"The Man That Got Away" music video shot on DSLR - Cameras/Camerawork

jodymichelle

Senior Member
Staff member
<p><em>Patrick Reis shares a little behind-the-scenes information on shooting the music video, "The Man That Got Away," for New York-based performance artist Jonathan Tuzo.</em></p>
<p><strong>CAMERAS:</strong><br>
<strong>Patrick Reis</strong><strong>:</strong><strong> </strong>We had one 7D and two 60Ds. This was for cost purposes. The rental of a 60D is less than a 7D, and I knew that I wasn't going to use the additional features that the 7D offers. I just needed video from APS-C sensors.</p>
<p><strong>MANUAL SLIDERS:</strong><br>
<strong>Patrick Reis</strong><strong>:</strong><strong> </strong>DSLR sliders are lots of fun! My biggest tip for using a manual slider is to relax and take deep breaths. It's all about keeping it steady and smooth. And again, rehearse the move. You might find that as you move the lighting changes or there is someone or something that comes into the frame that wasn't there when you started. You can see some of the equipment in the reflection of the piano in my shot but Dan and I wanted to see a little of the magic behind the scenes. Hence the opening shot of the video.</p>
<p><strong>LIGHTING & CAMERA SETTINGS:</strong><br>
<strong>Patrick Reis</strong><strong>: </strong>Our lighting and camera settings were quite unusual for this video. All cameras are designed to shoot sharp, well-defined images. We needed the video to look soft and grainy so we needed to push the lighting and cameras into the opposite direction of what they are used for. To start with we needed to bump up the ISO to give us that grainy look. Then we needed to pump in a lot of light to blow out the white walls to give us the contrast that we wanted. Finally this allowed us to stop down the aperture to mimic the deep focus that 16mm has. Often the DLSRs are used for shallow depth of field but we wanted the opposite. The only other setting that we manipulated was the color and filter settings. We shot in the monochrome setting and added a red filter to help with contrast.</p>
<p><strong>SHOOTING B&W:</strong><br>
<strong>Patrick Reis</strong><strong>: </strong>Shooting black and white wasn't accepted right away on our set. The other camera operators asked me several times if I was sure that I wanted to shoot it this way instead of introducing black and white in post. If you decide to shoot this way, look at how different colors react in black and white. You might think that a shirt can be separated from the wall but in black and white they might both look like the same shade of gray.</p>
<p><strong>INSPIRATION:</strong><br>
<strong>Patrick Reis</strong><strong>: </strong>My advice to all of the storytellers out there whether they shoot film, video, use a big camera or a small camera is to shoot more. Don't' let technology slow you down. You tell the story, not the tools.</p>
<p style="font-size:11px;color:#000000;font-family:verdana;">The full version of this interview is published in <em><u><a href="https://www.studentfilmmakers.com/store/home.php?cat=248" target="_blank">StudentFilmmakers</a></u></em> Magazine. Don't miss another important edition of <em><a href="https://www.studentfilmmakers.com/store/home.php?cat=248" target="_blank">StudentFilmmakers</a></em>, which focuses on cutting-edge, Pre-production, Production, Post production, and Distribution technologies and techniques. Six-month, 1-year, 2-year, and 3-year subscriptions available with discounts from the cover price. Back Issues are also available while copies last. <a href="https://www.studentfilmmakers.com/store/home.php?cat=248" target="_blank">Click here >></a> </p>
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