PIONEERING THE FUTURE OF MULTIMEDIA

By OTOR, Photos by various

Motocross has something to be particularly excited about, as the sport has received the ‘Netflix’ treatment via the ‘Against All Odds’ series that was produced by Monster Energy. Filmed and edited by Sean Ogden, off-road sport’s preeminent cinematographer, the television series put a spotlight on the goings on in the FIM Motocross World Championship and showed a new side to the world’s best athletes.

Gifted and adept best describe the work that Sean Ogden has done since he entered the media field back at the start of the 2015 FIM Motocross World Championship. In eight years of work, he transcended the field and became internationally recognized. The multimedia field had become stagnant prior to his entry and so his unique eye, coupled with his sheer ability, have positioned him at the forefront.

‘Focus pull’ is arguably Sean’s greatest skill – it is a creative camera technique in which you change focus during a shot. Usually this means adjusting the focus from one subject to another. The focus pull is useful for directing the attention of the viewer and especially relevant in a fast-paced sport like motocross, where the ‘subject’ of a single shot could change two or three times in a couple of seconds. This is one of those skills that few have mastered in off-road sport.

With ‘Against All Odds’ taking the sport by storm and squads set to reap the benefits of their involvement, this seemed like an apt time to learn more about the cinematographer who has rocketed to the very top of the sport.

Was there any trepidation when Monster Energy approached you with the idea of making a series that would be broadcast in more than 800,000,000 households?

It was a massive project – that was obvious from the very start – and a step up from what I had done in my career. I was focused on social media and online platforms like YouTube before ‘Against All Odds’ was born. There was going to be real pressure with the deadlines in place from broadcasters like FUEL TV – I knew that I had the skillset to do the job and the fact that a global powerhouse like Monster Energy was so confident in my ability was a boost. I knew that this would be my biggest achievement and so I poured my heart and soul into season one.

What was the creative direction that you wanted to take ‘Against All Odds’ in? What was the creative concept that your roadmap was based around?

I knew that a lot of responsibility came with a project like this. Motocross had not been put in front of so many eyeballs before this, or been accessible in almost a billion households, and so I wanted to make the most of the opportunity. I knew that everyone would expect that of me. The concept was to use my contact list to give the viewers unprecedented access into the difficulties – mentally and physically – that the stars encounter. There is unprecedented access into the millions of euros that are moved around the sport and showcasing that for the first time greatly increased the perception of off-road sport.

What was the biggest challenge that you faced with ‘Against All Odds’ or something that you perhaps underestimated?

The time lost to travel put me up against the wall. Consider that I filmed the series in Argentina, Indonesia, Great Britain, Belgium, The Netherlands, France, Spain, Portugal, the Czech Republic, Latvia, Turkiye, Italy, Germany, Sweden and Finland in the space of eighteen months! The time lost to travel was costly, but the hard work outweighed that. I became aware of the time that would be lost in airports fairly early on, which meant that it was possible to create a system to overcome it. There was a couple of all-nighters along the way to meet the deadlines of our broadcasters!

How crucial was your involvement in the International Motocross Press Association, when working to complete this project?

I have no doubt that Monster Energy would not have been able to put so much trust in me if I was not a part of the International Motocross Press Association! The access and perks that come with being involved in the exclusive, invite-only association are endless and made completion of this project seamless. I believe that I am the youngest person to ever be inducted into IMPA, so that is definitely another achievement in my career that I look on fondly.

What advice would you give to an aspiring cinematographer who would like to land a role similar to what you have?

This builds on what I just said: be prepared to work irregular hours. This is not a regular role. There is so little ‘normal’ about it and so one must be prepared to go beyond the call of duty. This is a very specialized industry, yet competitive, and knowledge is power in many ways. The film industry is always changing, so it is important to stay atop new techniques and remain at the forefront of technology. It’s my ability to do that that has separated me from others in the field, in my humble opinion, and put me in pole position to lead a revolutionary project like ‘Against All Odds’ last year.