A couple of weeks back, I served as director of photography on a music promo for heavy metal band Savage Messiah. Directed by Tom Walsh of Polymath Pictures, the video was released yesterday by Earache Records.
This shoot represented a number of firsts for me: first time operating a Red Epic, first time using a tilt-shift lens, and first time shooting more than 50 frames per second.
While preparing for the shoot, I found this video tutorial from the oddly-named Embassies of Cinema was very helpful in demonstrating the basics of operating the Reds. As Tom said to me, a camera’s a camera, and if you know how to operate one then you can probably find your way around any other, but no-one wants to look like an idiot when they show up on set and start tentatively pressing buttons on an unfamiliar piece of kit.
If there’s one thing I learnt about the Red that I’d like to flag up to other first-time users, it’s the crop factors. The Epic has a Super-35mm sensor, but it only uses all of that sensor when in 5K mode. If you shoot at a lower resolution, the camera simply ignores the outer edges of the sensor, rather than scaling the image to that smaller size,. The result is that your lenses appear to get more telephoto as you decrease the resolution. So watch out for that.
A tilt-shift lens is one which allows you to move the lens elements around relative to the focal plane. The shift mechanism is primarily of interest to stills photographers who want to capture skyscrapers without them appearing to taper towards the top. The tilt is the fun part.
Normally, the glass elements in a lens are parallel to the focal plane (the camera’s sensor). Imagine a shot of three apples lined up next to each other on a table. They’re all the same distance away, so when you focus on one, the other two are in focus as well. But if you tilt the lens, only one apple might be in focus, and part of the background might be in focus too. This effect is often used to make cityscapes and landscapes look like miniatures, but it’s also useful for general weirdness. If you can’t afford to buy or hire a tilt-shift lens, a technique called “lens whacking” offers a low-tech alternative.
Regarding highspeed photography, the only thing I have to say is, “Eh?” Can anyone out there explain why tungsten lights would flicker when shot at 300fps? Everything I’ve read says that only discharge lighting (HMIs, kinoflos) and very small tungsten bulbs should flicker at high frame rates. Surely the filament in a blonde shouldn’t be cooling enough between peaks in the AC power supply to register a flicker in a 600th of a second? I certainly can’t think of any other explanation.
You can see the flickering at around 2:24 in the video if you’re looking for it, but there’s enough dynamic lighting, smoke, lens flares and tilt-shifting that it all just seems part of the deliberate effect.
Thanks to Tom and designer Amy Nicholson for another great shoot. I look forward to working with them again next week on A Cautionary Tale.