Lens Testing

Here’s some more tests for a TV series I’m in early pre on.

Earlier, I looked at the Sony F55 and the Alexa.

Having now decided to shoot with the F55, mainly because of it’s global shutter and smaller size while offering nearly the same DR as the Alexa but at 4K, I had to choose my lenses.

I knew I wanted to look at the Cooke S4′s, the Ultraprimes and the Panavision Primos.  I originally hoped to use the new V series Primos but they weren’t available despite some earlier tests I was able to do with them

I know it’s a particular favourite of the setup director that she loves out of focus lights, especially at night.  We’ll hopefully have some elevated city office locations which should give us nice lights at night so I wanted to also look at how they compared when they were out of focus as well.

I used some xmas lights for this and also had a look at the lens breathing (image size change with focus) as the lens racked through a pretty big pull.

I also looked at these at T4 and at T2.  I used a Tiffen regualr ND for this.  My collegue HOOK did the initial grade for this based on the ultraprime.  You’ll notice slight differences between the cookes and the primos and although they are small they are there. I could have balanced them out but left them with the same ultraprime “neutral” grade so you can see the differences.

You’ll ALSO notice the ND add’s its own colour cast as well.  At T4 with the ND6 in place, you’ll notice there’s a colour difference.

I’ve made it possible to download the files so take a closer look.

What other differences can you see ?








Posted in Production, Uncategorized | Tagged , , , , | 8 Comments

Curiosity…the best tool a cinematographer can have ?

CocoRosie - Child Bride

CocoRosie – Child Bride

Call it a new years resolution, but I’ve been thinking about trying to be more curious this year…actively curious…

Curiosity is a basic human emotion.  We are all seemingly and fundamentally curious as a species.  To try to understand when we don’t understand…

Curiosity is therefore a driver of both creativity and storytelling itself…To discover “what happens next” is one of the basic tenants of storytelling.  It’s what causes us to “lean into” a story….once we’re fed a little information, we all can make connections and assumptions about what may happen next.  And we need to know what happens next.  We also like to be surprised.

I think this is also why self directed multi linear narrative will never replace storytelling

Back in 2011 I made a new years resolution to actively take more risk with my work.

Curiosity seems to be the corollary of risk.

In the most literal sense I guess I can apply this to the technology and process of filmmaking.  I can be curious about cameras.  I can be curious about lenses.  I can be curious about lighting.  This is all the tech stuff.

I can also be curious about story. I can be curious about the story world itself…

So I’m aiming to make 2014 the year of the curious.  Yeah yeah I know it’s March already, but better late than never !

“It is a miracle that curiosity survives formal education.”

- Albert Einstein

Curiosity is a fundamental tool every cinematographer should have and nurture.

Posted in Philosophy | 9 Comments

Camera Testing – a four way comparison


I’m in very early pre-production for a new TV series.

I was keen to compare the Sony F-55 against the Alexa as this new show will probably feature a lot of on camera flashes, always a problem for rolling shutters like that found on the Alexa.  The global shutter of the F55 should take care of that issue, and the smaller size and apparently very wide colour gamut are also interesting.

I was also interested in testing their 4K RAW recording as well, so I set up a bit of a dynamic range test to compare them.  I also threw a 4K and 2.5K Blackmagic camera into the mix.

The first thing I did was find some skin tone so thanks to my camera department volunteer  Dane Howell for stepping in at the last minute.

The test was done at Panavision Sydney and was thrown together at the last minute so I had to scrape things together.  I would have preferred to do this at daylight colour temperature as most sensors get the most DR at around 5000K. As it was I metered the CT at 2870K.

Lens wise I used the new Panavision V series Primos for all the cameras.  The 40mm for the Alexa, F55 and 4K Blackmagic with the 27mm for the smaller sensored 2.5K bmcc.

I had a grey card along with a skin tone reference card ( both are Fotowand charts from friend Anders at The DOP Shop) plus an X-Rite passport.

Behind dane I set up a piece of poly with a 100w Dedo set to rake along it’s length.  I do this as a way of creating an exposure “ramp” that goes from near white to clipping.  It usually means I can compare the clipping point and it’s easy to pick what is and isn’t clipped.  This clipping point will also shift along the poly as I open the exposure or close it down.

In the deep background I tried to have something that was true black and near black.  Theres another piece of poly down there with some black stripes of tape on it.  It’s barely reflecting back some light and next to is close to true black (in the shade)

I basically assumed the native ISO of the camera was what the manufactured recommend and started off with that as the “Zero” point.  I then went up in half stop increments and down in half stop increments.  So you have + and – 3 stops either side of the manufacture recommended ISO.  You can extrapolate your own ideas about how to expose these cameras from looking and comparing.

So I lit Dane to be 102 Footcandles.  This gives us T 8 @ 800 ISO @ 25 FPS 180 Deg shutter for the Alexa and the BMCC 2.5K

For the F55 the base exposure for zero was T 8 2/3 while the 4K blackmagic was T 5.6.

So if you want access to these files, I’ll need you to leave me an email address in the comments field to invite you with.  I’m using Just Cloud and after uploading them all up there, I’ve now learned that I can’t publicly share a file over 50MB !  There are close to 40GB of files so I’m not uploading them all again to another server !

If you’re worried about spam just substitute the @ for “at”

Make sure you post back your findings too !


DR test

Posted in Uncategorized | 177 Comments

Slating like a Butler



They’re a tribalistic filmaking ritual.  Even in this digital age they are still ever present, a 100 year old filmaking tradition.  It also seems these days there are a gazillion slate “apps” that all ape the original concept…. two bits of wood being banged together on a board made of slate that you can write on.

The slate, as much as the camera itself, has become an icon for representing filmaking in action. Even the general public know that they’re an intrinsic part of the process.

There is of course a serious and useful purpose to slates, but that original purpose has also grown and transformed as well.

So really, let’s consider, what IS the purpose of the slate ?  Well, there are two primary reasons to slate.

The first is to provide a synchronisation reference for double system sound syncing.  An audible clap with a visual reference so that sync can be checked by an editor later on.  When recording sound separately it’s very easy for this sound to go out of sync through the various contortions of the post production pathways.  Timecode…even in 2013 seems to be inconsistently reliable.  A manual sync reference is a great failsafe for sync and checking sync.

The second is as a note to editorial to show what scene the shot belongs to, if any special processes are required in transcoding, and any other miscellaneous editorial relevant info. There might also be notes to post about which LUT’s to use for example.  The script supervisor also makes notes relevant to each take which flow through to editorial as well.  Camera sheets will also help the loader track down equipment failures like magazines that are scratching later on as well

There are great side effects to slating that I see on set.

I like to think of slates as the filmaking version of the starters gun.  It’s a countdown to the race beginning, the call of “action”.  It calms and settles everyone on set down and focusses everyone’s energy into the singular event even that becomes “the take”.  Actors and crew are used to the ritual of the calls and the act of slating and it’s a precious few seconds that allow actors to “drop” into character.  When those calls go out the crew start to quiet and prepare for the take.

You can literally see it happen with actors as the slate comes in.

I’ve been chatting with some of my own crew and some directors about slating technique and protocol and it seems in this digital age some discipline and technique has been overlooked…. and it occurred to me that it takes a huge amount of subtle knowledge to be able to slate properly. One director was bemoaning the fact that they had to keep staring at the loader’s face on the split right before every take during an important emotional scene.  They also took an interminably long time to actually announce the slate as well, totally distracting the beginning of the take.  “Doesn’t anyone know how to slate ?  Don’t they know how they can influence the beginning of a scene ? That they can set the tone for the actors ?  Why are they taking so long to announce the slate and get out of there ? What ever happened to the discipline of the film days where you’d get the slate and only the slate in shot and get the hell out of there ???”  It was a full blown rant…..

Like a butler, you need to be totally present yet not noticed.  The way you speak, the manner with which you slate can greatly affect actor performance and the on set ambience.  You’re also a constant visual representative of the camera department.

Let’s consider who actually sees you when you slate.  For starters the director is watching, probably in the next room, anxiously hoping their note to the actor will play in the scene.  The last thing they want to see is you goofing off, trying to find a camera, drawing pretty rainbows on the slate or pulling faces just before the call of action and taking an interminable amount of time to announce the slate.

So that’s just on set.  Then the footage goes to editorial.  Then the editing assistant has to sync it or check the sync.  Then the editor will look at it.  Then they’ll strike DVD’s or files for Producers.

So then the Producers will be looking at you.

Then probably some TV executives or EP’s as well.

Oh.  And then the director will watch rushes and again be reminded how annoying you were the first time for pulling that face the second time around (cause you know, it was recorded).

And then they go into the edit suite and start cutting and AGAIN they look at you drawing attention to yourself.

So just bare in mind, that there’s a huge audience of senior heavies watching you, people that one day might be considering employing you, and you’re representing not only yourself but the camera department and the general mood of the set (and by extension the director)…

So I’ve been collecting and gathering slate knowledge.  And I’ve been trying to come up with a slating manifesto.  These might not work for you, but this is how I’d like my slating to be done.  Let me know if you’ve got any other suggestions.

Like silver service you kind of need to be perfect all the time and not be noticed. You need to be aware, observant and sensitive to what’s happening in the scene itself and adjust yourself to suit.  You’re doing an important job, but you need to do it discretely and not be noticed.

Here’s how to slate with class.

The Slate goes in at the very last minute.  The operators are looking for issues in the frame as you run up towards a take.  You standing there holding a slate in a way that means they can’t be checking for reflections, or any other compositional things they might want to look at like lighting for the lead actor. After the AD has called roll and you’ve heard the confirmation of sound speed, THEN you present the slate to camera.  Not before.

Know your lenses and know how far away to stand.  There are several theories, but 1’ for every 10mm of lens is a good start. That means 5’ for a 50mm or 10’ for a 100mm.  Also knowing your lenses means knowing your minimum focus so you won’t be at 4’ on a 40mm that has a focus minimum of 5” will you now ?

Be Quick.  I almost want to make this rule number 1.  Get in say the bare minimum slate it and get out as quickly as possible without knocking anything over or causing a commotion.  Don’t annunciate every single thing on the slate for example “127 – 1” instead of Shot 127 take 1. And that could be “one two seven one” or “one two seven take one” to avoid confusion about the first number.

Don’t make the operator chase you.  I don’t want to have to go looking for you.  I don’t want to have to move my careful pre-framed or staged shot just to get a slate, then try and remember where I was framed.  Put the slate in the existing frame. Every time an operator has to move off their pre-frame to find you a kitten is killed….

Exit Strategies.  You should be planning where to slate from before they call turnover. You should be planning where to stand and then how you’re going to exit.  You should slate from the side you’ll be exiting camera from.  Don’t cross the frame.  Don’t put yourself in the frame. Some loaders like to look from behind the slate to use the filter reflection to line up the slate.  None of us want to see you. Exit without disturbing the actors, the camera or lighting.

Read the scene. Make a judgement based on what’s happening around you and work out how loud you need to be with your clap and your read.  If you’re on a busy street with a wide lens you’ll need to project a lot louder and towards the microphone (not the camera) than if you’re in a studio doing a discrete scene on a long lens.  You don’t want a loud bang right in front of an actors face either, especially on a sensitive scene.  Make sure you barely clap so you won’t disturb an actor who’s about to bare their soul, processing a note form the director or even trying to remember their lines.  The last thing you want to do is interrupt the beginning of an emotional scene that is the whole critical turning point of the entire film.

Be Steady. Always drop the slate into frame with the sticks open so there is no confusion with an MOS slate.  This is done so editors and assistants can find the sync point when scrubbing the footage at high speed.   Where possible always use two hands to hold the slate steady especially when near the faces of actors to avoid any catastrophes.  You don’t want to be known as the loader who injured THAT actor… Make sure you don’t cover any vital information with your fingers. While clapping the sticks keep the slate steady and count to one after the clap to make sure the editor can easily find the sync point. Once it has clapped don’t let it bounce open and cause any double clap confusion. If you make a mistake (which happens) call ‘second clap/second mark’ and CALMLY mark the slate again.

Keep it clean. The slate must be clear and legible.  It’s meant to be readable !  Don’t use funny or fancy style fonts or drawings/jokes in the corner. It makes it difficult for people down the line in post to glance quickly and know what’s going on.

Spell it right. The most embarrassing thing is to have spelt the Director’s or DOP’s names wrong so check it and double check it again before putting it out there. Humiliation really.

Get it right. It’s YOUR job to actually have the right numbers on the slate in the first place.  The script supervisor rules here and it’s best you fall into line unless you want them yelling corrections at you as you’re calling it in shot and therefore giving “bad service”. There are also several different numbering systems and every script supervisor has their own way of doing things.  Do it the way they like and your life won’t be hell. Seriously. Learn their system and do it the way they like.

Let there be light but not too much. Make sure you always have a torch handy to put light on the slate in a dark scene, or when it’s a brightly lit set angle the slate down slightly to avoid reflections.

Don’t walk away with the slate. If you have to leave the set for very important jobs like making coffee for me then leave the slate next to the camera with a marker so that the production is not held up waiting for the slate to return….and my coffee.

Don’t walk away with the slate. When shooting multi-camera it’s great to try and get a common slate but don’t get caught trying to make it happen, if you need two separate slates then do two separate slates. This is a common mistake when shooting a wide shot at the same time as close up, remember there’s no point putting a slate on if the editor can’t see what’s on it. Also announce each camera as you mark it.  “A” mark and “B” mark for example.

For slates that aren’t the norm. 

I love tail slates though continuity and editors hate them.  I like them because it means I can pre-roll into a scene.  I make it a habit to roll a few seconds at least before the actual call of turnover as I ALWAYS get shots that get used in the cut of an actor doing their thing in the run up to a take.  A slate often ruins my “stolen” shots so I’ll often ask for a tail on my camera.

For tail slates make sure that you identify by calling the numbers at the head of the scene and make sure you call out when the director calls cut so that camera and sound don’t cut before your slate is in there. At the end of the take drop the slate into frame upside down to mark and then turn right way up so that editorial can see the numbers.  Make sure you come up with a suitable punishment system for operators like me who always forget and cut before the tail slate comes in.

It’s a classic loader mistake to yell for a tail slate thinking the scene is over, but when the director hasn’t actually called cut.  Another sure fire way to earn the ire of any director is to run into the scene in the middle of a take with a tail slate !

For MOS to avoid confusion make sure your fingers are in between the sticks to identify there will be no mark and hold steady in the frame.

Always talk to to the script supervisor.  Make sure that what your slate says matches what the continuity notes say. What the continuity person says goes, traditionally they are a representative of the editing department so it’s their call.

Here’s a final note….watch this amusing compilation of slates from Inglorious Basterds. Although hilarious, it perfectly illustrates WHY YOU SHOULDN’T slate like this.  Notice how often it *infects* the actors as she comically announces the late ?  Notice how the actors are often in character but are distracted or comment on the slate ?  That’s a no no in my book.

Only made possible with the awesome informal input of several directors, post supervisors script supervisors and especially my long suffering focus pullers and loaders, Jessica Clarke-Nash, Jade Court-Gold, Cam Gaze and Grant Sweetnam.  You’ve all taught me how to slate like a butler.

Posted in General, Philosophy | Tagged , , , , , , | 20 Comments

Hard Clipping

So it seems there was a “calibration” problem with some of the first Blackmagic Design Pocket Cinema Cameras shipped. Many users have reported a kind of hard clipping, often described as ORBS or BLOOMING.

It’s worth looking at exactly what this is and why it happens.

The problem is that once you describe something as an “orb” then you can start to see orbs in almost any footage including those from cameras that aren’t Blackmagic Cinema Cameras.

Orbs can be created through any number of factors and are greatly affected by sensor size, lenses, exposure, where you set focus and what kind of lights or “orb” sources you’re shooting.  So lets’ say orbs are normal.  You get them whenever you have a small point source like the bare filament of a bulb at a distance or a small glint from the sun off a car.  It could also be lights at a great distance that are out of focus.  They are usually super white or beyond clipping.  Once out of focus they become even more “orby”

Once the sensor clips then it renders that detail white.

Specular highlights and small sources with extreme overexposure can cause a kind of hard clipping with the Blackmgaic pocket cinema camera, as opposed to “orbs”.

It barely was present in my own early footage and it seems to have been much worse in the production versions of the camera.

BMD have come up with a fix in the space of a couple of weeks.  I’ve got both an uncalibrated production camera and a calibrated production camera so I thought I’d shoot them side by side with a bit of a highlight orb torture test.

One thing I’ve found amazing is that once you start looking for “orbs” you start seeing them everywhere !  Various forums have been rife with “orb spotting” and many of them have really just been regular clipping on small point sources.

As I mentioned, it’s normal to have a kind of orb with a hot point source of light when you clip or overexpose certain objects. Look at my iPhone photo below in the same setup I’ve tested with below.

This is why I’ve never been comfortable with calling it ORBS or BLOOMING because it doesn’t really accurately describe the fault and creates a false impression of a problem. To my eyes, it’s a “HARD” or HARSH” clipping that occurs on overexposed or super white point sources of light.  So we’re looking for HARD clipping and HARD clipping that eats into foreground images, not ORBS.

Here’s a shot I took with my iPhone.  Would you call this an ORB fault ?  I wouldn’t.

2013-09-11 19.39.11

So here’s what I did to try and create the effect.

I got a mirror ball and pointed a 100w dedo at it.  Right beside it in-shot is another 150w bare dedo bulb.

In the foreground I placed two plants, with the middle ground slight obscuring the 150W dedo in the deeper BG.

I wanted to set up a few “orb” scenarios and look at both re-creating the effect and also showing that there is a more “normal” kind of clipping orb.  Again look at the image below, taken with my iPhone.  Note the clipped “orb” highlight in the mirror ball.

2013-09-11 18.01.42


So below is an edited version of what I shot.  You can download the original ProRes files here.

I’ve shown both the un-calibrated camera and a calibrated camera.  You’ll notice that it’s very difficult to pick much of a difference on the mirror ball’s occasional hits from the dedo.  Where you’ll see the hard clipping most in the first clip with the 150W dedo that’s in shot and you’ll notice it actually has a hard and ugly edge and kind of “eats” into the foreground flower.

In the calibrated camera, you notice that the 150 lamp is still clipped or blown out.  You could even say it’s an orb too, but there is detail in near clipping, and you can also make out more of the flare.  There’s also none of the circular hard edged clipping that eats into the flower in foreground you see in the previous example.  I also did some small blow ups and a large scale up as well so you can really look at the hard clipping close.

You should also note, that the black sun effect is also now gone from the image in the “calibrated” camera.  The next firmware release should incorporate this.

Finally, just because I hadn’t had the Zeiss CP2 50mm Macro on before, I did a quick grade on the footage showing off some lovely close detail.

Direct link is here


And some final proof.

2013-09-11 18.00.46

2013-09-11 18.01.07

Posted in Black Magic Cinema Camera, Equipment | Tagged , , , , , , | 10 Comments

The Ravens – Pre-Production testing

I’ve been in discussion for some time with Director Jennifer Perrott for her ambitious short film The Ravens.


Raven_shoot 010


One of the tricky things about executing this short will be photographing what I’ve since learned is one of the most intelligent and therefore “un-trainable” birds, the Raven (or Australian crow).

For extra complication, we also have a young child interacting with a Raven….what was that about children and animals again ?

One of our early tasks is to try and work out what we can do to meet the storytelling requirements  using real live ravens and then explore augmentation or perhaps digital ravens.

We organised a preliminary pre-test shoot to look at a  few things.  Firstly we’re auditioning the trained Ravens and seeing what they were like to work with and what we could expect from them in terms of performance, how long they would take to get used to us and if they could even do what we required them to do !

The star of this shoot was Russell (Crow).  He was a very handsome looking bird and we were able to get some amazing shots of him perched and flying. And he didn’t even throw a phone at us ! – and yes…I am wearing safety glasses !

Behind the scenes some EPK footage was shot using the Pocket cinema camera and a Lumix 14mm lens.  If you want a *sort of* greenscreen test with the pocket maybe this will be of help too.

Here are 6 ungraded ProRes shots.

photo 1

Posted in Black Magic Cinema Camera, Production | Tagged , , , , | 19 Comments

CocoRosie – Child Bride

When Emma Freeman asked me to be a part of the CocoRosie music clip “Child Bride” she sent me the image below as a reference.

It was a simple wedding photo. A girl sitting next to her husband on her wedding day.

Child Bride

It was the first time I’d been exposed to the practise of girls marrying so young. According to Girls Not Brides, every year 14 million girls under 18 are married and one in seven girls in the developing world are married before they turn 15, some as young as 8 or 9.

Many are not emotionally or physically ready to become wives and mothers. Despite often citing cultural reasons, it’s usually more likely to be for a dowry “price”. As wives, it also generally means these girls lose their access to any education and independence.

CocoRosie were inspired to write a song that dealt with the dark journey of a child bride.


Emma wanted to create a dark and fable like imagining of a child brides journey. She didn’t want to make it culturally too specific as it’s practised in many countries and by many cultures.


Talking to Emma, I realised that in fact she wanted something that was completely UN-Australian in terms of it’s look, something would be more “European”. That meant trying to avoid the harsher Australian sun and typical Australian landscapes. Luckily she had found some amazing locations about 20 mins out of the small tourist town of Daylesford in rural Victoria.

The clip was shot over 2 days with a very tiny and dedicated crew. We were actually very lucky with the weather. We were hoping for overcast conditions to keep the low contrast non-australian look going. Our first location was Lake Daylesford itself, a very “english” looking lake where we set up a tiny rowboat with our “groom” played by Jasper Begg and child bride to row across.


Using the RED EPIC and the Canon 30-300 supplied by Inspiration studios I was able to pick off a number of shots as our groom attempted to row across the lake ! We shot 5k WS on the RED using Redcode 7:1 . I knew we’d also be doing a lot of handheld and I love the RED EPIC for it’s really small form factor and higher frame rates compared with say an Alexa.

I was able to *just* get into the rowboat along with the groom and our bride. Apparently the boat was sitting very low in the water ! I was able to shoot some terrific sequences of the groom rowing and our bride taking this journey to her new home.

The RED EPIC is very flexible in that it can very easily be converted down into a smaller form factor and putting on small primes like the Zeiss Superspeed CP2′s You can make it ultra compact. So with the 50mm CP2 Superspeed fitted and the frame rate dialled up to 100FPS, I went for a row on the lake. Quite tricky in the confines of the tiny row boat that had been dressed by designer Tim Burgin.


Emma had also found an amazing non-native pine tree forest on a steep hill. At least one of the good reasons for shooting in winter is that the sun sits so much lower in the sky. Emma wanted to shoot some more travelling sequences where our groom was moving through this fable like landscape taking his bride home and we shot some lovely handheld sequences on the steep slopes of this pine forest mountain.

We also had to create the images for an imagined sequence where our bride has arrived at her new home and is imagining escape. Again the heavens were kind to us and we had a sudden burst of sunshine. Letting down her hair we set her running through the forest and got some lovely shots. Also done very simply, just hand held at 100FPS.

Lighting was very simple for this setup. I used a 6×6 Ultrabounce outside the window and added two of the amazing CreamSource lamps to it. With the lace of the curtain that was already dressed into the frame, I had a lovely soft ambience for the room.

Nearby we had a field of grass which would be an imagined place of escape, where she again would enjoy the sun on her face and the wind on her hair. Once again the good karma of this job meant that the weather was great. We had a small burst of sunshine that was perfect for our idealised and imagined escape.


The second day was based around an amazing interior that Emma had found. The building was actually built in the 1860′s and had been in the same family continuously. It hadn’t been lived in since the 1900′s and I happened to open a box inside that was filled with newspapers from 1933 !

With some simple dressing it became the home of our child bride and her parents. We shot a very moving sequence where her mother prepares her for marriage on her wedding day. She’s being bathed, having her hair brushed and braided, her red wedding gown being put on.


Director Emma Freeman flanked by Emman Debattista and John Ibrahim

Emma had always planned to shoot our young bride, the amazing 8 tear old Imogen Verocchi lip syncing and singing the song, but because she was so young, we weren’t expecting that she would be up for it. We tried a couple of takes and she was struggling a little, but on the third take with a little coaching from Emma, she suddenly totally rose to the occasion.

She sang it with defiance and a knowing that had me and my focus puller in tears as she sang. That one single take is what it’s in the clip now and is one of the most special and amazing shots I’ve ever been a part of.


The final sequence of the day was the wedding itself. Shot near dusk at a nearby exterior we had a short amount of time and some great extras to make up the wedding party.


Post was relatively simple with the awesome Blue Post providing an initial transcode and final delivery. The final grade was done by Annelie Annelie Chapple at Blue Post Sydney using Resolve.

I’m so proud of this clip and for being given the chance to contribute to growing awareness of this important issue.

Special thanks to my crew including the fantastic focus puller Grant Sweetnam, Gaffer Adam Hunter, grip Mark “Magic” Hanneysee and data wrangler Tim Burgin

Direct link is here

Director, Producer & Editor: Emma Freeman
Producers: Leanne Tonkes, David Leadbetter
Cinematographer: John Brawley
Production Design: Tim Burgin
Stylist: John Ibrahim
Costume Design: Emman Debattista
Make Up & Hair Stylist: Claire Leighton
Camera Assistant: Grant Sweetnam
Data Wrangler: Ben McCullough
Gaffer: Adam Hunt
Grip: Mark Hanneysee
Art Department Assistant: Alisa Luxford
Director’s Assistant: Jackie Fazekas
Production Assistant: Oliver Tummel
Colorist: Annelie Chapple
On-line Editor: Jo Spillane
Post-Production: Blue Post
Visual Effects: Scott Zero
Child Bride: Imogen Verrocchi
Husband: Jasper Baggs
Mother: Alice Chaston
Father: George Zachs
Ceremony: Russell Petherbridge, Joan Mackenzie
L1001419-Edit L1001337-Edit L1001232
Lighting was simple.  Acouple of cream source lamps into a 6x6 Ultrabounce for the Bride's house

Lighting was simple. Acouple of cream source lamps into a 6×6 Ultrabounce for the Bride’s house

Director Emma Freeman

Director Emma Freeman


Posted in Production | Tagged , , , , | 9 Comments