One of the most enjoyable experiences I had last year was participating in the filming of a TV series called ‘The Science of Wine.’ This project originated from a Dutch production company, Farmhouse Films, known for their subscription channel, WinemastersTV. My first engagement with them was during a shoot about Portuguese wines. After a successful filming day in a chilly cellar, director Klaas de Jong proposed creating a series dedicated to wine science, with me as the host.
Klaas’s extensive background in managing bands and film production brought a unique quality to our project. In addition to streaming it on WinemastersTV, he distributes the series to platforms like Amazon Prime and Apple TV. One of his notable works, The World’s Most Expensive Wine, is popular among many airlines as well.
After some initial curiosity, I quickly agreed to the project. To date, we’ve completed five episodes and plan to film two more next month. Each episode starts with a question, which I present during dynamic driving sequences, and then we spend the following 25 minutes exploring the answer. While we aim for 2.5 days of shooting per episode, the first one extended to four days as we were still figuring out the filming style.
Klaas was keen for me to incorporate my guitar into the series, which added a musical element. I brought my blue Gretsch along, recording unique musical segments during each episode, which were professionally refined later.
The filming took us to various European wine regions, and due to the extensive equipment needed, we often had to limit ourselves to places accessible by road. We transported our gear in a large Dodge Ram, complete with a trailer that held lights, cameras, tripods, and even smoke machines, which Klaas is particularly fond of.
We faced numerous technical challenges that demanded creativity and a strong team dynamic. The four of us—Klaas, his two camera operators, Diedrich and Wouter, and I—developed a good rapport, crucial for navigating the long driving hours and the pressure of capturing everything smoothly under time constraints.
Filming was largely improvised rather than scripted. Klaas would outline what we needed to complete, while I would present my segments with a general topic in mind but with spontaneous dialogue. This approach helped keep the presentation fresh and engaging.
We typically arrived at filming locations the night before shooting began, using the subsequent morning to interview experts and scout ideal filming locations. Setting up the equipment could be time-consuming, as it involved arranging lights, cameras, and sound equipment.
As part of the process, we also filmed driving sequences and drone shots, utilizing a unique rig that allowed me to speak to the camera while driving. This method presented additional challenges, especially when navigating tight vineyard spaces with a trailer in tow.
I learned that securing a good take on the first try makes everything easier, although it’s not always possible. Maintaining energy levels while filming is vital to avoid delivering flat presentations, meaning some segments require multiple takes, which can become tedious.
Unforeseen issues, like adverse weather or equipment mishaps, added layers of complexity. For example, we once accidentally set up in the wrong vineyard, but after a sincere apology to the owner, we managed to continue filming without incident.
In this most recent filming block, we journeyed to Bordeaux, followed by Gaillac for shoot sessions with scientists and vineyard nurseries. Our travels later took us to Rioja and Germany, where we worked with experts at various research institutes. After two weeks on the road, I returned home from Düsseldorf, guitar in hand.
Now that the first episode is out, with four more to follow, I eagerly anticipate filming the next two episodes in Germany next month. Although the work is intense and demanding, the satisfaction of seeing the results makes it all worthwhile.