Film Noir Femmale Fatale Ariel Anderssen is certainly a challenge to conquer!
Hywel's Note: this was an interesting shoot for us because we hired a proper digital cine camera (RED One) for the day.
I wanted to see how the much higher bitrate, RAW-like shooting worked out. I really liked it, probably because of my stills
background so I'm happier getting "the look" in post production from the RAW, rather than having to decide everything on set.
Frankly, I don't know f you will even be able to tell much of a difference by the time the file has been squashed down to
web-size. I think the colours are much more lush and it was certainly easier to get that "pushed" look without messing
up all the skin tones in grade. There's heaps more detail in the original footage too but of course by the time it has
got down to web size we've lost a bit of that original crispness. With the way technology is marching on, I suspect
it won't be too long before we all have monitors capable of full HD and broadband with high bitrates. Like the stupidly,
ridiculously overspecified stills camera we now shoot on, I think a proper cine camera will come into its own sooner
than we might expect.
The RED One is a bulky and heavy old beast, it was a bit of a stuggle lugging it around
on my own. I wouldn't want to hand-hold it, and even having it on the tripod was a bit of a
disincentive to move the camera. Since an overly static camera is one of the things we're trying to move
away from, I decided that a second-hand RED One is probably not the right camera for us. I might hire
one for the next Elegance Studios shoot.
RED's new camera, the Scarlet, is very promising on paper. It should deliver most of what a RED One does in
a much smaller package, and as a bonus it would take the Canon lenses we already own rather than mind-meltingly expensive PL
mount cine lenses. I've got my eye on one. It will be a huge investment for us, and I appreciate that it might be
a mad thing to get in the current turbulent financial climate. It isn't as though the video cameras we have are
rubbish. But if there's one thread that has run through 11 years of shooting for Restrained Elegance, it is that
by aiming ridiculously high, we manage to get up the learning curve faster.
It is a bit irrational to keep pushing quality higher and higher, sometimes. I'm sure you realise that by the
standards of a fashion editorial photo shoot, RE is a very, very small outfit working on a tiny budget.
But that pales into insignificance
when you consider the size and budgets of movies. To try to emulate "real" movies is ridiculous, when you think
that we can spend a few hundred pounds on a production where Hollywood can spend a few hundred MILLION pounds!
But because of the huge revolution in digital imaging over the last ten years, it is suddenly possible to TRY.
And the only way to guarentee failure is not to TRY in the first place!