Get Back from The Lincoln Motor Company on Vimeo.

Here’s a great behind the scenes video done by the wonder kid Will Mayer…great message in itself.

Behind the Scenes: Get Back from The Lincoln Motor Company on Vimeo.

Eliot beautifully crafted the performances of a real life couple, Becca Buckalew and Scott Pezzini, into this story; What happens when technology infects our lives and stops us from being present in the moment. It’s something we should all reflect on.  We had a very small crew for this which allowed us to explore the intimate moments.

The job was a very small budget and we were working with a real life couple, not actors. We had to be very minimal with our lighting and footprint and allow them to just be who they were. They were amazing and Eliot did an incredible job of guiding and directing them.

Will Mayer, first AC and collaborator, pulling focus off a fiz and filming behind the scenes at the same time.  Edward Salerno expertly lit the vignettes using small light sources; The philips Hue LED bulbs in a china ball and in lighting fixtures, as well as the Hive Plasma Par at times for some of the daylight setups.

We used the Red Epic with Zeiss super speed lenses and a vintage canon Tokina AT-X 90mm f/2.5 Macro lens. The canon Lens is a vintage FD lens and can’t focus to infinity on the red epic with the adapter. I use it only for getting close up results and I love the look.

I’ve wrote about this before about my shooting style, but I love using the easy rig with the oconnor ogrips. The ogrips are very adjustable and I don’t hold the camera in a traditional way. I like to have it out in front of me, or sometimes low or high. I almost never have it on my shoulder. I like to shoot in a documentary style because of my background and capture the scene/subjects in the moment. The adjustability of the ogrips allow me to change positions quickly on the fly. Its important to be fast so you can adjust and capture everything that’s happening in the scene in front of you. If you lose a moment while adjusting sometimes that moment is gone forever.

Also used the Cal Digit AV Pro USB 3.0 (firewire 800) drives. Fast, dependable, well built drives. They have removable drive modules so you can swap out the drives with just a click and a pull which saves time and money. THe reliability and ease of use was extremely important because Will and I were doing all the transfers. The Cal Digit AV pro can also take SSD or HD drives so it’s future proof. We carried these with us everywhere and they worked perfectly. Ive been using them for everything lately. There is a thunderbolt version forthcoming.

The end result was expertly colored by Tyler Roth at Company 3, using remote color grading. Tyler was coloring in Chicago while Eliot and I were in a color suite in Santa Monica Company 3, talking to him and watching him grade live. Amazing how far technology has come in such a short period of time.

The post Get Back, a Vimeo short film appeared first on The Image Hunter - Shot in the Wild.

REVISED 5.4.2013:

Audi spot is finally up! Check it out here!

Audi E-Tron (Director’s Cut) from Rob Chiu on Vimeo.

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PREVIOUS ARTICLE:

Finished a spot for Audi E-tron a while back, directed by the one and only Rob Chiu and produced by Stink. Although it’s been long delayed in being released (hopefully come out soon) here are some behind the scenes pics and descriptions of the process. The spot is a lifestyle piece that focuses on a future that’s right around the corner. The Audi Etron in the spot is a prototype,  the piece is about the future of electronic cars and the blending of technology into ones everyday life and the organic nature of it. Rob has a great skill for blending the futuristic with the organic and I think he really nailed this spot.

The Camera package

On the Red Epic we used the Hawk V-Lite Anamorphic lenses and sometimes mixed in the Vantage Blue streak filters. The Hawk V-lites are very sharp, beautiful lenses. Coming in at 20% from their V-series brothers, they are still fairly large and very expensive lenses, but oh-so pretty. We had focal lengths of 28mm, 35mm, 45mm, 55mm, 80mm, and 110mm that all open to a T2.2 (the 110mm is a T3). They have almost no flair and that’s where the blue streak filters come in. If you’re not familiar with streak filters they have lines embeded in the glass, that catch the light and cause flair. They can work fairly well in longer lenses, you just need to watch out for seeing the lines in the flair in wider lenses. We ended up using them in just a few shots when we really wanted the over pronounced flair.

Lighting the Car
We had one day with the Audi E-tron electric car and the rest of the shoot was more intimate filming people living their futuristic organic lives (and what that entails.) The script called for shooting the car in a huge white gallery space. Usually this kind of shot would be done in a studio with a giant soft box overhead, and so we had to create our own. Car lighting is a lot about shaping reflections in the panels of the car, and getting a nice soft light around it. Because it was an all white car and background reflections didn’t have to be controlled as much and so we focused on giving the car and environment a nice look and contrast ratio.

Rob contemplating the back end of the car.

The whole setup

We had a mixture of units in play. From the side and back we had a few 1.2 and 1.8 and  a 4K par for hitting the talent and back edging the car. The ceiling was white as well so we were able to shape our own overhead softbox by hitting another 4K HMI par and 12K HMI into it giving a nice top bounce. We skirted off the front near camera to control the bounce.

The black flags are to cut the bottom reflection on the car

To add a bit of pop in the background and give the shot a more futuristic edge we string kino tubes in the background that were used in the shot. We worked with art department to add little cardboard sconces in between to make the lights feel architectural.

Flagged the top to control the top spill

12k into the ceiling and a joleko skip bouncing into the talent

The future still has plumbers crack

Lighting the future guy in front of the car
A lot of the spot involved the actors interacting with glass displays that would eventually have graphics added on in post. Below we have the actor interacting with a glass interface with the car in the background. We made sure we positioned the glass to catch the reflections of the other lights for this closeup.

Closeups involved catching the reflections of the lights in the glass and the right flair

The actor is mainly lit with LED’s from Outsight, the Creamsource classic and the Creamsource Mini Bender (more on the blender later). The Creamsource lights are really well made, powerful leds with the classic equivalent to a 575 Hmi and the Doppio equivalent to a 800w hmi. You can see the specs for the mini here and the classic here. Lots of punch but can also serve as a big soft light with diffusion. They’re also dimmable with no color shift. The blender you can vary color temperature with. They’re also low profile so you can fit them into lots of thin locations. We had a cyan gel on the lights to mimic the light from the screen, and kept the edge light a cooler white to match the background car lighting.

Catching reflections

CU of the Creamsource classic

Matthews DC Slider
We also found the Matthews DC slider to be very usefull. The slider is great because you can use it both as a short jib and slider. This shoot used lots of handheld operation but when we needed to use the slider it was fast to setup and easy to use.

Setting up the Matthews DC slider

Building the Matthews DC slider

An experimental video we did showing building the slider. We suported the slider with C-stands which normally isnt necessary, however we were on the edge of the weight limit and wanted to make sure it was secure. The HD DC slider was not out yet that handles the heavier cameras and would have handled it without problems. The DC can definitely handle a stripped down Epic though.

MSE Facebook Page
DC Slider Vimeo

Lighting the woman on the road in a different car
Part of the shoot involved filming a woman looking out the window of her car on the way to the beach house. The graphics are to be overlaid onto the window.

Shot in downtown Los ANgeles we caught some great reflections off the window

This shot was in downtown Los Angeles, mixing the beautiful reflections of the downtown buildings, and the light that we had mounted above the camera.

The car rig before the light was mounted

I sat in the front seat to watch monitor and later at night, to cycle through colors and dim the light

The red monitor was hard mounted to the rig so I could see it and adjust exposure (I was riding in the passenger seat). The above pics are from the daylight car shots. For the night time we mounted the Cream source Bender to the rig above the Camera. This is where the Creamsource really shined. The Blender allows you to change color temperatures on the fly from 2700k-6500k.  I had a remote that let me cycle through the color temps, as well as dim up and down. As the reflections changed on the window we would change the lighting to match it, as well as dimming in and out to match the street lamps. It really worked perfectly for the car shots. The bender has an equivalent to a 200w HMI (or 400W when running in middle of the color range).

The Creamsource blender, hard mounted to the car rig

Creamsource remote

The table of the Future
Lastly we needed to have a futuristic table during one of the office shots. Production design brought in a clear plexy glass table and we stuck our light ribbon LED’s  from Litegear around the outside of it to create a cool glow and reflection across the glass. I’m trying to build one of these tables for my house right now I liked it so much. I won’t give all the shots away but we used lite gear lite ribbons alot in this piece. Their lights are quick to setup, have high CRI, are dimmable and you have different options in terms of color temperature and output. I use them all the time.

Hopefully the  Audi Etron video will be out soon. Will update this post when it’s released. Thanks to my amazing Gaffer Tim Gillis, The equally amazing Key Grip Greg Karamov and AC Leoncio Provoste.

Written by Eric Koretz

For more of Eric’s work, please go to his website at www.theimagehunter.com
Twitter. theimagehunter

The post AUDI E-TRON spot: LIGHTING CARS & PREDICTING THE FUTURE with the Red Epic & Hawk Anamorphics appeared first on The Image Hunter - Shot in the Wild.

The Philips HUE – color changing LED bulb

On set (and in my house) I’ve said goodbye to incandescent bulbs and photofloods. I’ve been using the Philips HUE, color changing LED bulbs in my practical fixtures.  The Philips Hue bulbs are consumer LED RGB color changing bulbs that can be controlled with your iphone through an app. They are great because you can control the color temperature and output on the fly. This is important in being able to quickly change the mood for the story as well as for lighting efficiency. The dim-able features saves time on set because everything is accessible by the app, and the color temperature doesn’t change when dimming (unless you want it to). The output of the bulb is 600 lumens and it draws 8.5 watts. When you group the bulbs together you can get a decent amount of light from them. One drawback is they seem to flickr and anything but 1/5oth of a second, so your pretty much locked into shooting 24Fps.

Dont remember how far was exactly – Rifa with 3 bulbs was probably about 4′ away from subject with no diffusion

The last few commercials and projects I’ve been using them for more than practical lights. We’ve put them in a westcott TD 5 and a strip bank Chimera and keyed the subjects with it. Also using them in a rifa with an edison adapter and in a china ball, dropping multiple hanging edison fixtures into it.

Rifa 88 with EX 3 bulb adapter

The APP:

The app is kind of clunky, but once you get used to it, changing colors and dimming on the fly is easy. There are preset pictures that you can set colors from or add your own. Essentially you can take a picture, import it into the app and then select a color from that picture for the bulb to output.  I found that blues, purples, oranges and reds can get a pretty good saturation with it. It lacks saturation and accuracy in certain hues such as cyan and green. It is definitely a consumer app. Color isn’t  as accurate as I’d like, but you can get in the ballpark for most colors. You can put lights into groups by dragging them into each other and control individual bulbs, groups, or overall bulbs at once. You can have up to 50 bulbs at once.

The App screens

Gaffer Roberto Schein made this convenient image to import into the app, allowing you to get close to the colors of the gels. How close it actually is to CTO/CTS/CTB is subjective but it atleast puts you in the ballpark of controlling the colors in a more accurate way. You can also take screen shots of gel swatches (from various Gel Swatch apps) and then add those swatches into your hue app.

Import this into the Philips Hue app for more accurate color swatches

HOW IT WORKS:

In my kit I have a wifi router that I bought very cheap from Monoprice (around $30) and the “hub” that comes with the 3 light Philips Hue kit. You don’t need an internet signal for the Hue to work, as it relies on the zigbee protocol (enables wireless communication between system controls) and wifi signal that comes from the router. The router connects to the hub via an ethernet cable & once a bulb is in  a powered edison socket, your lights should be working. Because your phone won’t be able to connect to the internet (unless your router is plugged into the internet), I have a dedicated old iphone 4 that has the app on it. This lets your gaffer check his facebook with his own iphone and use the dedicated iphone just for the Hue app. I made the mistake at first of buying two separate 3 light kits thinking they would link together (they come as a 3 light kit and a hue hub). You have to buy INDIVIDUAL hue bulbs to link with each hub. The 3 light kit is $199 now and each individual bulb sells for around $59.

Gaffer Packy Lennon changing a lightbulb and checking facebook at the same time

Bag o’ bulbs and LED Strips

USING OTHER RGB LED FIXTURES

I’ve also been using other more pro RGB fixtures on set. I love having the ability to change the color temps and light output on the fly.

On set using the litegear lite ribbons (as architectual lights), Arri L-7 and Ikan RGB led all in one shot

Using DMX controllable tools like the ARRI L-7, Litegear RGB lite Ribbons help that. I’ve also been using this 1×1 lite panel from IKAN which works off of DMX setup and has the full RGB spectrum.  Sadly IKAN discontinued the light, but I Love it because of its ouput and wide color range.

The IKAN RGB LED 1×1

I just purchased an Enttec DMX ODE lighting control for all of these lighting fixtures. It works with another ipad/iphone app called Luminair and allows full DMX controllability. You can also use a full DMX board when you dont have to be as portable and if you have more lights to connect it too.

In a time when we are required to be faster but keep the same lighting standards on set, these tools are extremely helpful in a DP’s job. They’re somewhat expensive but coming down in price and worth every penny for the control they give.

By Eric Koretz - twitter: @theimagehunter
website: www.theimagehunter.com

The post PHILIPS HUE -& LED RGB ON SET appeared first on The Image Hunter - Shot in the Wild.

My projects vary in size and scope, but there are a few items of gear which remain consistent. The IKAN MD7 is one of those versatile pieces of equipment that I use on every job. The IKAN MD7 - 7″ is a High Brightness 3G-SDI monitor that  is capable of 1100 NITS of brightness. The has a resolution of 1024×600 and features Waveform, Vectorscope, RGB Parade, VU Meter, 3G-SDI x 2, HDMI and HDMI input to SDI output conversion and some great focus features. Combined with the Monitor Support rig, the grips gives feel solid and well built. The monitor is extremely well built and you have the option of using any sort of battery back you want.  The MD7 serves multiple purposes depending on the shooting situation.

For the Director: Directors love it because of the beautiful display and the ability to hold the IKAN monitor all day. It keeps them free to move around with the actors, or subject and be close to camera when needed. Also the 1100 NITS of brightness lets them see the image, even when its mid day sun pounding down.

AC’s Focus Monitor - The MD7 is great for AC’s. It allows them to be off the camera with a remote focus attached. Often I’m shooting fast action or doc style where we need to follow the subject around without being tethered  The IKAN MD7 combined with a wireless HDMI transmitter like the Paralinx arrow allows me to do just that. The high brightness feature again makes this the most versatile monitor on the market. It allows the AC’s to crank up the brightness and just get the focus without any problems. When you are moving fast this high brightness feature is extremely effective and necessary to just getting the shot.

DIT and Reference: With a resolution of 1024×600 and features Waveform, Vectorscope, RGB Parade it’s also great for DIT’s and to get an exact reference for your image. The ability to daisy chain out to a bigger monitor through HD-SDI to a bigger monitor on the DIT cart makes the MD7 versatile as well.

Scouting and Story Boarding – I’m in pre-production for a narrative feature film right now and the IKAN MD7 is working perfectly for our scouts. I have a stripped down Epic packed into a Petrol Deca Doctor roll bag wirelessly connected to the monitor. Rather than than bring a still camera, I can show the director exactly how we would frame the shot by just handing him the IKAN MD7. Again the high bright feature allows him to see in any sunlight situation and the high resolution give him the clear picture.

LOGISTICS – When going wireless, the MD7 has a 5volt power option for the Paralinx Arrow, eliminating the need for an extra power conversion cable. As you can see in the above more streamlined picture i have the arrow strapped to the top of the cage and this whole setup fits easily and nicely into a bag for the director or AC. The MD7 has many options that are available with accessibly laid out buttons and the handheld rig give you mounting points for other accessories as well. My monitor has taken a lot of abuse being in the field and it has held up incredibly well, being a robust well built monitor.

You can view more info on the IKAN MD7 here. http://ikancorp.com/productdetail.php?id=601

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The director Filip Jan Rymsza and I knew we wanted to shoot anamorphic for our film A Girl and A Gun. We had the amazing opportunity to be the first full feature to use the  Hawk Vintage ’74 anamorphic lenses. Fate took hold however, and we ended up pushing the film at the last minute. But not before I had a chance to extensively test these beautiful lenses from Vantage and get all intimate and up close with them.

So What are the Hawk Vintage 74s? They are 2x anamorphic lenses based off the V-Lite optics, with a front coating that provides lower contrast, creamy skintones and flares of the older 1970s anamorphics.  Why would you want this? The “problem” stems from current digital cameras. The image sometimes feels too clean and too sharp and contrasty when used with the newest generation of lenses such as Master Primes and Ultra Primes etc.. Lenses such as the Panavision E Series, Kowa Anamorphics, Lomo Anamorphics, Zeiss Super Speeds, Super Baltars and Canon K35s have become popular again because of the way the old glass looks when matched with these newer high res cameras. It makes the imagery feel more organic and natural at the higher resolutions. The Hawk Vintage ’74s beautifully provide this vintage organic look mixed with modern mechanics and sharpness of the current Hawk lenses.

How did they do this? There was no secret laboratory that held coatings from 1974 on ice, deep in the mountains of Germany.  In my conversation with Peter Martin and Wolfgang Baumler (owners of Hawk Vantage) I learned that they researched how the coatings of older 70′s lenses were made. Then after two years of research and design they discovered how these coatings could be recreated and applied to their Hawk Vintage 74′s. Let me tell you, their research and design really paid off. The lenses mechanics are as amazing and precise, and the coating and optics gives the camera an organic, beautiful look. I can say hands down, the Hawk Vintage 74′s make the red Epic look the best I’ve seen, more organic and beautiful then any lens out there, spherical or otherwise. A frequent comment when viewing the footage is “wow, I thought that was shot with an Alexa.” That has a lot to do with preconceptions about how Epic footage looks, but also is a testament to the look of the beautiful look of the Hawk Vintage ’74s.

HAWK_V-Lite_Vintage74_chart

THE HAWK VINTAGE 74′ LOOK
The current set of Hawk Vintage ’74 lenses includes 35, 45, 55, 65, 85 and 110, and later will include the 28 and 140mm (at the time of the test these were not available).  I’m told by Vantage, that within a year the Hawk Vintage ’74 45-90 zoom available and then later a longer zoom. The zooms have 20 elements inside (as opposed to the 10 elements of the primes) so they are more complicated to make. Although we did shoot formal tests, that was not our full interest (nor what I’m showing here). The “look” was of primary importance to me and how the lenses worked, paired up with the Red Epic, the camera that we were shooting the film with. Yes charts and more scientific test have their place to learn the exact properties of the lenses and we learned from them. But more importantly we wanted to know how it handled highlights, skintones, color rendition, flares and how when paired with the epic it looks/handles low light. We did three seperate tests, two of which I will talk about here.

without further ado, here is a compliation of some of the test footage.

INDOORS -APARTMENT & HOTEL TEST

We wanted to see the different exposure ranges, highlights to shadow area, color rendition and otherways the lenses preform in relation to the camera. A Girl and A Gun is a modern film noir, so testing the underexposure and shadow area was important (check out my other post on the influence of older Japanese Noir). We wanted to see how far we could stretch, push the underexposed areas and highlights.  Because it was rather informal we only had a couple lights to use, but they were perfect for the scene.  The hot streak across the actress (the amazing Sarah Butler) is supplied by the HIVE plasma wasp Par which is a great single source 400 hmi equivalent. The bounce fill comes from a Creamsource Bender LED (provided by the great film gear company Maccam), a high CRI bi color big LED array that’s equivalent to a 575-800 Hmi. (A little more on those lights later. )

Hawk Vintage 74 lens – The slight green hue on her face is from the texture of the wallpaper that the light is bouncing off of

You can check out the Hi res still and red raw R3D still frames here (coming soon)

The results were quite beautiful. The lenses give the Epic a beautiful organic, but heightened feel that I haven’t seen with other lenses. At 35mm length, you have some of the normal quirks that are associated with anamorphics wide open (such as slight background bowing of the vertical elements), however the lenses still looked great and the edge to edge when the subject is in focus. As you stop down the lenses performed even more accurately and  beautifully. The 45 and 55 were great wider lenses. The 65 was a great beauty/portrait lens as was the 80. The 110 was incredibly sharp and also a beautiful portrait lens. Optically they all performed as you would expect from Hawk. For anamorphics there aren’t better lenses out there that you can use the whole stop range from 2.3 to 5.6 and higher. Wide open I was amazed throughout each lens and stopped down the lenses are incredible beasts.

Hollywood DI was onboard to help us with the dailies and they projected and colored the various tests in their DI suite. They were extremely helpful in going over and interpreting the various shots and introduced us to a great dailies system called Copra, that allows you to view the shots on your ipad. Definitely a great tool once we get into the shooting schedule but also great reference for the tests we had shot.

OUTDOORS -GRIFFITH OBSERVATORY & DOWNTOWN STREETS AT NIGHT

We then took the camera down to Griffith Park observatory. Being a central location to the story of A Girl and A Gun we wanted to see how the camera and lenses performed with just the natural light and architecture of the observatory. It was night time when we started and with a meter there is no exposure reading on her face. Hollywood DI did the color on the Davinci and was still able to bring out definition on her face. It was dark when we shot this, so to get any definition at all on her face was pretty impressive from the Epic. I love how the lenses look in this situation. If we just had a little bit of fill light (in a non clandestine operation), we could have balanced out the background cityscape perfectly. Not sure if the screen grabs do this justice but when viewed projected the results were quite stunning.

A Girl and A Gun – Lens Test Hawk Vintage ’74 – The Alleyway

You can check out the Hi res still and red raw R3D still frames here (coming soon)

A Test with Anthony Mackie
As we were checking the camera package out at Radiant Images, we got a chance to do a brief test with lead Anthony Mackie. Anthony is also a pleasure to work with, the guy is hilarious but can turn it serious in a second. We were testing the wardrobe here as well as makeup and again the Hawk Vintage 74′s handle skin tones naturally and beautifully. The lighting setup was simple, with the Hive Wasp par hitting that hot streak wall in the background, an overhead skylight providing the key with a little bit of bounce fill from one Creamsource Dopio, and another Creamsource Bender providing the back edge. Again loving the combination of the Hive Plasma lights and Creamsource LED’s. The setup was all done in Radiant Images back storage area (note the techno cranes in the background). 

A Girl and A Gun – Lens Test Hawk Vintage ’74 55mm- Anthony Mackie

A Girl and A Gun – Lens Test Hawk Vintage ’74 110mm- Anthony Mackie

A Girl and A Gun – Lens Test Hawk Vintage ’74 55mm- Anthony Mackie

You can check out the Hi res still and red raw R3D still frames below…

DOWNLOAD ANTHONY’S R3D RAW STILL FRAMES HERE

I love how the Hawk Vintage 74′s render skintones here. Again very naturalistic and organic. Also you’ll notice the blown out highlights in the background are very pleasing with the epic, feeling very natural. I wanted the hot streak on the wall and the window in the background to see what happens when uncontrollable light effects the image.  It’s amazing how the little Hive Wasp Par can provide such a long streak down the wall. I love being able to use smaller and more efficient lights such as the Hive and Creamsource. Because we couldn’t bring in a  lighting crew it was just my assistant, the “note taking wizard” wunderkind Edward Salerno (as well as his protege Collin Oh) and I setting everything up. The Creamsource with its dimming 0-100% and the Hive with its efficiency and power allows us to be mobile, shaped and easy with our lighting.

a few pics of the creamsource and hive from another test.

THE CAMERA CHECKOUT

As we reached the camera prep and checkout stage for the feature, we setup the Hawk and Epic with a few great accessories. My incredible crew spent a few days at Radiant Images putting it all together.

The prolific Dan Kanes was onboard as our DIT, and he brought with him his prototype Paralinx Arrow Plus wireless HD transmitters to allow multicasting. This is an amazing new feature set to his wireless transmitters and allows one camera to go to up to 4 receivers. I’ve been using the Arrows for a while now and love how they are super compact and light weight and have only 2ms latency.  The arrow is one of those great accessories that keep getting better and allows cinematographers to shoot and show in a lightweight capacity that wasn’t even possible two years ago. I love how technology is evolving in the camera world to smaller, cheaper, faster, better. 

We had it hooked up to the new IKAN MD7 - 7″ High Brightness 3G-SDI monitor which is a fantastic, robust monitor. I use it both as a directors monitor or for my AC’s pulling focus outdoors when we are run and gun. Really love this monitor, capable of 1100 NITS of brightness it allows you to pull focus outdoors without a problem. The screen features a resolution of 1024×600 and works well with the IKAN monitor support. The great handgrips feel solid and well built, makes me want to hold the monitor closely all day. The IKAN MD7  also features Waveform, Vectorscope, RGB Parade, VU Meter, 3G-SDI x 2, HDMI and HDMI input to SDI output conversion and some great focus features. 

FILTERS & MATTE BOXES

Until recently, the question of what filters to use for the Red Epic didn’t seem to have a great answer. Certain other IRNDS have a heavy green cast that isn’t entirely correctable. Abel cine recently did a great video on ND filters for digital cameras which showed each filters set and its advantages for different camera systems.

http://blog.abelcine.com/2012/12/10/abelcine-expo-highlight-filters-for-digital-cinema/

The Formatt ProStop IRND set came out as the clear winner for the Epic and I was lucky to get my hands on one of the first sets. There is a huge reduction of color cast of the blacks with these filters when battling infrared light. They call them “the world’s most neutral ND filter” and from all my tests that appears to be true. The great advantage of the Formatt ProStops are that you can switch to higher density IRNDS such as 1.8 and 2.1 without disrupting the color balance too much. This is a problem with high a density range on most other IRND filters. I use the Formatts for most situations, and then when there is high heat on the subject I switch to Hot Mirror IRNDS which tend to mitigate the problem. (High heat on blacks cause  excessive IR pollution). Formatt is a company that has been making filters for a while now, and with this set they’re taking IRNDS to a higher level, greatly reducing IR Contamination without the huge shifting ofcolor cast.

Formatt Prostop IRND 2.1

Bright Tangerine Mattebox and Formatt Prostop IRNDs

I also just started using the Bright Tangerine VIV matte box. These matte boxes are incredibly well built, are completely customizable and are extremely light weight.  You can switch from 2-3 stages easily, 2 stages rotate, and the matte box can switch between a clip on or to rods of any configuration. They will also soon have a swing away option for the VIV which is amazing for such a lightweight matte box. Bright Tangerine has come out with a great versatile matte box right out of the gate. Excited for future products and accessories from them.

The Bright Tangerine Matte Box with the Hawk Vintage 74 lens attached to some hairy arms

Conclusion

Vantage expects to ramp up production (meaning making a few sets) very shortly for the Vintage 74′s so expect to see a couple sets stateside soon. Also keep an eye out for their T1 spherical glass, which as of now is the 65mm but will be a 3 lens set by the summer and then a 5 lens set soon after.

By Eric Koretz - twitter: @theimagehunter

http://www.theimagehunter.com

The post Anamorphic Lenses & A Girl and A Gun – Testing the Hawk Vintage ’74 lenses appeared first on The Image Hunter - Shot in the Wild.

When we began prepping for our feature film, A Girl and A Gun, I thought I knew Film Noir. Director Filip Jan Rymsza is a human movie encyclopedia however, and turned me on to a whole genre of Japanese Noir films from the late 50′s to early 60′s that I had never seen.

These films have fast become my favorite films of any genre, and I want to help spread the gospel of Japanese Film Noir with this post. I’m going to add a film once a week or so, so keep checking back.

A Colt is my Passport

A Brief History of  Film Noir
We’re all familiar with American Film Noir. The high contrast and violent undercurrents, characters moving through the shadows, the cynical, tough, anti-hero protagonist & the fatalistic, femme fatal. Some of these films were the most visually interesting of their era, because darkness and light were the main characters. A few of my favorites, The Third Man, Kiss Me Deadly, Pickup on South Street, The Killers, The Big Sleep, The Big Combo, Out of the Past, Sweet smell of Success, A Touch of Evil, Double Indemnity, Underworld USA make their mark as not only the greatest Noir films, but the greatest of their time. The Perennial low life stars Robert Mitchem, Burt Lancaster, Ralph Meeker and Humphrey Bogart in the end save their skin, or lose it, but never lose face in the world of Noir. The whole world lives in shadows.

Pushover

Third Man

Directors Jacques Tourneur, Robert Aldrich, Orson Welles, Nicholas Ray, Billy Wilder, John Huston, Otto Preminger etc. all put their spin on the genre and continually redefined what Noir meant. DP’s like John Alton , James Wong Howe, John F Seitz, Burnett Guffey & Nicholas Musuraca were the true artists, “painted with light” to bring life to these amazing Noir beauties to life. These are the films I enjoy the most from that era because they use light as metaphor, taking the time to sculpt and inform. These DP’s lived in the shadows, pushing the artform and photography as far as they could go.

The Killers

Japanese Film Noir – The Beginning
It all began with Japans oldest movie studio, Nikkatsu studios. During the late 50′s through the 60′s. According to the criterion Eclipse Nikkatsu box set, In an effort to attract youthful audiences growing increasingly accustomed to American and French big-screen imports, Nikkatsu began producing action potboilers (mukokuseki akushun, or “borderless action”)  This was the birth of Japanese Noir and films of that were a reflection of the “Alienated youth” of Japan. Part noir film, part western part Yakuza films that were heavily stylized and always crazy. Japanese culture wasnt held back by the same “innocent” cultural values that had a clamp on american cinema. A cinema in which films had to be held to a moral code. The infidelities and philandering of the devious characters that snaked and danced through the celluloid of American noir could only be metaphorically hinted at. Not so with Japanese Neo Noir. We might think of japanese culture as repressed during that time period, but one look at their movies indicates it was anything but that. Neo Noir was the outlet for a culture that was questioning values of life, a rebirth after living through the ultimate horrors of war on their home turf. As Mariko Kaga says in Pale flower, “I wish the sun would never rise. I love these wicked nights.” Me too.

Directors such as Seijun Suzuki, Takashi Nomura, Akira Kurosawa, Shintarô Ishihara, created a Neo-Noir genre that was at once artful, insane, high brow, low brow and visually dazzling. Branded to Kill, Tokyo Drifter, Pale Flower, Take Aim at the Police Van, Retaliation, Stray Dog, The Bad Sleep Well, A Colt is my Passport, I am Waiting, Rusty Knife,  Youth of the Beast, artfully blended the notions of film Noir and other genres into their own daring masterpieces building on multiple genres in all forms…Neo Noir. And their cinematographers Kazue Nagatsuka, Shigeyoshi Mine, Masao Kusugi created artfully framed masterpieces that were more experimental, beautiful and visuallyexplosive than any other films of their time.

A Colt is My Passport

I, The Executioner

Tokyo Drifter

Branded to Kill

Tokyo Drifter

Jô Shishido, Tetsuya Watari, Toshirô Mifune replace the anti hero’s of American Noir with their own zany, gangster ethos that rises above the standardnoir anti hero mythology. They were anything but copies of American Anti Hero’s. These characters were birthed from the ashes of American Noirs mythological shadows, the sun-drenched burn of Western Gunslingers, the archetype Gangster American and Yakuza lure that explode from past films with an echo of rapid gunfire.

A Colt is My Passport

Japanese films may have had american film noir as their base, but they created a genre all their own. Here are a few of my favorites.

BRANDED TO KILL (1967)

Directed by Seijun Suzuki and shot by Kazue Nagatsuka, Branded to Kill is an insane visual masterpiece. Jô Shishido stars as A hit-man, with a fetish for sniffing boiling rice, fumbles his latest job, putting him into conflict with his treacherous wife, with a mysterious woman eager for death and with the phantom-like hit-man known only as Number One. (IMDB) Suzuki was the godfather of films from this era and this was his masterpiece. Ultimately it got him fired from Nikkatsu studios when it failed in theaters and with critics. The twists in this film are brilliant and I can promise you will not know what’s coming…or even what you’re watching.

Filmed in cinemascope this is one of the most visually stunning of all the Neo Noir films. An example of the brilliant camera work is one of the beginning car scenes, where Jo and his partner are driving their “mark” to a safe haven. The mixture of handheld camera work inside the car, high contrast lighting to reveal just what you need to see, and an unexpected conclusion as Jo dives out of the car and the camera dollies into him as he defends the target creates a scene at once, tension filled, comical and epic in scope.

Branded to Kill – lining up a shot

Jo describes the insanity best. “The story’s about how hitmen decide their ranking. But when this one hitman smells a rice cooker, he get’s a hard on. We thought up some strange stuff for that one.” (No Borders No Limits) Jo is the chipmunk cheeked star of many Japanese film noirs. He even got his puffy cheeks surgically implanted so they could look even more chimpunkier…that’s dedication. His stone cold demeanor, segueing into crazy delusion plays perfectly in Branded to Kill. Add that to the scene where they pee themselves, a woman who collects dead butterflies wants to die, and our main man shouting I’m number one as he gets shot, the movie might not make sense, but it’s amazing nonetheless.

Branded to Kill – They’re literally peeing themselves in this shot.

Branded to Kill – Mr Puffy cheeks himself. “I had twenty three grams here (pointing to his cheeks). On both sides, It wasn’t silicone either – it was organogen, made from gasoline. Nasty stuff” (no borders no limits)

Branded to Kill – smelling the rice before getting it on

There are so many frames in this film that are masterpieces of cinema. If you can get over the wierdness, this is one of Japanese Noir Films best.

A COLT IS MY PASSPORT (1967)

My favorite film of all time is probably Once Upon a Time in the West. The intro to that film where the bad guys meet Charles Bronson at the train station is quite possibly cinemas greatest cinematic masterpiece scenes of all time (except for this scene from Ski School). So when you mix a Japanese Noir, with a Leone-esque western and a score that mixes 1960′s Jazz with Ennio Morricone spaghetti western music you might have the fourth to tenth best movie of all time. This is the genius of a Colt is My Passport.

The homely star talking about cheek surgery. His costar Mina wants to know which doctor to use

Directed by Takashi Nomura, The movie again stars Jo Shishido as a “homely*”  hit man who takes a job to kill a rival gangs boss (he was seriously described as the ugly hit man in the descriptions of the film). Jo kills the gang boss, his partner picks him up, they go to an island, and then double crossing and western showdowns ensue. Visually this film isn’t as stunning as Branded to Kill or I, The Executioner. The end showdown is an incredible piece of cinema though, with whip zooms, tracking sideways gunfights and (what seems like) an ode to Sergio Leone with Jo swatting a fly from his face just like Jack Elam (although IMDB says that A Colt Is my Passport came out before Once Upon a time in the West).

The one time he uses a Colt in the movie

This movie has so many little quirks in it that elevate the film. This scene where the rival gang boss cuddles up to his masseuse and asks her “Money or morals” says it better than anything else.

Talking feet. Which would your feet choose?

The film has some amazing, strange experimental moments like a lot of the best Japanese Noir cinema of the time. I think that is one reason why some of the films from this genre are so incredible. They were eschewing formula and combining genre elements to make their movies incredibly unique. The studio system of hollywood was extremely restrictive, and although Japanese cinema had some restrictions, in other ways they were allowed to be experimental (if they thought it would make profit). The Japanese genre of “Sun Tribe Kids” started it all with a Season of the Sun and then Noir films like My Colt is My Passport continued this experimentation mixing violence, wayward youth gone wild and yakuza glory. It also allowed Jo to experiment with his cheeks.

Some other shots from A Colt is my passport:

Checking out her bed spread

Sing me a song

Bad guys, taking a nap during shooting

C oming up, I, The Executioner

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NASCAR/SPRINT: GET CLOSER from Eric Koretz aka The Image Hunter on Vimeo.

We had full access to get up in close to the race, using two red Epics and an MX all with Angenieux zooms (24-290, 28-76 and 16-42). The drivers seemed used to the cameras, at points letting us get right up in their faces for some epic shots (or maybe they were just surprised to see us get that close).

My best shots were from around town however. Apparently winger and midget wrestling is the second biggest thing in town. Unfortunately we missed the shows.

Winger – Live

Midgets – Live

before we started shooting they made us paint the finish line

It was cool seeing our Doc Dragonslayer on Showtime at the hotel

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Lucky, the inspirational T Rodgers, Waka and Benny

Waka’s ultimate 24k gold fonz, my childhood dream.

my bentley…borrowed

We filmed in an area called  “The Jungles” (of Training Day Fame) and it was great to have the neighborhood enthusiastically come out for the video. However after the 2nd or 3rd shot,  twenty(ish) police cars and a couple helicopters swooped in and shut us down.  Later found out that there’s an ordinance against too many gang members congregating in one place. Apparently the “red” clothing gives it away. It seemed crazy to me that people couldn’t congregate in their own neighborhood. But it became fortuitous, because the police became a big part of the video.

his face was really that pixelated.

With the police were mostly just standing around, we were able to shoot portraits and shots with the squad cars at the background.  Because I was shooting with my 5D it looked like I was only taking stills. Eventually we had to shut it down but not before getting some great shots~!

And for the tech side, here’s the blog post on the ATM Gyro Stabilizer we used in the shoot
http://blog.theimagehunter.com/?p=199 

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Freedom…We all want it. Freedom to run without constraints, tethers, ropes or chains holding us back. Everyone should be able to afford to be free of shackles.  And that is what the technological evolution with cameras and accessories is all about. Video cameras and accessories are getting smaller, they’re getting cheaper and giving filmmakers the freedom to create and run wild.

Cheap is relative of course. But compared to older technologies, the current crop off accessories coming out (now and on the horizon) are downright affordable. Lets start with the Paralinx Arrow. Over the last couple hears, consumer wireless HDMI transmitters have been popping up. It made me wonder why wireless technology was so big, clunky and unaffordable. Traditional systems like the Boxx Meridian and Camwave add too much weight to the camera for handheld and can cost over $10,000.  And then suddenly, (out of thin air) Paralinx debuted their Paralinx Arrow HD transmitter at Cinegear 2012. It was a product that seemed to fill an immediate need in the market, it costs only $1200, it’s lightweight and the size of USB stick. But does it work?

Redrock microRemote Focus and Paralinx Arrow HD wireless. Both small and lightweight. Shown here with a Zeiss ZF lens setup

I’m particularly interested in wireless because a lot of my shoots involve fast handheld action with athletes, fast moving vehicles, cheetah like models and general mayhem. Cables can be downright dangerous in certain environments and I need to be able to run and capture without thinking about tripping anyone up (ever see a model/athlete trip over a bnc cable in high heels?).  I recently ran the Paralinx Arrow and the Redrock microRemote Focus system through their paces on a shoot for the Mountain Dew Tour for CBS, filming skater Bucky Lasek, and later tested further at the rental house. And I have to say, they worked great for my needs.

The very small Paralinx Arrow HD transmitter, turned heat sync out

Adam Becker testing out the Redrock and Paralinx systems on the big screen at Radiant Images

To me, latency and reliability are the most important part of the a wireless system. The signal delay has to be negligible so you can pull focus off of it and it has to work consistently. Furthermore the color has to be accurate so your DIT station is getting the right information. That’s the point unless you’re just using it to show client/director the image (where systems like the Teradek come into play). The Paralinx Arrow has less than 2ms latency, matching up with the best more expensive systems (The more expensive Boxx wireless has 1MS latency). The Arrow is made to pull focus off of.

In the shooting environment, we filmed outdoors for hours in hot summer so-cal heat, and we didn’t lose signal once and the color reproduction is true. What more can you ask for? It’s in the 5.1ghz to 5.8ghz unlicensed band (FCC approved). It generates it’s own network that does not use traditional encoding methods like a teradek or other encoder based network solution. Transmitting full 1920×1080 10 bit 4:2:2 HD with up to 200′ through walls and 320′ line of site, the Paralinx Arrow does nearly everything the big boys can do. It works off the HDMI so if you have a need to go to HDSDI you need to use a decimator converter. The one thing to watch out for is the HDMI connection itself. It can be easy to pull the cable out of the connection. Make sure you have the appropriate HDMI couplers which I purchased from monoprice .

The bonus part? You can use it at home to. I have it streaming video off my macbook pro retina’s HDMI out to my TV. I basically haven’t used my PS3 since I got the Paralinx Arrow, streaming Vimeo, Youtube and downloaded movies. Just be careful you place the receiver with the heat sync/vents are open. If the unit overheats it will lose signal and you’ll have to restart it.  It needs that airflow to keep it cool and running. You can purchase the arrow from Hot Rod Cameras or Abel Cine.

Redrock MicroRemote Focus System:
When it comes to wireless remote focus systems, you run into the same problem with the established players - cost and weight. Although we usually either rent the higher end systems like the Cmotion, Preston, buying those is very cost prohibitive. The cheapest established player is the BarTech and that is still somewhat large and expensive by the new standards. Enter Redrock Micro, revolutionaries fighters of the film gear accessory world. The new redrock remote follow focus system is in a market all of its own, it’s less than half the cost of its nearest competitors and offers both wireless and tethered options.

Redrock Micro has developed the all digital MicroRemote focus system. At $2300 for the package including the motor, it’s affordable and lightweight  and well built. in addition it has a fingerWheel controller to let you do ENG style focusing with a lemo connection. None of the above mentioned systems have that option as far as I have found. The fingerWheel currently works with their handgrips only, but with a little shop work I’m sure it’s easy to adapt to any handgrip (and they’re likely to develop a universal one in the future) The main controller is solidly built, has hard stop settings and powers off two AA batteries (make sure the batteries are fresh! It can effect signal). It feels really solid in your hands. The motor itself weighs only 5 ounces and is extremely small, at nearly half the size of any other motor.

We used the microsystem with both DSLR Canon Zooms, Zeiss ZF primes, and later PL mount lenses like the Angenieux 16-42 DP lens. The Torque motors are designed to perform on most DSLR and cinema lenses. It can work quite well on cinema primes and lightweight zooms. For big cinema zooms or those that require a lot of torque, it is compatible with digital motors from Heden, Loon, and Preston. The components are well made- and the controls allowing users to calibrate the focus throw and adjust the torque of the motor are easy to use.  The auto calibration is especially helpful since the unit needs to be calibrated each time power is lost to the transceiver. The transceiver is very small and lightweight, something that camera operators who are experimenting with new types of compact configurations will surely appreciate as they embrace the freedom created by keeping the camera lightweight and compact. You can adjust the amount of torque between a 1 – 9 setting. With the 1 setting you have more finess and less power, and with the 9 setting you can make fast pulls. We tended to keep it between 1-3 so we could pull focus smoother without stepping. Another great feature is the auto calibration. You simply press auto and the system finds the end points quickly and accurately. There is a manual setting in case you want to make specific adjustments. The Redrock MicroRemote really does work perfectly with the DSLR lenses.

The Redrock MicroRemote focus system with the redrock motor

I’ve been told the Redrock system is currently working on set on Pretty Little Liars in production on their Arri ultra primes for weeks, and they have no problems at all. They’ve also tested quite extensively with the complete Zeiss CP2 line and works great with them. I only had the chance to test with the Angenieux DP zooms, and the system still preformed admirably. When set at 1 or 2 torque, we were able to pull focus smoothly with faster moves. Where the system reaches some limitations is in the extremely slow focus pulls where the motor has some slight stepping to it. The Redrock microRemote system however, is a digital system that lets you use any manufacturers digital motor. That’s the genius of the price point, because when you are ready to upgrade to a more powerful motor, it works perfectly with the Redrock microRemote system. We tried the Heden digital motor with the PL mount lenses and it worked great with the system, allowing smooth focus pulls. For PL lenses you’re going to have to try it out to see what your personal preferences are. The Heden motor is larger and heavier than the redrock motor so there is a tradeoff there as well.

Microconclusion
For my action commercial shoots I’m very happy with the entire Redrock microRemote system. We were able to execute the focus pulls on the fly, following the athletes and it worked well. With narrative work I haven’t had the chance to test out yet. I think it will be up to your budget and your AC’s preference/style for pulling focus as to what motor you may need. Overall it’s a great system for the price, especially if you are using a lot of DSLR style lenses. The feature set is pretty remarkable and its extremely easy to use.

The Redrock MicroRemote focus system with the Heden Digital motor

The Rig:
Here is the rig we sourced to hold it all together.  The rig itself (suggested by Dan at Paralinx) by flashpoint and sold at Adorama and was originally made to be a DSLR cage. It’s cheap and it works well at $64. We attached a camera strap to the bottom so it could hang around the AC’s neck. The Redrock remote is velcro-d and strapped onto the side (with more time we’ll find a more secure solution).  On the back we have an gold mount plate with a multi d-tap connector to power the Paralinx and Monitor. Just make sure you’re using the included 5volt adapters for the Paralinx receiver and transceiver…otherwise you will fry the system.

Conclusion Conclusion
The two systems work perfectly together. They are both small, lightweight, inexpensive (comparatively) and are perfect compliments to each other. I highly recommend picking them up and seeing how they work for your needs

—

Written by Eric Koretz with help from DP Adam Becker and 1st AC Joseph Segura

For more of Erics work, please go to his website at www.theimagehunter.com
Twitter. theimagehunter 

The post RUNNING WILD AND WIRELESS with the Red EPIC, The Redrock microRemote Focus and the Paralinx Arrow HD appeared first on The Image Hunter - Shot in the Wild.

http://vimeo.com/44345852

A VANS SHOES Film (on the Red Epic with Canon Lenses )
Twitter:  @theimagehunter

We shot this commercial/film over two weeks in southern california, following the athletes, artists, musicians and legends that represent VANS.  Directed and edited by Eliot Rausch, he has a way of finding the core and humanity of his subjects like no one else. Eliot masterfully and emotionally revealed the heart of Vans and got to the bottom of what makes the company tick…and I can say after meeting the people of Vans, it’s all very true, Vans is so much more than just a shoe/clothing company. As republicans would say, Vans is a person (but a good person, not like those evil other person corporations). Shooting this spot gave me flashbacks to my youth (No, I’m not that old) when I would only rock the blue Vans slips ons…mostly because I was too lazy to wear socks. Now I’m back to rocking Vans all the time and I don’t care how my feet smell.

Director Eliot Rausch, me and AC Adam Becker lining up a shot

The amazing Vans owner Steve Van Doren

With this being a long job, we had to be highly mobile and ready to go at a moments notice to meet the athletes, musicians artists of Vans. We shot on my Red EPIC with a small crew of just the Director Eliot Rausch, myself DP Eric Koretz and AC Adam Becker. It’s been said that you need a lot of crew, resources etc to shoot with the Epic, however I think this spot is a good example of what can be accomplished in a minimal way. Of course there is a lot you give up to move fast and nimbly (no DIT, footage confirmation etc). From project to project, your needs are always different and in this one all the pieces fit.

Framing up pro skater and melodious musician, Ray Barbee

We used the canon mount on the Epic with the Canon 24-70, 70-200 lenses, a 500mm prime (handheld) with Red Rock Micro lens gears on them. This gave us the freedom to move quickly between different focal length options that we light weight, an option you really don’t have with PL mount lenses.  I really loved the flair quality  of the 24-70 on the Epic, washing out in strange ways and giving the image a nice glow.  Again We needed to be lightweight and mobile and to change lenses quickly with minimal crew. The canon lenses ended up being perfect for that purpose. The lenses resolved even better than I had anticipated and overall loved the look of Canon zooms on the Epic.

Tony Alva at his store

Adam pulled focus off of the TV Logic 7″ Monitor which was tethered to the camera.  We used the Bartech wireless focus with Heden motors, which worked perfectly without a hiccup. The Bartech felt like a good choice for the DSLR lenses because of its decent reliability, light weight motor and transceiver  and ease of use.

Adam Becker pulling focus off the monitor.

I use the Easy Rig 3 (600n post) for this style of shootin. It allows me to be free with my camera movements and get dynamic with the camera movement. The Easy Rig frees me to go from high to low, get nice side to side movements and push in/outs.  Occonnor O-grips are great for this setup because I can position them in so many different ways to get maximum grip. I also used a great shoulder pad, the Action products ShoulderMount “razor.” It’s a little expensive compared to some other shoulder mounts but it’s a rock solid build, keeps the camera low and it’s adaptable to any position you need it to be (which is surprisingly hard to find a shoulder mount built that way). I also have the Ussy-Tek Pro EVF mount kit to mount my monitor. This mount is amazing. For handheld setups I need to consistantly adjust the monitor position and the Ussy Tek is the only mount thats worked perfectly for me. It eimply stays in place a were you put it.

Me getting super dynamic…or dancing to the music. I can’t remember which.

You’ll notice the only light we used the entire shoot, a soon to be released plasma light from HIVE lighting. This model was the Hive Wasp Par which is the equivalent to a 400w HMI par. I can’t say enough good things about these lights. Plasma is the future (and present) of on set lighting. Light quality is amazing and powerful. I have it skip bouncing into Vans pro Ray Barbee (above) and it was more than enough light. As of now they have a 2.5k version you can plug into a wall, a 400 par , and a fresnel. Best of all they make a drone retro kit that you can put in the back of your own ETC source four. I use source for Joleko’s all the time and I’m excited to integrate the Hive Plasma version into my repertoire. They’re reliable (30,000+lamp hours), energy efficient (2x -8x more!) and best of all Plasma lights are completely flicker free (I was shooting at 96-120FPs the whole shoot)! Hive is a great company and the guys there are doing something really innovative http://www.hivelighting.com/products/

Here’s some more photos of the camera being held in weird ways:

Note the bartech module Velcro-ed to the battery. It’s half the size of the Preston wireless module so great for lighter weight projects like this one. Camera was built to extrude too far back on this one (with the battery). Later on we got a different battery mount and made the camera more compact (see below)

I try and get pushed everywhere I go. Different camera configuration on this one. We used the Viewfactor Gold Mount to make the camera more compact.

out of focus but closer pic of the camera build. It got even more compact after this (no photos), moving the focus transceiver to the side cage bar.

follow on Twitter:  @theimagehunter

more work at www.theimagehunter.com

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