Sony FS100 Training Film
Client: Sony Europe Shoot Duration: 7 Days Post production: 15 days Format: Sony NEX FS100 project Summary:
Tips, Tricks & Creative Insights To Help You Get The Best From Your Sony NEX-FS100
This was a film produced by F-Stop Academy for Sony Europe. The brief was to shoot 7 profile interviews and training segments that would be cut together with a live 'studio debate' that you can see here Behind the Lens - Perspectives on Digital Cinematography The original plan changed and behind the Lens has become it's own webisodic video series and was produced by Televisual media.
So there are two distinct parts to the project, the Location VT's/profiles and the studio shoot. The location vt's are being shot entirely on the Sony FS100 and the Studio shoot is being filmed using 3 x F3's so it's a Super 35mm feast.
Den produced it and was the Director of Photography. In addition Den is featured in the production talking about Super 35mm video.
So far this week we've filmed with James Miller from mmfilm.co.uk - A lovely man who specialises in Lens Whacking. A process where you disconnect the lens from your camera to allow flares into the sensor. It's a really neat effect.
James started life as a designer and moved progressively into filming as his clients asked for it.
We filmed and interviewed with him on two cameras in his dining room/kitchen.
We're running 1x Fs100 on a Cinevate Atlas 10 slider and I lit it using a Dedoflex 150w softbox and 2 x dedo light DLH4 heads. This is fast becoming my go to lighting kit.
The second interview was filmed with photographer and film maker Sam Morgan Moore at his studio in Cornwall. After a 5 hour drive we arrived to a rather wet and windy grey location so we quickly had to bury our somewhat optimistic 'pre visualisation' of a sunny beautiful countryside location but hey that's the way goes sometimes.
So here's the three of us in our customary team photo, James, Sam and Myself.
This is the final shot from the static camera.
The key light was my Kino Flo Diva light and I used 3 daylight tubes and 1 tungsten - I chose this because there were lots of windows spilling daylight into the room and I could not black them out so decided to use the mixed lighting to my advantage. I set the camera's colour balance to 4300K so I got a decent skin tone colour, and the ambient light in the room was predominantly daylight. However there were pine panels on the ceiling which were warming up that daylight so the colour was actually warmer than straight daylight. I also used the Flozier which is an additional diffusion attachment that comes with a kino flo diva light.
I added a hair light that was placed to the left of camera and I fixed this on to a book case with a Manfrotto Italian clamp because when I first placed it on a light stand the B camera was picking it up in vision on the wide shot. I also added a 1/2 CTB (Colour Temperature Blue gel) to just make the light match the 4300K colour balance setting in camera (If I'd left it tungsten it would have looked too warm).
I used the 150W Dedoflex softbox as a side/back fill on this set up. I like the soft natural look that this gives. My lighting style is definitely to make things look as natural as possible and so I tend to use soft light more often than not.
The final interview this week was yours truly which was a little weird.
I had to light using a stand in, then sit back and be interviewed....
If you are an FS100 owner then you can apply for your free copy of the Blu Ray/DVD by registering here pro.sony.eu/fs100tutorial