documentary film lighting setup

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  • 7/21/2019 Documentary film lighting setup

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    12/14/08 1:57 PMTutorials, Reviews, Tips For Film, HD, HDV, Video | Studio Monthly

    Page 1 of 5http://www.studiodaily.com/studiomonthly/print/9260

    Shoot Film Out-Quality Video for the Web with the Panasonic AJ-HPX3000Manfred ReiffApril 1, 2008 Source: Studio Monthly

    In keeping with Andy Warhols original "screen test" aesthetic, we opted for a minimalist, yet refined

    and calculated approach to set and lighting. In our example, talent sits in front of an almost black

    backdrop and is lit by one single source, in this case, a single Briese light. The Briese unit, correctly

    used, produces a light that is very complimentary to facial geometry and bone structure, creating a

    compelling visual presence for talent. We chose Fujinon E-series primes and zooms to have even

    more control. We used an OConnor 2575 tripod with Ronford legs. With the Pro 35 adapter, Cooke

    S4 primes and onboard monitor, the camera got a little heavy and the OConnor works nicely with it.

    Manfred Reiff captures Oscar-winning actress Marion Cotillard for The New York Times T Magazines

    "Screen Test" Web series. Photo by Gary Isaacs.

    Step 1: Keep Sets and Lighting Refined

    Step 2: Create a Long Tail for Your Video, From Web to Film

    The immediate destination for these "Screen Tests" is The New York Times T MagazineWeb site,

    which, as a companion to the newspapers periodical style magazine, T Magazine, puts an emphasis

    on graphics, video and art. When we started the series we wanted to create the best possible image

    for future use, such as theatrical projection in HD or even scan out to film. 1080p was an immediate

    choice because of resolution but also because we needed a very fast and cost-effective post-

    production workflow. Tape just wasnt an option. The Panasonic HPX3000 seemed to give us

    everything we wanted: 1080p recording, a 10-bit, 4:2:2 signal, the new AVC-Intra codec and P2 as

    storage medium. We also chose to shoot in color and leave the black-and-white color treatment to

    post.

    Step 3: Edit on the Spot with P2

    The first time I used P2 card technology was shortly after the release of Panasonics HVX200. Back

    then, I worried about things like redundancy, possible file corruption and of course, the reliability of

    this very new media. On a documentary shoot, out of town, with no rental and/or tech support in

    sight, this was a major concern.

    However, after initial tests at the check out and on location prior to the first shoot day, capturing,

    transferring and storing footage turned out to be a fast, easy and quite intuitive process. It was an

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    easy choice for this shoot, which required each 45-minute take to be shot only one time straight

    through.

    Using Andy Warhols famous screen tests of Edie Sedgwick and others as a point of departure,

    Natalie Portman (top) and Marion Cotillard go from thoughtful repose (above) to animated

    conversation in the T Magazinevideos (left). To watch the full-length videos, archived at T

    Magazineswww.tmagazine.com site, go to www.tmagazine.com and click on "T Exclusive Films" in

    the Video tab. Photos courtesy of The New York Times.

    Step 4: Archive with P2: DVCPRO HD VS. AVC-I

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    We were considering various P2 production and post workflows, such as going to P2 stores and then

    to dedicated hard drives. Having used P2 cards in different workflows, from documentary to complex

    studio greenscreen and compositing shoots, we decided the fastest workflow would be to take the

    cards directly to a computer and hard drives. P2 stores are terrific for location shoots, but seemed

    like an unnecessary intermediate step for a studio location. When we were shooting the first New

    York Times pieces export of AVC-Intra material to Final Cut and Avid was not yet available. As a

    result, we choose to capture and export as DVCPRO HD.

    Step 5: Manage Your P2 Downloads on SetTo create an efficient workflow, we usually have a data management person on our team who isdedicated to P2 card downloads, creating redundant copies of files and conversion to QuickTime for

    review, as well as compositing previews on greenscreen shoots. At this point, Apple Powerbook G4s

    are outdated. However, they offer one very practical feature: a built-in PCMCIA slot. With this slot,

    you can access P2 cards without external card readers and download material for immediate

    ingestion into Final Cut. To do this, first insert your P2 card in the PCMCIA slot. The cards will show

    up on your desktop as No Name. Next, copy.mxf files to individual folders. I like to use a system

    where folder numbers map to P2 card numbers. Finally, create a redundant copyon a second hard

    drive and then import into Final Cut for QuickTime conversion via the Log and Transferfunction.

    Step 6: Move to an AVC-I Workflow

    To run AVC-Intra files requires an Intel-based MacBook Pro laptop, as well as a PCI adapter. We have

    so far been using DuelAdapter from Duel Systems. The advantage of the PCI transfer over the PCMCIA

    slot on the G4 is significantly higher transfer speeds. First, download and install the AVC-Intra codec

    for Intel-based MacBook Pros from the Panasonic support desk (

    https://eww.pavc.panasonic.co.jp/pro-av/support/desk/e/index.htm). Next, insert your cards into

    the DuelAdapter P2 card reader connected to MacBook Pro. Store your.mxf files on two redundant

    hard drives. Convert to QuickTime, as above, with Final Cuts Log and Transfer function. Our current

    codec choice is 10-bit ProRes 4:2:2. Now your shots are ready for editing.

    Although 64 GB P2 cards are now available, Reiff loaded the HPX3000 with five 16 GB P2 cards,

    which gave him 80 minutes of record time for each shoot.

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    12/14/08 1:57 PMTutorials, Reviews, Tips For Film, HD, HDV, Video | Studio Monthly

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    Reiff felt that an OConnor 2575 tripod, fit with Ronford legs, was the sturdiest choice for the

    HPX3000 and its various accessories. Photo by Emery Wells.

    A single Briese light and well-placed reflectors provided Reiff with a nice balance of detail and

    ambience for the shoots. Photo by Gary Isaacs.

    Step 7: Shooting Greenscreen? Try AVC-I

    Based on my other shoots, I can say without question that 1080p and AVC-Intra captures superior

    material for greenscreen shoots and compositing work, whether the final will be used only online or

    projected for theatrical release.

    Tools Used:Panasonic HPX3000; P2 media; OConnor 2575 tripod with Ronford legs; a single Brieselight; Fujinon E-series prime and zoom lenses; Cooke primes; Apple Final Cut Pro, Apple Powerbook

    G4 and MacBook Pro

    Your Guide

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    Manfred Reiff

    Director of Photography

    Manfred Reiff is a cinematographer and director who has focused on fashion and beauty advertising

    for such clients as LOreal, Olay, Coca-Cola, AT&T, Ford and Samsung. In the past year, he has

    filmed a range of leading ladies, including Beyonc, Milla Jovovich, Eva Longoria Parker, Andie

    MacDowell, Diane Keaton, Natalie Portman, Charlize Theron and Marion Cotillard. His feature film

    work includes Glow Ropes: The Rise and Fall of a Bar Mitzvah MC, which won an HBO Best Picture

    Award and took top honors at the Latino Film Festival. His additional feature credits include The

    Suitors, an official selection at the Cannes film Festival and Beyond, an official selection of the

    Hamptons Film Festival.

    Manfred Says Keep in Mind...

    The idea of the New York Times creative team (working with director Francesco Carrozzini, editor

    Vincent Velazquez, off-screen interviewer Lynn Hirschberg and the Grand Large, Inc. production

    company) was to create artists portraits influenced by Andy Warhols "Screen Tests" of the mid-

    1960s. Visitors to the Factory who Warhol thought had potential "star" quality were seated in front of

    a tripod-mounted camera and asked to be as still as possible, without blinking, while the camera

    was running. Warhol made more than 500 of these screen tests. Taking our inspiration from this

    body of work, we wanted to create the same immediacy but also allow for our subjects spontaneity,

    to show artists in a new, more personal way. To date, weve shot profiles of Marion Cotillard,

    Charlize Theron, Natalie Portman and Joseph Gordon-Levitt. These profiles may eventually becompiled as a film.

    Manfred Reiff

    www.manfredreiff.com

    Ph. 917.371.7727

    [email protected]

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