Gear Guide: Digital Filmmaking
As digital cinematography becomes the rule instead of the exception for filmmakers in the documentary, news, television and even increasingly in the feature world, there is a hunger for more diverse and lightly encumbered, i.e., tether-free, technology. Every entertainment-oriented manufacturer and distributor is getting on the bandwagon, and a few that have serviced other industries, too.
This month, ICG features some exciting new products or processes that make digital cinema a smart, creative, and production-friendly choice. Once a “film only” company, Panavision, with their Genesis camera and other HD technology, has stepped up to the plate and found a way for cinematographers to view their HD footage on set in a way that cuts time, cost, and boosts creativity. Silicon Imaging, once a source for equipment only tangential to the movie industry, has exploded onto the scene with the camera that made quite an impact on the Oscar-winning Slumdog Millionaire.
And, of course, there are recorders, wireless transmitters and even peripherals. Let’s hope that one of this month’s offerings can help make your job, whether it is a no-budget HD documentary or a mega-budget feature film, easier, faster, and more creative.
Lighting Focus: The Cloud by Airstar
I was introduced to the The Cloud by Airstar on the Adam Sandler film Bedtime Stories. The look of the film called for a magical, stylized reality, and the filmmakers agreed that this reality didn’t include hard sun coming into contact with faces. Unfortunately, a number of scenes and locations were too remote to bring in a crane and overhead. My key grip, John Janucek, suggested The Cloud. By the end of the film we had brought it out a dozen times. It consists of one to four 20-foot by 20-foot balloons, which can be zipped together or used separately. Two Airstar technicians inflate the balloons quickly, and throughout the day reposition The Cloud as the sun travels from one side of the set to the other. Even when it got windy the tag lines held it in place. The techs don’t treat it as delicately as you might expect and one afternoon they lost a battle attempting to get it though some tree branches. Twenty minutes later it was patched up and flying. In addition to sun control, we also used it as a 40-foot by 40-foot bounce for both day and night exteriors. It has attachments ranging from variations in density via nets or diffusion, to green screen. I love this thing. – DP Michael Barrett
Credits: Bone Deep, Bedtime Storie, You Don’t Mess with the Zohan, Mysteries of Pittsburg, Bobby, Goal, Kiss Kiss Bang Bang
www.airstar-light.com
Sundance Focus: Innovision Probe II
With the INNOVISION PROBE II, a tubular lens that offsets from the camera, I can put my lens anywhere in a car without being restricted - on the dashboard, through the steering wheel, or even overhead - and set up is quick. I can also move the camera in ways that are impossible with conventional lenses. On the movie Staten Island I did a shot that started on the New York skyline. The camera pulls back to reveal the interior of a car with Ethan Hawke staring out the passenger’s window. The camera continues to pull back to reveal the driver and then pulls out through the driver’s window to reveal that they are in a truck at a red light. The truck pulls away and we end on the skyline again. With creative options like that, the Probe II gives my films a competitive edge at festivals like Sundance. I’m always looking for opportunities to use it. –DP Chris Norr
Credits: What Doesn’t Kill You, Staten Island, The Hottest State, Second Best, One Last Thing…, Into the Fire, Timeless
www.innovision-optics.com
Still Photography: LitePanels Micro
This little LED unit, which offers continuous output and runs on AA batteries, is attachable to both Nikon and Canon stills cameras. Litepanels Micro for Stills can be dialed up to supply just the right amount of light to fill unflattering shadows and bring the subject’s face and eyes to life. No more red-eye or flash fill.
The Micro for Stills features an integrated dimmer 100% to 0 and runs 1.5 hours on 4 AA cells (Alkaline) and 7-8 hours on E2 Lithium AA batteries. It works with stills and camcorders, as focusing aid in low light, close ups, and can use warming and diffusion filters.
“I recently was able to use this light source in a setting having nothing to do with a film set,” says Barry Wetcher, the first unit stills photographer to use the new Litepanels Micro for stills. “I think it can be a great tool to have attached to a camera for those moments when you need to just have a little more light to make an exposure.”
Wetcher says he likes that the Litepanels allow him to dial in the intensity of the light. “We’ve all seen DP’s hand hold LED bricks just to get a little ‘something’ on the face,” he explains. “Now in some situations, we can do the same. For example, when the cameras aren’t rolling and it’s too dark to capture a candid moment without using a flash. I also like that this unit has a built-in filter holder to help match the color temperature of source lights on the set.” www.litepanels.com
Documentary Tools: Cine Saddle by CineKinetic
It’s a lightweight pliable camera platform that allows you to easily and quickly compose stationary shots from a multitude of varying surfaces. From your lap in a car, to the handlebars of a bike, to just about any surface that a hi-hat would take time to stabilize. This bag saves me time and allows me to capture more stable shots with the least amount of effort. In a pinch it even works as a quick hood mount. On a recent shoot for the World’s Funniest Commercial, the director, at the last minute, asked if we had a hood mount. Although it’s not my first choice in car mounts, the Cine Saddle came through in a pinch. We got the shot. The director couldn’t have been happier.
www.abelcinetech.com
