Write up coming soon
Director : Guy Davies
Producer: Matt Brawley
Having worked with Guy Davies quite a few times, I believe this was one of the reasons why & how we were able to shoot 56 setups in 8 and 1/2 hrs. We had so much to cover in such a short space of time, but we were successful, a sigh of relief grew on our faces as the 1st AD crossed off each shot 1 at a time sometimes 2 at a time. It was hard work but such a great feeling of accomplishment, whilst not compromising in a way with negative repercussions.
During our meetings Guy expressed he was going for a surreal type of feel, “step right up, step right !” kind of vibe and wanted me to come up with a lighting design to act as a transition from the true ‘fans’ to the not so enthused ‘fans’. Every light was run back to a desk which were programmed accordingly. prep time took a while understandably, but once set, we were able to shoot at speed.
Shot on RED Epic 5k for a final aspect ratio of 2.40.
Writeup coming soon…
Director : Luke Biggins
Ghetts was absolutely stellar to work with, really cool guy.
From the get go Luke made it clear he didn’t want to shoot on green screen and comp a red background in, I wasn’t fond of the idea either, it just would look not as authentic so to speak, also there was an extremely tight turn around as the video was being released a mere couple of weeks after the shoot date, just means being more creative with the edit and grading rather vfx artists keying and roto-ing… I am always in support of the director, even though a few questioned painting the actual studio red !
And I knew just the right camera for the job.
Rebel was shot on the Sony F65, for a final apsect ratio of 2.40. This is my 2nd experience shooting on the F65, the first was Daps - I am Ian Wright. As I stated before I strongly believe the F65 is still one of the best cameras of image quality out there to date. Having filmed on a deep red cyc with black artists in front and still maintain such great colour separation is just fantastic. Black s remained black and the texture is just incredible. Of course a compressed vimeo / youtube version you really can’t see the full benefits, but watching on TV as its on all nation wide music channels, does make a difference obviously.
The red used isn’t quite primary, but close enough, and the channels did not clip, and the blacks didn’t go muddy. We were recording on RAW-Lite no where near the full quality and we were still recording approximately 12mins / half Terabyte !!! we had to treat the shoot as if we were shooting on film as we were just chewing through hard drives.
If I can have full D.I.T support with this camera, I would seriously consider shooting on this for my next feature, and of course if production can afford the many hard drives needed…
Director : Sameer Patel
This is my third video with Director Sameer. I notice the more we work together, the less we speak, just having an understanding of each other really helps – being on the same webpage, frequency, train…
Shot on the Canon C300 with Canon zooms and 1 prime – 85mm for a final aspect ratio of 2.40 : 1. The weather was on our side and we managed through the day quite well.
We shot Canon Log and really explored the depths of the image in grading, although quite subtle, it definitely drives the story forward.
I was pulling my own focus on this gig, which was one of the many reasons why I chose the C300 with Canon lenses. I feel at one with this camera and it really helps me to focus on the things that matter ie, telling the story.
just wanted to say that the Costume Designer Nazira Hanna and Makeup Artist Anna Thompson did an absolutely amazing job on the piece, everything just looks fantastic.
A great couple of days.