Here’s an informative little cancer video project my crew and I just delivered to Seattle Cancer Care Alliance, a client that’s been keeping us very busy this summer. We’ll be doing a lot more videos of this kind for SCCA over the next few months, uncovering powerful human stories about these innovative healthcare providers and the patients they serve.
How it was lit
I typically start to light a scene by deciding which light to take away. In this case, the lab was grossly over illuminated (for filmmaking purposes) with ugly overhead fluorescents. I wanted to separate the doctor from the background, through both luminosity and color. So I turned off half the overheads, the half behind the subject, and left the half in front of him on. Then, by setting my Sony FS5’s color temp to 3200K, I was able to create a nice blue wash in the background from light leaking through the closed windows. That created nice color separation. But his face was now too dark. I fixed that by filling strongly with my LiteGear LiteMat2 placed camera left, through 1/2 grid cloth. Next, I gave a little blue kick to his shoulder with my lovely new Dedolight DLED7 through Hampshire frost. Then I just set the aperture on my Zeiss 50mm with Speedbooster to f/2.0, and boom! Done.
B-roll was all shot very quickly, handheld with Zeiss primes and a 100mm Canon macro for the tight stuff. When I got to cutting the piece, I was reminded why my Canon 17-55mm f/2.8 IS lens is usually my go-go b-roll lens: because it is image stabilized! My FS5 is so ergonomically awesome, that I find myself shooting handheld more than ever. But when doing so, a lens with IS really is nice to smooth things out. Nevertheless, I sure do love that full-frame look of those Speedboostered Zeiss primes.
Sidebar: I am taking another look at Canon’s 24-70 f/4 IS lens, not because of its optics, but because of its image stabilization. In theory, with a Speedbooster it should look virtually identical to and be just as fast as my Canon EF 17-55 f/2.8, only with much better handholding because of it’s 4-stop hybrid IS. Will be experimenting with that combo on my Sony FS5 on an upcoming shoot and look forward to sharing the results.
Thoughts on 4K
I’m finally coming around to shooting my interviews in 4K. It really is nice to have the option to punch in for a tight shot pulled from a medium shot. But the drawback is focus. Focus is really, REALLY important to nail when shooting 4K. And on both the FS5’s LCD and my SmallHD 502 monitor, it’s harder to gauge focus in 4K, because the image looks a little smudged compared to HD. So it really does require careful monitoring during a shoot, especially when you do what I do, which is shoot damn near wide open all the time to visually separate the subject from their background.
I’ve shot with both the internally recorded 4K and with external recorders, and I gotta say, for the type of work I’m using it for (well lit interviews), the drawbacks of external recording outweigh the benefits of internal. Smaller file size counts for a LOT.
Many thanks to my crew – producer Sara Finkelstein, camera assistant Kollin O’Dannel (who took one for the team when he nearly fainted as the doctor described a surgery), and intern Alexandra Watkins who rolled sound.