only going to be there for two hours
or so, that meant we didn’t have to
worry so much about light changes.
The lights were surprisingly
bright, and it was wonderful that
we didn’t need a generator. We
could bring the lights just outside of
frame, and it would help to bring out
more detail. Sometimes we’d have
them come through a window to
reinforce the natural lighting direction. We’d often use another one as
a back light. They were super light,
which became important on the
long walks between locations. We
could have just one person carrying
both lights plus the stands.
We used a Sony F55 camera.
We went with 4K and we used the
whole range of that camera. It has
a great latitude, especially in the
jungle where there’s a range from
very dark to very bright. The F55
captured the highlights well without clipping. As far as working with
these newer higher resolutions, it’s
a clear benefit in that if something’s
a little over or under, there’s always
some wiggle room where you can
get some extra resolution. That definitely helps a lot.
We worked mostly with S-Log3.
We did some quick tests on skin
tones that we were happy with. Bailey had mentioned specifically that
he wanted the skin tones paid close
attention to, and I feel that came
across great with this camera.
We didn’t have the luxury of a
big monitoring setup. We just had
a small Atomos Samurai. When
you’re in a situation like that, you
need to be able to trust that what the
camera’s getting is good. It helped
to be able to go into these situations
with a camera that I knew would
bring out the most colors and textures. The F55 did a great job getting
those extra details. The highlights
especially came out very nicely. We
did crunch out a lot of the blacks in
some parts.
We used a nice new zoom lens,
an Angénieux Optimo DP 30-80mm
T2.8, and that was crucial. I definitely loved the look of it, and it gave us
extra speed from not having to swap
lenses all the time. Plus, by not constantly swapping lenses, you avoid
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Hanna (Julie McNiven) & Trace (Shaun Sipos) anxiously look on
Trace (Shaun Sipos) finds himself surrounded by women
Luis Salas Lobo sets up a Litepanels Astra LED panel
