As many of you know, the Canon EOS 5D Mark II (reviews) and the Red cameras work pretty well together and in this new music video from the Australian band The John Butler Trio, we get to see an excellent example.
We've been chatting with Rod Blackhurst who teased us with this intro to the video and so we begged for more info – which he provided (after the video)
I shot it with 3 5D's and 2 RED's. The only RED footage that made it into the piece are the dancer overcranked shots and then the portraits at the end.
The video is styled after Irvin Penn's portraits. We shot custom Monochrome settings in camera that I ran by Shane Hurlburt before shooting. Next to no post correction. After all we were trying to make it look like Penn's work.
My friend James Minchin III and I recently collaborated on a music video for the Australian group John Butler Trio. The idea was to originally present a large series of portraits illustrating a wide cross section of humanity, hoping to illustrate the point that beneath our skin we're all really just the same; we all seek happiness, prosperity, truth, peace, etc.
John Butler had been inspired by a series of Irving Penn portraits. While Penn is known for his fashion photography it was his portrait work with ‘characters' against an often gray backdrop that served as the visual inspiration for the video.
It appeared that Penn often shot in an attic, studio space, or courtyard with only natural light. From the start I knew that I was going to need a lot of daylight not only because were were going to shoot some 48fps, and because we liked the quality of daylight on digital formats, but because I wanted to keep the ISO low. We had decided that the only way to shoot this video in one day was to be shooting a lot, e.g. 5 cameras rolling all the time.
We had decided to shoot on 3 Canon 5D Mark II's and 2 RED's, mainly because we had personal access to those cameras, and it would allow us to keep the budget in check. The setup we settled on was three cameras in the ‘front of house' position, the straight on portrait shots. They were stacked on top of each other so that the sight line between the three wouldn't vary. The WIDE, ‘behind the curtain' shot we called it because it revealed the edges of our backdrop and a little bit of the space in homage to Penn, was the RED A with RED 18-50mm shooting around 28mm. The MEDIUM, ‘fill frame' that always kept our subjects on the backdrop, not revealing any of the space, was a 5D with one of the new Zeiss ZE 50mm primes. The PORTRAIT, the straight down the barrel tight portrait shot, was RED B with a 50-150mm shooting at 150mm.
For our KEY I used 2 4K HMI's knocked down with some unbleached muslin and a 12×12 film tools grid. Being fans of single source lighting and while this was a lot of light we were still shooting the 5D's at 200 ISO around f/5.1. I was hoping to get down to 100 ISO on the 5D's only because in recognizing the limitations of the Quicktime codec, we weren't going to do any color correction on the 5D's. But because there was so much movement with our extras and with the band performance we didn't want to shoot wide open at f/2.8 just to give the AC's some room with the focus. So through some tests I had created a scene file setting for the 3 5D's where by we shot monochrome in camera eliminating any need for any post color timing changes. We managed to run this idea by Shane Hurlburt ASC as he had advised my friend Mark Pellington to do the same. The RED's weren't an issue as I knew that we had some latitude in post. When we shot the 48fps we were underexposed a stop on the RED's which we fixed in post.
In addition to the giant soft box there we two Image 80's hung overhead just to provide some slight separation from the backdrop, and also to create a slight pooling effect on the ground and around the person. It's a subtle look and while it broke with our single source intentions it did look good.
Our shooting process was a little tricky because we recognized in order to present the idea of we are all different but all the same we needed to have some strength in the resolution of the video. The way we did this was by rolling secretly on all our extras as they walked on and found their mark. We would let them stand there awkwardly and nervously without any direction while we talked and subtly rolled on their insecurities. The majority of the video is made up of these moments. We would then key the AD to step in and call everything together. And then we would shoot the powerful to camera portrait moments that are at the end of the video.
The shoot was powerful and brought out the best in our extras and our ‘movers'. The ‘movers' danced to music that they typically wouldn't be dancing to yet this illustrated the point in the song that humanity can in fact move as one.
Rod, thanks for helping the planet5D readers know how the video was shot!
(Photo credit: snap from the video)