A car film lives or dies on light, and Dubai only gives you an hour of the good stuff
The difference between a car that looks expensive and one that looks like a listing is almost always the light. In Dubai that means shooting into the short golden-hour and blue-hour windows, holding the black on a dark car without crushing it, and keeping reflections clean on a curved panel. That's the craft. The rest is turning up at 6am before the heat and the traffic ruin the frame.
What I actually shoot
- Showroom and detail films - the car, the paint, the interior, cut for a brand or a dealership feed.
- Rolling shots - tracking-vehicle work when the film needs the car moving, arranged with the right permits and safety.
- Per-car social clips - short vertical pieces a sales team can send on WhatsApp or post the same day.
- Brand and launch films - the longer piece, scored and graded, for when a showroom wants to say something.
The part most videographers can't do: I build where the film lives
A film is only worth what the page around it does. I also build the fast websites these films sit on - the same person who shot the car knows how it should load and how it should be framed on the listing.
For Project One Motors that meant the films, the 0.4-second site, and the automation behind it, all from one person who didn't need three handovers to get it right.