This is from a short film project I’ve been working on with the super talented writer / director / actor Ian Meadows.
This was a simple story about how a couple meet at the beginning of their relationship. This is MY edit of the rushes and it doesn’t necessarily make story sense. I’ve just given you all a selection of the shots to look at. Ian had very kindly given me permission to show some of this footage.
It’s been shot ProRes in FILM mode. And until the camera has finished it’s ProRes certification, I won’t be able to release any of the original camera footage. You’ll just have to be happy with this ! As soon as I can I’ll make some ProRes files available. (and DNG !)
It was shot with just myself and a sound recordist plus I had a focus puller, Ella Gibbons helping me out again. So entire crew is myself, a sound and focus puller. Ian was acting as well as directing along with the gorgeous Ella Scott-Lynch.
I did a very quick, mostly single node grade in Resolve after doing an edit in FCPx.
Lenses were again, the lovely Zeiss Compact Primes. The widest I had in the CP’s was the 28mm, so the two extra wide shots were done with the 15-85 Canon EF-S.
This time I also had the chance to put the camera onto a Steadicam Pilot. Now, I’m NOT a steadicam operator. I also only built the camera on the day with the rig and didn’t get a chance to practice with it at all. So the steadicam operating is very ordinary. I know I’d certainly fire me if I was selling myself as a Steadicam op ! But I wanted to include them just to show you because I thought they looked lovely from a lighting point of view.
I also did a fair bit of handheld. Most of the mid shots’ and close ups are hand held with the 35mm or the 50mm CP. I was generally shooting around T4 @ iso 800 (using T1 ND’s to get the right stop).
The one exception was the 2 steadicam shots which were shot at T16 @ 28mm. I didn’t have any remote focus motors so I went with DOF.
I was very happy with the way the camera handled the contrast. We often and shots where direct sun was hitting the cast and although I would try to avoid these scenarios in the staging, you can see sometimes you just have to suck it up. I was impressed though with how the camera handled it. Using the Zebra’s I simply made sure I exposed by looking at what was clipping at 100% and making a judgement on what I wanted to keep in terms of exposure.
Now for those looking for Moire and aliasing, pay attention to Ella’s cardigan. You can often see the weave of the fabric there, and on many DSLR’s I would expect this kind of pattern / weave to cause aliasing issues.
(by the way, there’s no sound)