tells the story of our perspective on framing,
lighting, distance, colour, lens choice, movement and character.

It’s a collection of single takes from recent and archived footage that we love.
Those that ended up in finished work and those that didn’t make the final cut.

Every take has a different story to it.
In a small caption written below every frame we try to take you
on the journey it took to create these shots.

We met Bas van Kranen a few years back. At the time Kasper was assigned a portrait of Bas and a friendship was made. As a young cook he was pushed towards the executive chef’s role due to the passing of his kitchen Chef at De Leuf*.

On the first day of shooting we were allowed at Bas’s home in Roermond. In our hands a stills- and a motion picture camera, our minds focused on capturing the resting day. During a little chat with Kasper, Bas sat down on a pillow on the floor next to the culinary books he gathered over the years, his life and passion.
The camera was turned around and what started as B-roll ended up in a medium interview frame that evolved emotionally throughout the 30 minute conversation.

For Nestlé Professional’s I AM CHEF online magazine, we set out to shoot 5 culinary techniques for vegetables. The lighting was designed to be used for both film and photography, as we needed high resolution print files offline as well as moving imagse online.

Being able to shoot both photography and film on the same set really helped in getting the shots within the given timeframe. The beautiful abstract black background and fluid motion makes it part of the ‘Takes’ project.

Being at Da Vittorio’s restaurant for only a limited time we really needed to follow the Cerea Brothers everywhere throughout the day. When all of a sudden they ”disappeared” from the kitchen, Kasper sought out to find them. The Brothers were having a private conversation in a beautiful empty room, even though we’ve just met, mutual respect was build and we were allowed to bring the camera in the room for B-roll.

The painterly silhouette, framed in quietness, with little to no motion was a moment too perfect to be stored on a hard-drive only.

A take from Jermain de Rozario’s short format documentary.
On this day, the restaurant was closed and Jermain had planned to try out some new recipe’s, we followed his routine. With a cup of coffee he walked towards his kitchen with a total ease of mind, the atmosphere was relaxed and quiet.

His process was close to meditating, standing there moments before the lights went on. There was no other choice than to frame the scenario wide and instinctively choosing a spot that created a back lit situation.

Captured on the forth shooting day for ”Barbara” a short film directed by Mark Handels. The script called for an early morning sun, though outside we were challenged with a high noon, overcast situation. The shooting style was high paced episodic with little preparation, meaning we had a sense of direction for blocking but all the framing and lighting was to be figured out on the spot.

When I crammed myself into the corner of the room we found a beautiful perspective for the kitchen scene, with only two inserts we covered the entire 60 second scene. All of the lighting was set outside the house, something we felt was necessary to get a daylight look and feel to all of the images in the film.

Mise en place at the Le Jardin. Tamara de Borst has an open-kitchen with some amazing sunlight coming in from the top. The concept, to go close-up on vegetables and the hands that master them.

In this case the hands (-and arms) were inked with stories about vegetables, a combination we had to have in the film. The jump cut is left in there, the scene from which this was taken is a montage showing us different techniques and vegetables.