Sierra Nevada today published a project that I worked on with director Mark Bashore. I was one of two DPs on the project, spending a day at the company’s beautiful brewery in Chico, where I shot the opening push-in shot on their bar. Then Mark and I returned to Seattle where he turned his living room into a studio for three evenings in a row, and we got down to the business of making beer beautiful. Here’s a few insights I learned in the process.
Probe the ingredients
To get inside the hops, we used a probe lens, which is designed for tabletop photography and special-effects shots. A probe lens was used for many of the special effects, which used models, in the original Star Wars. For our shoot, I rented one from Innovision Optics, an LA based company that helped pioneer the development of probe lenses in the 80s. They sent us their Probe II + package, which covers Super 35mm sensor cameras and comes in PL mount.
I rigged my Sony FS5 camera and probe lens on an Rhino EVO motion control sider, which allowed us to move the camera smoothly and repeatably into the bundle of dried hops which we suspended above and around the lens. To achieve the effect of sunlight shining through the hops, we used an Arri 650 fresnel, which Mark moved by hand outside the hop bundle. Our challenge was to get a bright enough light outside to simulate sunlight, but not so bright that it blew out our shot, or revealed how dried the hops really were. We shot many takes and the one we used seemed to strike the right balance.
Fill the Fish Tank
We filled a small fish tank with beer, and spent an entire evening placing the camera under it, beside it, and over it. We used a couple of Arri 650s directly without diffusion in some cases, and also bounced off foam core, to illuminate the beer. In many cases I shot at 120 and 240 frames per second to add a dreamy quality to the pouring. Basically it came down to repeated pouring and shooting from many different angles. We repeated that with the light in many different positions until Mark felt like he had enough stuff to take into the edit.
A forest of light stands
On this shoot I discovered that the smaller your subject, the more c-stands you’ll need. To properly illuminate the beer, and kill unnecessary glare, required a stand for everything: the lights, the flags, and the gobos we occasionally had to use to defeat glare or unwanted lens flares. We had two or three boom stands as well, and those were invaluable to get the lights into play where we needed them despite the room already being filled with other stands.
The perfect drop
The last shot, featuring the drop of beer that rises out of the water, is my favorite. I was shooting with a 100mm Canon macro f/2.8 lens, which doesn’t have much depth of field. So we had to really blast the Arri 650 pretty much directly from above. Mark’s wife Katrina just poured a LOT of beer until it happened. I set up the slow motion to capture with a rear trigger. This way, when we saw something that looked interesting I would press the record button. Then we’d have to wait 45 seconds or so, until the file could be written to disk from the buffer. The nice thing about using the rear trigger was that we only captured clips that had potential. Thus we avoided having to capture long sequences of slow mo that would have to be reviewed during editing. But the long write times definitely slowed us down during the shoot.
The slow-motion footage on the Sony FS5 can be pretty grainy, even when the Slog is properly overexposed. So I had to denoise the clips using Neat Video plugin. It’s pretty incredible how good the clips looked after that.