Under the floodlights the grit shows...

Production is still underway for Full Throttle with just a mere three weeks left until deadline day. I am getting quite use to the journalism side-quests now but last night's shoot was very different ...

screenshot of GoPro footage

I have attended the South Coast Karting circuit once before for my documentary filming, but this time I swapped out the equipment I have got use to as my mission was to capture an immersive, first-person shot of a driver getting into their kart and tearing around the circuit. And for that, I strapped up a GoPro Hero 12 onto a body harness which was then attached to a driver.

There was something incredibly raw about filming this close to the action and in particular at night when the track is lit from floodlights. But that is exactly why I wanted this night-time shot, to portray the atmosphere of intensity.

Focus

Pressure

High stakes

Adrenaline

All things that build the framework and foundations of my documentary.

The shot doesn’t just show speed, it feels like speed. Every vibration, every turn of the steering wheel becomes part of the storytelling. It gives the audience a viewpoint they’d never normally experience, and that’s exactly why I wanted it.

But shoots like this aren’t just creative they’re risky. Any time you’re working with motorsport, speed and machinery change the tone of the production. Even a controlled environment comes with unpredictability, and that’s why preparation, safety protocols, and clear communication come before the shot list.

To ensure production ran as smoothly and safely as possible, I ensured I had my risk assessment approved way ahead of time so my documentary tutors were aware and onboard with my filming. Briefing my driver was paramount before the filming could begin as well as ensuring all staff marshalling the race were happy for production to take place and this type of equipment to be used.

It’s impossible not to think about past mistakes production teams have made when filming such high risk shots. Richard Hammond’s near-fatal crash in 2006 during a high-speed production shoot for instance is an extreme example, but it’s a reminder of how quickly things can go wrong when cameras enter fast-moving spaces.

Image from BBC - Richard Hammond 2006 production crash

Even though I was working on a far smaller scale, and on a much slower moving vehicle, the principle remains the same, no shot is worth compromising the safety of the crew, the driver, or anyone else involved in production.

Thankfully, the shoot was smooth, the driver was incredible to work with and super keen to get involved, and the footage looks great. It is exactly the kind of immersive visual I wanted for the documentary and it’s moments like this that make the whole project feel alive.