One of my favorite things about the Olympics is learning the backstories of the athletes. They are the best in the world at their sport, and knowing their personal stories adds to the thrill of watching them compete.
This year, going into the Rio games, ‘Team Refugee’ athlete Yusra Mardini’s story captured my attention. In this video produced by the Olympic Channel, we get a poolside seat. I found the video inspirational. Mardini comes across as a relatable human being, and as an unstoppable athlete who has overcome incredible obstacles to get where she is today. After watching the piece, I am rooting for her and want to know how things will play out.
Leveraging natural available lighting at the pool(s) where Mardini trains in Berlin, the piece effectively combines interview and training footage, along with still photography (0:58, 1:12) to share her story and bring her infectiously optimistic personality to life.
The opening is powerful. Music and footage combine to quietly lead us into the story and set a hopeful, inspirational tone. Positive motion techniques are used as Mardini swims toward the camera (0:12). Use of detail is also effective as we see Mardini in a tight shot putting on her goggles (0:17). This moment draws us in, conveys a sense of commitment to the sport, and feels up close and personal.
I appreciate that the video is not gimmicky; and the choices to film at the pool, in the subject’s typical environment, where she’s wearing a swimsuit, cap, goggles, or in warm up gear with her hair pulled back. L Cuts (examples 0:19, 1:35, ) are used throughout the piece to move between poolside interviews of Mardini, her coach, and training footage. At 0:40, the perspective shifts, moving the camera behind Mardini, shooting over her shoulder as she looks toward an Olympic facility, conveying symbolism of her hopes and dreams.
Medium shots in the interviews used classic rule of thirds composition (0:23), with both nose and headroom. The environmental composition creates a strong sense of place by including the pool in the background. Motion and many different angles, lenses, and maybe a GoPro are used to create a beautiful cinematic effect as we see Mardini in the pool (0:02, 1:19, 1:23, 1:35, 1:40, 2:10, etc.).
The ending is strong. The pacing increases as we see Mardini swimming her signature butterfly. The video closes with a sense of future possibility; using negative motion as Mardini swims away from the camera, underwater (3:20).