Catching the Action with Sebastian Kubatz: A Deep Dive into the Porsche Ice Experience
In this episode of the "Content Creator Society" podcast, we dive into the practical realities of content creation, exploring untapped territories with our guest, Sebastian Kubertz. This episode goes behind the scenes to bring you raw, first-hand insights from the world of professional photography.
Sebastian Kubertz: At Home with Porsche
Together, we journey with Sebastian, photographer for Porsche, as he shares insight on the devotion and endurance required to highlight the iconic beauty of one of the world's leading car manufacturers. From snapping the perfect shot to dealing with work pressure, this episode provides an upfront look at the life of an exclusive content creator.
Balancing the Act: Support and Sacrifice in Content Creation
In our discussion, we touch on the importance of having a solid support system while navigating the demanding world of content creation. Through Sebastian’s experiences, we delve into the need for mental balance - an essential yet often overlooked aspect of content creation.
Join The Adventure with Us
This episode offers a sneak peek into the life of those behind the lens. It's more than a podcast episode - it's an expedition into the untold stories and unseen aspects of content creation. We invite you to tune in to our podcast page to listen to this exciting episode featuring exclusive insider knowledge from Porsche's production process. It's a wild ride, but it's worth it.
Show Notes: Content Creator Society Season 2, Episode 2
Host: Bonar Bulger
Guest: Sebastian Kubatz, Cinematographer and Photographer
Duration: 22 minutes
Episode Summary:
In this episode, Bonar Bulger sits down with Sebastian Kubatz in Estérel, Quebec, to talk about his experience capturing the Porsche Ice event for Porsche Canada and Steak+Sizzle CreativeWorks. Sebastian shares his journey from a small-town boy in Leipzig, Germany, to a professional photographer and cinematographer for elite brands like Porsche.
Topics Discussed:
Introduction of Guests:
Bonar introduces Sebastian Kubatz, a talented photographer and cinematographer from Leipzig, Germany.
Sebastian has worked with Porsche in various capacities, including Porsche Germany and Porsche Canada.
Background
Sebastian recounts how he got into photography, starting with a Canon EOS 300D in high school.
He talks about his progression from a Canon EOS 350D to working with Porsche after an internship in media engineering.
Porsche Ice Experience:
The Porsche Ice Experience in Estérel, Quebec, is a unique event where Sebastian is on assignment.
Challenges of shooting in the cold, snowy environment are discussed, along with the beauty of capturing ice crystals and golden hours in Finland.
Career Advice::
Sebastian reflects on what advice he would give his younger self, emphasizing the potential of vertical video content.
Software Recommendation:
Sebastian recommends Adobe Lightroom for its organizational capabilities and ease of use, despite its slow performance.
Transcript
Welcome to the content creator society. My name is Bonar Bulger. This is episode number two of season two. Today we caught up with Sebastian Kubatz in Estérel, Quebec, as he was on assignment with Porsche Canada and Steak+Sizzle CreativeWorks, capturing the Porsche Ice experience. Sebastian is from Leipzig, Germany. He is a cinematographer and a photographer and an all-around great guy. And he's been shooting for companies like Porsche, Porsche in Germany, Porsche Canada, Porsche Leipzig. For years now. And we dig into where he all got started and how he got to where he was. So let's get into it.
Hello everybody and welcome to the content creator society season two, episode number two. My name is Bonar Bulger. I'm your host. And today we have Sebastian Kubatz. Sebastian is a photographer, a cinematographer. He is from Leipzig, Germany. I have been working with him for quite some time. But Sebastian, thanks for showing up.
Yeah, thanks for having me.
So let's just put some context here for a second. We are in Montreal. No, we're not in Montreal. We're in Estérel, which is maybe an hour northeast of Montreal. And we are here, or at least you are here, to cover the Porsche Ice experience Canada, correct?
Exactly. Yeah. I'm really excited to be here.
Yeah. Well, I mean, it's not Leipzig, but it's different. I'm lucky to have you aboard. So let's give a little bit of a 30,000 foot overview of kind of who you are and what you do so people can kind of get a sense of sort of your background.
All right. So I'm a photographer most of the time, but I like moving images. And most people recognize it in the photos as well, because I try to have them as dynamic as possible. But yeah, like I said, I also like moving images. So filming is a great part of my passion, I would say.
Right. And then, so you're from Leipzig?
I'm from Leipzig, Germany, born and raised there. And yeah, it's a nice town. Even though it's quite small and not as big as Munich or Hamburg or Berlin. It's one of the nicer towns in Germany, to be honest.
Just a small town German boy who made it to the big time, so to speak, out here in Canada. So I ran into you way back in 2017 at the 24 Hours of Daytona, where we had the Allegro Motorsports won the 24 Hours. So that was your first time covering Daytona and lo and behold, the team wins. So that was nice.
First time covering a proper race and a proper 24 hour race.
And you did a wonderful job. And it was all film at that particular time. You do a lot of work for not only Porsche Leipzig, but you do, I think, you do some work for Porsche Germany, like AG, correct?
Yes, exactly.
So what I want to cover is the Porsche ICE experience and sort of how that works. But before I get into that, I just want to get a little bit of background here, because I think a lot of the listeners would be interested to know how you got from point A, from where you started, to shooting for Porsche Germany. And I think we tend to look at these things through, you know, for example, we were over at Zuffenhausen photographing and filming this GT3 project. And I think a lot of people would be like, "Wow, you're an exclusive manufacturer. You're seeing stuff that nobody's seen before. And you're filming it and you're doing all these things." We tend to be like, "Well, you kind of forget that that's really awesome sometimes." So maybe, you know, let's start with where you started and then kind of how you got to where you are today. And, you know, I don't need this to be like an hour long thing. I was going to say, I don't know how much space you have on that. I may not have enough. Let's try to condense that down into a five minute, if less, kind of spiel. Go ahead.
All right. Well, it all started out back in, I would say, ninth or tenth class in school. A friend of mine had one of the, I'd say, one of the first digital SLR cameras. Maybe the consumer version of it, a Canon EOS 300D. And the first time I saw this camera, I was like, "What are you going to do with this camera? It's so big. It's so chunky. You can't put it in your pocket. It doesn't make sense to me." And way back then, these were times where cell phones didn't have any cameras in them. You had these little point and shoot cameras that you would take with you. And it would take four hours to take a picture and just review it on the back screen. And with this SLR camera, it was like instantly there. You could take a picture and the second you can view it on the screen, you could change lenses, you could have tele lenses, wide angle lenses. And you could do so much more. Something that we call photography, basically, because everything you have done with a normal point and shoot is more like hitting a button and don't think about it. And I like that idea and I went on and we went out for some photo walks, I would call it, just in nature, in the zoo, through the city. And I really liked the way, yeah, how you can view all your daily life, basically. And so I went on and probably about a year later, I took all the money that you get from your parents for Christmas and birthday, put it all together, saved it, and also bought my first DSLR, the Canon EOS 350D. And I didn't buy any lens because I was able to rent them basically from my friend back then. So that's how it all started out. And then a couple of years later, first of all, he teached me all the basic stuff. And then a couple of years later, it was the other way around, so I could teach him even more. And then I finished school, what happened next? That's a long time ago, it's hard to go back.
So then you went through this, you had this camera, and then where did you first start in shooting for Porsche in Leipzig? What was that first job?
So that was right after my internship there.
Ah, an internship, so you did an internship. So that was your in.
Yeah, that was my in with Porsche. So I studied media engineering, and then for my sixth semester, I had to do that internship thing. And just out of curiosity, I found out that Porsche Leipzig had an internship program for media engineering. So I applied there, and they were like, "Okay, yeah, let's do this." And then I was there for half a year, and then even longer, because they needed me longer. And everybody knew that I was taking photos back then. And so at one point when I was finishing the internship, they asked me if I could do some photos for them for their instructors. Just portrait shots. And they probably weren't thinking too much into it. But I saw an opportunity there, and I rented a big light kit and big camera, all the things that I didn't have back then. And I set up a really nice photo shooting in their location at Porsche Leipzig. And yeah, what should I say? They liked the pictures. They liked the way I did it. And after this, they just came up and said, "All right, we want to do more of that with you. So these are the opportunities. This is what we can do." And I was like, "Yeah, all right." I just finished my internship, so let's go.
So you started off with--and it was more of a freelancer sort of situation with them, right? So it wasn't a full-time gig. It was just, "Hey, we can do some more work." You kind of put this media kind of thing in front of them, and they just sort of bought it, so to speak.
Yeah, they saw the photos, and they were instantly hooked. They said, "Okay, we need more of this. We need more of this." And it was very fresh style and very dynamic. And it didn't take long until I was noticed by Porsche in Stuttgart. And so they came up and called me and also asked for different events that I could cover maybe. And that's how it all started out. And until now, it's almost 10 years later, I worked for most of the departments of Porsche, I would say.
So that's what makes it interesting for me. It's not just one and always the same work you do, but you get contacted or are in contact with different departments and can basically see all the different things that are going on there from internal events to marketing to press stuff.
So let's talk a little bit about Ice Experience because that's why we're here. And you were doing Ice Experience in Finland for quite some time. This is your first time doing Ice Experience here. What is the most challenging thing about shooting an Ice Experience event? And I think this is going to be very interesting for a lot of people because quite frankly, this is a really unique event. I mean, I suppose you have St. Moritz and some other weird, not that they're weird, but you know, like these bespoke events. But this is a little bit different. And there's one in China, there's one in Canada, and there's one in Finland. So you are one of a handful of people in the world who has the opportunity to cover this event. So what is challenging about this for you?
The most challenging part, I would say, is just the environment you're working in. I mean, with all the global warming now, it's getting a bit easier.
Yeah, this week is going to be super warm.
Which is sad because I like the cold. So this was, first of all, the most challenging thing to get along with.
Is it the equipment or is it just yourself getting cold?
Just yourself. Before I came to Finland, I thought that the equipment would be a real challenge. But in the end, it isn't really. Because usually you have the cameras in your hand, and your hands are warm. So that warms them up as well. So it's not that bad with the cameras, actually. But it's yourself staying warm, especially if it's really windy out there.
I was doing this event a few years ago, and I found the most challenging thing wasn't... I guess I was always really prepared, right? So there's a couple things. The heavy boots and things like that kind of tires you out fairly quickly, for sure. But also, I was trying to get a certain shot in Canada here. And I would go into the snow bank, and it was deep. I wanted to get the shot of the car as a taekwondo coming around the corner with the snow being thrown up, and there were pine trees in front of me. So I was trying to use those pine trees to create depth of field. The one branch would be a little bit blurred out, but it would be green. But you had to go into the snow, and it was like, "Dude, up to my waist." And it was hard to get there. And then you kind of had to leave your camera... It's like wading through water or something. You don't want your camera to see your hands. Now my arms are getting tired because I'm walking. That's what I find difficult.
Yeah, that's true. And I had the same situation a couple of times. But yeah, with all the new camera equipment, it's not so much of a challenge. I just leave the cameras hanging or put them somewhere on the snow bank and then try to get myself out there.
Yeah, yeah, yeah. But if it happens the first time, you're like, "All right, how do I get out of here?"
Yeah, I didn't get stuck, but the shot was great. In fact, there was a video shot, so I'll have to dig that up. I'll put it right here in the... I don't know. This is not a video podcast. Or maybe it will be now, but there's a great shot. So what is the most fun? If the most challenging is physically just making sure you're staying warm and also just the physicality of the whole project, what makes it fun?
Well, actually, the same. The weather makes it fun because especially when it's really cold and sunny, then there will be these little ice sparkle crystals in the air, which gives it quite a unique look and something that you can replicate in summer. And then also, especially in Finland, in the early year, early January, when the sun just comes up for two hours, you have two hours of sundown or sunrise, which is for us the perfect timing for doing pictures.
So I really enjoy that.
It's interesting. So you're so far north in Finland that you're getting a golden hour or morning hour for a while.
Yep.
See, we don't get that here. We're not that far north. I think we're about as far north as Leipzig right now.
Really? Yeah, I haven't checked.
Okay, I don't know. Google that because I'm not an expert, but I think I'm fairly certain we're not that far north over here. I think it's because we're inland, but I don't think Leipzig and here are probably on the same latitude. We'll have to look it up. I'll get my intern. I don't have an intern, but if I had one, maybe I'd be looking that up right now.
So that's interesting. So the other thing is you get northern lights up in Finland.
That's true, yeah.
So do you have to wait for those? How does that work for you typically?
Usually there's an app for it, and then you'll just put on the warning, and whenever that comes on, you just go outside and look at the sky.
I remember you had a photo, I think it was your photo, of a Panamera.
Yep.
Yeah, with the northern lights kind of over top of it kind of idea.
All right, so we've got basically the tough stuff, physically tough. Cold, a bit of a pain in the ass, but you can deal with equipment, no problem.
No problem.
No problem whatsoever. The most enjoyable thing is the same thing that's annoying, which is the weather.
Yep.
Making it crispy cold, ice crystals, can give you some really interesting looks. What is your... So a couple last questions, we'll finish it up here. Well, actually, three quick things, because I always like to ask this. What advice would you give the younger Sebastian Kubatz? So let's say 10 years ago, you ran into yourself in 10 years. What do you tell yourself? There's the little Seb who's got their new Canon 3, whatever the hell it was. What piece of advice do you give that person?
Actually, I never thought about that.
This is why the Content Creator Society is all about expanding your mind. I'm not going to let you get away from this one. I'll have a sip of beer. We're drinking Stella, so if they want to sponsor this, we can get a photo of us with our Stellas. I hope they do. I don't know. Not the worst brand. That's a ringing endorsement. Not the worst brand. I'll buy more of that. Okay, anyway, what advice, what would you tell a younger 10 years ago?
It was, what's it now, 2024, 2014.
I would tell them to do more vertical video. The funny thing is, back in the days when I was still in high school, we had to write, how do you call it? Like an essay or something?
Yeah, like an essay or a paper or an essay or something?
A paper or an essay that you have to write. And I was thinking about writing about shooting vertical video back then.
Interesting.
And that's been like 15 years or even longer ago. And I didn't do it. And I don't know why I didn't do it.
I will tell you why. Because you're a car guy, and as a car guy, there's nothing more annoying than having to shoot vertical video. Because everything in our world goes left to right or right to left. And it doesn't give you a lot of real estate to tell a story, because you've got a pan with a thing as it's going. But yeah, this was kind of an idea like 15 years ago. And if I see it now, how it's taken off, vertical video. Or also every vertical content, basically.
Well, let me tell you something. This is what Seb 10 years from now can tell Seb of today. Focus on 360-degree or 180-degree immersive video. Because that's really where things are going to be in about 10 years. It's all immersive. And that's using LiDAR. I sort of talked about this. We were off the air, so to speak. But that is really depth information and all those things. This is what's coming up. Especially now with Apple just releasing the Vision Pro.
Yeah, and even the MetaQuest 3 and all these things. But it will become a thing as technology gets better. And just as the phone back in 2007, and the iPhone in particular, changed the nature of our viewing habits, and they changed it to a vertical world, that's exactly where we are today, in my humble opinion. So mark this podcast. Come back to it in 10 years, and let's see if Bonar's correct.
Let me ask you two more questions I always get to people. The next one is, what piece of software, if you had a recommendation for someone as a content creator, and you had to pick one piece of software that you'd recommend. And this could be video, it could be photography. I know there's a lot out there. It's difficult to pick one piece because you're going to say, "Well, what's your purpose?" Pick one you like. It doesn't really matter what it is. But what would you recommend as your favorite, most go-to software? And just for context, it could be distribution. You could say, "Oh, I think Instagram's great." Or it could be Lightroom. There is a broad thing out there. What would you recommend to most people who are content creators?
I would say Lightroom. Lightroom is like a love-hate relationship. Because it's slow. It's really, really slow. But what I like about Lightroom is the way you organize your photos in those different catalogs. Just the way to go through them, through a pile of pictures. I'm doing a lot of event stuff, so I go through a couple hundred thousand pictures a year. So that's really easy with Lightroom.
So, okay, so that's your software pick. Where can people find you online? You're basically, what, Instagram's your best bet? Where's the best place to find you?
Yeah, Instagram.
And what's the handle?
It's Sebastian Kubaz
So, okay, so that's your software pick. Where can people find you online? You're basically, what, Instagram's your best bet? Where's the best place to find you?
Yeah, Instagram.
And what's the handle?
It's Sebastian Kubatz.
And you got that back after losing it from some time?
Yeah, that was two years ago already.
Yeah, yeah, yeah. That's a story for another day.
Thank you very much. This has been the Content Creator Society. My name is Bonar Bulger. I have been talking to Sebastian Kubatz of Leipzig and Porsche fame. I want to thank Sebastian for his time. I also want to thank Justin Dhama, audio engineer, for this episode. He took the audio and made it nice and smooth. You can follow us on Instagram at the Content Creator Society. And as we dial this all in, feel free to leave a review, leave some stars, all those things that help surface our little podcast. That would be appreciated.
Next week, we get to talk to Jon Simo. Jon Simo is a content creator and a builder and just a fascinating guy. And we get into this discussion about mental wellness and content creation, how it is a difficult job. It is sometimes a job that you are doing alone, and there's not always the support structures that exist in larger organizations to support content creators. A really great conversation. That's it for now. We'll see you next week.