I came across this and thought I just had to put it up what with me having a cameo and all.
It just goes to show, I had absolutely no idea any of this was being filmed, obviously because I was so busy (see previous post) however they have put together a nice little film of what goes on between artist and director and the vision that needs to be portrayed.
So this is my third and final posting on the theme of promos & steadicam and how it's a match made in heaven for getting your monies worth.
Once again every shot here is on the rig and I think it's a good one to end the trilogy on being with such a big artist.
Sam Smith is a lovely guy, very professional and even made a couple of autograph hunters smile on the day when he scribbled on a piece of paper which turn out to be for the mother of the kid and not for the child at all, that made me laugh.....
Enjoy the video.....
Ok, so here is the next promo in the series of videos that I shot all on my rig. I remember this one was especially exhausting, on top of multiple takes there was alot of running about to keep the pace of the song going visually and with no time for my beloved tea breaks because of our crazy schedule, I was getting a little thirsty too.
I think it turned out well, and as I ended up humming the tune on the drive home it must be catchy.
Look out for the next one.........
So I thought I'd start posting all of the music promos I've shot however that would be way too many so the twist is I'm only allowing promos that were all steadicam, Thats right every shot and there are quite a few even when you might think otherwise.
I work with many Dp's but there are some that like to sap all my energy and utilise my skills all day, every single second without even allowing me a tea break as we mostly always have ridiculous schedules. However the results are evident and we do turn out good work, so after patting myself on the back and without further ado............I present the first of probably a few, Kodaline - One Day shot by Jonos Mortensen at My Accomplice
So I just finished a day on the Woman in Black sequel at the weekend and we were shooting in the old disused Aldwych Station which I've always wanted to visit.
I figured I'd be shooting with Daniel Radcliffe but then remembered what happened to him at the end of the first film.
It's always nice to be asked to complete shots on big budget features and a big thanks to Dp George Steel for requesting my services on the show.
George who shot 'Peaky Blinders' was by far the stand out work from last year and it looked absolutely fantastic so if you want to find out more about how they created the look, then there is a great article here by black magic design.
We were shooting anamorphic again today but luckily I was done before lunch which was a relief, because as you can see, it wasn't light.
I came across this interesting short made by the guys at Warp Films in an old copy of Televisual Magazine I found on my desk.
The film is a prologue to a planed feature based on the novel 'The Red Men' by Matthew De Abaitua so it should be something to look out for if this is anything to go by.
The film drops you straight into a situation and ends with no real closure however its still a good piece of film making made all the better by the fact its sci-fi of which I'm a big fan.
Oh, and its shot by the mighty Barry Ackroyde
Hope everybody had a good festive period, I'm certainly carrying a little holiday weight that I hope to shed with this banger!
First steadi job of the year an it's come in hard.
I'm calling it an ADAA rig, all day anamorphic Alexa, ouch!
Nothing like easing yourself into it......
This is what all music promos should be like, a good idea, well shot and creatively executed.
Lets hope we see more edgy and uncomfortable promos like this and look out for the 'cracking' tracking shot, you'll know what i mean when you see it.
Turn it up!
Yesterday and today's lighting set up on some channel idents.
It's amazing how much light I threw up for what turned out to be just one subject.
As it was a locked off tracking shot I think I only touched the camera 6 times during to course of the day, let's see if I can beat that today....
After an in depth summary of what the rig could actually do, given by the in house camera boys, we were finally allowed to get are hands on it.
Once I'd picked it up and ran around the test bay for a while I realised you probably couldn't hold it for more than about 10 minutes.
The rig was set up with an Epic, an ultra prime and a cmotion LCS.
The rig can take a payload of 10 lbs below the gimbal but the lads reckoned it was more like 12lbs.
Above the handle was a a 'Terradek Bolt' and a Vlok battery to power the accessories. This can also be configured to power the camera instead of the 'Redvolt' battery which only last 30 mins or so.
The rig was put together to be the lightest it could possibly be which was needed to extend operating time before strain starts kicking in.
So what's it like to operate?
Well it's different, gyroscopic with a robotic feel and a lag in the pan and tilt. That's if you are operating it in solo mode.
The unit can be handled in 3 modes, operated only, operator and remote operator or 50:50.
The guys were raving about 50:50 mode as it opens up even more options when flying the rig around.
The jury's out on that one as I only had a few minutes with the rig but I'm sure, with a lot of practice and a compatible copilot, you could create some fantastic shots.
In the moments I had with it, I was more akin to operating it all myself like I do when I'm shooting on steadicam however the lag, which can be trimmed to suit, was somewhat difficult to get my head round.
What we all want to know is can it be taken seriously as another feature/drama/promo stablisation rig and what sort of camera can we get on it?
The answer is yes it can, but it's limited to Red Epic and as yet untested to whether it can have a clip on matte box to hold all the filters we may need.
The lads at Decode are constantly trying and testing new methods for accessories, power and extending operating time so watch this space for more info.
For the moment the rig will only be available for wet hire until technicians get to grips with it, how it works and how to set it up.
It's priced at £800 with one technician or operator should you wish, the rig itself which comprises of the 'terradek Bolt' wireless send, batteries, battery belt, remote control unit and Bluetooth monitor and possibly an LCS but I can't remember if that was included.
I'm sure in months and years to come the Movi 10 will be a regular on our sets but for now, as Decode have one of 3 in the country for rent, it's a working progress.
The unit will be shooting on an new Johnny Depp feature in the new year and I believe its the first movie to utilise the rig.
No doubt next year we'll be seeing numerous shots created especially for the Movi 10, I just hope it's not overkill..
For those of you that haven't seen Breaking Bad, and I can't believe there are many of you, or those that are bingeing your way to the end, you'll know exactly what Sir Anthony is talking about.
Just the mere fact that one of our most loved screen legends has been sitting in his Malibu home sessioning one of the best tv series in history is amazing.
Just the thought of Mr Hopkins watching Walter White get up to mischief with a nice glass of Chianti makes me laugh.
This iconic series has made it into the lives of many and for one of the most decorated actors to publicly praise its awesomeness must be commended.
If you haven't seen it, surely this newspaper cutting will change your mind.
Last weeks set up. A lovely little rig comprising of,
An Epic, A car rig, 2 kids and a 1/2 black promist..... Done
Just had to share this photo of me and the crew resetting for another shot on 'Superbob'
It was the hottest day of the year and I think this was the only time I managed to take the rig off......
A great picture taken by Matt, the on set photographer.
one must have a dog on the shoulder.
Today's rig and everyday for the next month on the feature 'SuperBob'
One thing's for sure, I'm going to be a lot shorter, Ouch!
Test day on my new rig....
Check out the teaser trailer for Irongate I shot along with another Dp last year.......a big back slap to Sean Cronin at Magnificent Films for getting the project off the ground and for putting together a good cut.
Give it a thumbs ups on YouTube and hopefully it will get made.
This looks fun......having never actually seen let alone used one of their first offerings I'm more keen to get my hands on this little camera.
The Blackmagic Pocket Cinema Camera lets you use the most incredible range of lenses. With the Super 16 size sensor you can use a wide range of adapters for film quality Super 16 lenses, or use commonly available low cost Micro Four Thirds lenses and more. With full electronic control of your lens, you can simply point and set iris all on command! The Micro Four Thirds lens mount also gives you the flexibility to adapt to PL or other lens mounts as required.
It records to sd cards with a lossless prores 422(HQ) format in either log c or rec 709, it boasts 13 stops of dynamic range and all this for less than £700.
I can't imagine getting away with using this professionally however I'd still love to have list in my back pocket.
Check it all out below.....