of this film was shot on the UMP G2 with Canon EF lenses. As with most projects of this nature, I had to deliver photography as well, so using the canon glass allowed me to easily swap between camera bodies for stills and video. Carrying less gear means more flexibility, especially when you are suspended on ropes! We also used a DJI Mavic 2 Pro and Mavic Air and some GoPro’s, of course! We use Sachtler Flowtech legs and FSB 8/10 heads, Small HD monitors, and Anton Bauer Triton 150 V-Lock batteries.
I think it’s extremely important to be able to think and adapt on the fly, especially when making content without a script. Sometimes setbacks can become opportunities if you have the right outlook.
Filmmaker Will Lascelles
Be prepared for Murphy’s law
Y.M.Cinema Magazine: Every project we learn something new. What did you take (=learn) from this project? Please focus on directing and cinematography approaches.
Will: Isn’t that the truth! I think the number one thing that seems to never get said enough is to always expect the unexpected. Unfortunately, the entire crew was sick at different times in Ethiopia, making our three-week window to make this film really like 5 days in reality. I think it’s extremely important to be able to think and adapt on the fly, especially when making content without a script. Sometimes setbacks can become opportunities if you have the right outlook.
My hope is that we inspire like-minded individuals to just get out there and create!
Filmmaker Will Lascelles
Wrapping up
Y.M.Cinema Magazine: Any other insights and thoughts would be much appreciated.
Will: Thank you for your interest in this project. The main goal for what we do is to share our experiences with as broad an audience as possible. Ethiopia is an incredible place, but there are great stories and adventures to be captured around the globe. My hope is that we inspire like-minded individuals to just get out there and create!
