first shoot of 2016 - Endo&us DOCO SHOOT 3

Jan '16

I shot overlay for the Endo&Us doco to go with the previously shot high speed dance sequence (see below). 

-- ungraded snapshots --

-- ungraded snapshots --

8 hours with a fish tank, a couple of lights and painters ink.

My assistant Ben 'stands-in' while I line up the shot with the Dragon and 75mm Cooke S4. (2) mini fluorescents keep him warm.
© Katie Macqueen

  • Camera - RED Dragon
  • Lenses - Cooke S4s
  • Lights - (2) fluorescents and Mole Richardson Tweenie

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dec '15

ungraded snapshots

I shot the 2nd part to the Endo&US doco. A dance sequence to express the emotion behind the Endometriosis experience.

Choreographed by So You Think You Can Dance Australia finalist Lauren Seymour

STORY - a young woman fights her Endometriosis

BRIEF - to feel the physicality of the dance, to feel the physical impact between the dancers.

CAMERA - Phantom 4k
I tested it against the Weisscam and the colour science is quite different. Phantom's colour and skin tone rendition surpasses pretty quickly.

FRAME RATE - 1000 frames per second (fps)
I tested up to 2000fps. Besides the fact that we didn't have the lighting arsenal to expose for that kind of setting (requiring double the amount of light), we found that movements were overall too slow for us to go higher than 1000fps. Though I did find find that at 1500fps material looks like flowing, silky water. 

LENSES - ARRI/Zeiss Master Primes

COLOUR - the director and I are all about colour. It looks good and underpins the emotion we wanted to display. Specific colours were chosen based on what felt right.

    LIGHTING - 18K HMI + 6K HMI for the coloured look, 20K + 10K Tungsten for the neutral

    • Tungsten has a lovely quality to the light that fit the soft aesthetic of the final, neutral sequence. We also didn't want to use the gels with this colour of light.
    • Colour gels will make the colour of light look different based on the colour temperature of light going through them (warm tungsten vs. cold daylight) and we preferred how the colour looked with our gels mixed with the daylight. HMIs pack more of a punch (due to their bulb and design) so would work best with the light-losing gels, as well as providing the colour temperature that would work best with the gels. 
      • *There are mixed reviews about using HMI lighting with high speed due to issues of flicker and Arc Wander (essentially a pulsing in the highlights due to the camera seeing the electrical movement in the bulb). Electric ballasts are there to eliminate flicker, as well as using bigger lights (which don't have time to cool down and therefore flicker). However, Arc Wander is something that can just sometimes be seen. There are some tricks that seems to work to fix it on the day. *We didn't have any issues until the end of the day when I noticed a gentle pulse to the bright areas of the frame - the Wander. We had been shooting for hours at this stage so it was a surprise - I believe it was due to a power surge, which can be one of the triggers. 

    It's going to be a beautiful project, especially now that we've shot these overlays.

    courtesy of Red Apple Cameras


    The last set-up. Our leading lady wins the battle. Steps into a soft close-up.

    I've always wanted to use a Briese light (perfect for beauty work) and Gaffer Finbarr Collins provided something similar - a Broncolor Para Umbrella Reflector - which we cinemised (it being a photography flash unit). 

    This was going to be the perfect use of the light. It was the type of shot that we all looked at on the day and thought - YES!

    Unfortunately, the Phantom camera magazine corrupted and lost the data. So this frame grab of mid lighting set-up is all that's left. 

    Next time!

    © Katie Macqueen

    © Benjamin Ryan

    © Benjamin Ryan

    More to come...