-Action! We might call this
an advanced kind of story board. After we had the idea,
we wanted to visualize it. We went to artist Nikolai Lockertsen
and had him draw this storyboard. The funny thing is, you’re used to
having an idea about what you want, – – and then theory turns out
to be very different from practice. The magical thing in this is … You’d think that Lockertsen
had seen our location at Beitostølen. Or that we had.
None of us had seen it. We pretty much got
what we asked for, and then some. It will be symmetrical
around the centre line here. We started working out
how to make the LED suits. After much consideration
we decided to build them from scratch. We did some preliminary tests
with suits and LED strips. We checked how they moved and how
they would function in extreme cold, – – to make sure the LEDs and cables
wouldn’t malfunction or break. We wanted to animate the suits.
We had seen that elsewhere. That was cool enough, – – but we wanted to control the animations
in real time while skiing. Pulse is important in biathlon.
We wanted the suits to visualize that. We worked a lot
on finding a way to do that. It proved to be rather tricky,
but nothing is impossible. We’ll be shooting up there,
and up that hill. When we got to Beitostølen – – to see the location with the snow,
we had been saying, as a joke: “We want trees all covered
in snow, Disney style. Ha ha.” I’ve never seen snow like that
before in my life. It was just perfect This suit is all done. There’s never enough space. Everybody stand clear of the drone! Remember what was said
about cell phones. -Mind the drone!
-No, no, no! You need to watch out for… Okay, let’s go. Step aside. Lovely. Cut! The relationship between
pictures and music is very important. The music had to match the hardness,
the darkness of the pictures. There’s light as well, but
the main mood is hard and heavy. So the music had to have
a certain darkness to it. Composer Roy Westad
did a fantastic job. Action! -Sorry …
-Are you all right? I’m so sorry.
No, I’m completely fine. Everybody’s thinking:
“Is the suit still working?!” On the very first take,
Kristin, in the blue suit, – – was coming downhill.
And she fell on the very first take. We were all asking
ourselves: “Is the suit okay?” No one was thinking about her.
We hoped she was okay, but… “Gasp! Did the suit break?” -Let’s see if this works.
-We’ll just have to try it. It’s an intricate dance
of LED lights, fog machines, – – snowmobiles and drones.
And something is always out. Right now, it’s a tiny, little cable
in the LED suit, I think? A cable that broke, quite simply. But anything can be fixed
with gaffer tape, as always. My ski tip got stuck in the snow,
I think. So embarrassing. Yes, it was! I got really close to the
camera, and my ski tip hooked into… I thought the suit was going
to quit on us, with all that water. It’s all cables. Melissa had brought
extra LED strips, – – soldering equipment
and tools of all kinds. We were in the mountains, in -20 ˚C.
It worked out, though. We opted to bring a huge, powerful
video projector with us on set, – – to illuminate
a good many trees out there. We wanted
the magic of real projection, – – with the light
wrapping around the trees. Doing it with CGI
in post production, – – getting that exact same feeling
would have been very tricky. We were already into the idea
of doing everything on camera. No extra post production graphics.
What we do, we do right there. So we went the extra mile. Everything is written in stone,
to a certain degree. It takes more preparation in advance,
working out the projections. And that’s the way it’s going to be. And once we began
going down that road, – – we got more and more into
doing everything that way. 100 % analogue, on location. When we started a year ago, – – it was just the
two of us with a few others. It ballooned into
a huge team on location. Cooperation and team work was crucial,
and it worked extremely well. Highly skilled people
across the board. That was what
made our original vision – – into an even better end product.