movie making examples2
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The film Kamihate ShotenShinji Ogawa, Japanese Society of Cinematographers (JSC),
Film director and associate professor at Kyoto University of Art and Design
Using the AG-AF100 series: Example 1
What I Was Looking For: “Just Like Movie Film”
In addition to my work as director, I have a position as an
associate professor at Kyoto University of Art and Design.
For the past three years, I have been conducting a project in
which I produce a movie with my students and show it at a
public theater, once a year. As a single course of study at a
small university, we don’t have the budget to record on film.
We produced the last two movies by recording in DVCPRO HD
1080/24p format on a Panasonic AG-HPX500 series owned
by the university. Our first effort, Ogonbana (“Golden Flower”)
directed by Takeo Kimura, was converted to film using akinescope and was shown in movie theaters across Japan in
2010. The following year we produced our second opus, Made
in Japan—Kora!, directed by Banmei Takahashi. This time the
movie was completely packaged in the DVCPRO HD 1080/24p
format and debuted September 24, 2011. After the premiere at
Kyoto Cinema, the movie will be presented at other venues in
succession.
The third project in our series is Kamihate Shoten, directed
by Tatsuya Yamamoto. This time I had really hoped to record on
film for the students’ sake, but I abandoned the idea because
of some reasons. Instead, I plumped for the AG-AF100 series
almost as soon as it was released, as it can record with results
similar to a 35 mm film camera. I felt secure in acquiring by this
camera recorder, as the students were already used to using
the AG-DVX100B series, another Panasonic camera.
■Gamma and gain settings
Because we were using the camera for the first time, we
began by carefully conducting repeated test shoots and rushes
in order to check gamma and gain levels. For gamma, we
decided to use Cine-Like D or B.Press, depending on the
situation.
The matrix we used was cine-like, H-detail and V-detail both
–2, Chroma –3 and normal for everything else. To establish
the right gain, we watched the feed on multiple monitors andprojectors as well as waveform monitors. We concluded that the
actual gain was about twice the ISO indicated on the camera
settings, so we chose to use ISO 200 generally and measure
the gain on the exposure meter using ISO 400. In fact, we used
the exposure meter to create the light balance and determine
iris settings. We then confirmed these settings using the camera
and monitor waveforms to decide the final aperture values.
We connected the camera recorder to a Panasonic
BT-LH80W 200.66 mm (7.9 inches) LCD monitor using an
HD SDI interface. No major difference exists in the waveform
monitor’s levels on the camera recorder and BT-LH80W, and
the waveform monitor built into the camera was quite effective
in determining aperture.
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Look down shot with the 25 mm lens. Even with a wide-angle lens,
focus was rather unforgiving. We had to check the focus with a
measuring tape every time.
The Cine Varotal zoom is bulky and heavy, requiring considerable
dexterity and effort to mount. Because we didn’t have genuine
support parts, we had to tie the lower support rod in place with
rubber bands and fix it in place above with a free arm normally
used for monitors.
We changed lenses dozens of times a day. The professional lenses
were quite stiff, so students who were not used to them had a hard
time mounting them.
could not be used at the same time as the monitor and
the waveform and vector scope could be displayed on the
monitor only.
I usually don’t use the LCD monitor, as it varies
depending on the shooting environment, so in most
cases I use the viewfinder to operate the camera
recorder. Capability to simultaneously use both the
monitor for waveforms and the viewfinder for images
would have been desirable.
■Shooting with a cine lens
I wanted to shoot in the style close to a film cameramovie, so we separated the audio from the video
recording. We switched off the camera mike and did not
connect the audio output onto the camera recorder. All
lenses used were 35 mm film camera lenses. The second
camera assistant (one of the students) adjusted the
focus.
For lenses, I recruited the help of the friends to borrow
a set of Cooke lenses, a 10x zoom lens from Cine
Varotal, and another 10x zoom made by Angenieux,
besides the university’s set of Carl Zeiss lenses (18, 25,
35, 50 and 85 mm) . We selected among these lenses
on a scene-by-scene basis. We obtained a Micro Four
Thirds/PL mount and the additional New Arri/PL mount for
the Carl Zeiss set lenses because their mount were New
Arri.
Having been manufactured over 40 years earlier, both
the Cooke and Angenieux lenses exuded a soft, retro
look, so we used them mainly for the flashback scenes.
The Carl Zeiss lenses were similarly over 30 years old
and features a triangular iris, but the lens turned out
beautiful, crisp, sharp images, so these became our main
lenses. The Cine Varotal was new and had no unusual
characteristics, so we reserved it chiefly for location
shots. When we had the camera and lenses in order, it
was a week before the start of shooting. In a rush to
buy everything we needed, I had to settle for DSLR
accessories, which we modified to create a lens support.
As the AG-AF100 series had just been released, there
were not many third-party support parts to choose from.
We guess the mounts lineup will be expanded in the
future, I believe that a lens support is necessary for
the larger lenses. We recommend also using a lens
support for consumer still camera lenses when using it
with the zooming feature. With our array of 13 lenses,
we allocated each lens to its appropriate task, changing
lenses dozens of times a day.
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Thankfully, we did not suffer a single abnormality the whole month.
■Controlling the depth of eld according to the situation
Our biggest reason for using a camera recorder with a large image sensor was to achieve a shallow depth of eld. The
difculty of moving focus point correctly in a shallow depth of eld is something that only those who have experienced it
can appreciate. I wanted my students to experience this, as I believe it is a crucial part of the art of moviemaking.
Open aperture was F1.2–1.4 on the fixed focal lenses and F4 on the zoom lenses; during shooting, we set the
aperture to F2.8–4 on the xed focal lenses and to F4–8 on the zooms. The idea was not to open the aperture up and
make the depth of eld shallow, but rather to control depth of eld appropriately according to conditions.
As it is the case with DSLRs, a shallow depth of eld is appealing, but frequent shooting close to open aperture often
causes failures, such as indistinct focus and long sequences of images that are too soft, giving them a dull. On this point
the AG-AF100 series was easy to handle, as the sensor is large but not too large. If we had needed a shallower depth of
eld, however, the AG-AF100 sereis might have proved inadequate in some cases.
Creating Movie-like Quality in Underexposed Conditions
The AG-AF100 series is a beneciary of Panasonic’s expertise in cine-like gamma, acquired through products such as
the Varicam and DVX series. The camera recorder delivered smooth gradation in dark area. It was a good relief for us
who gave up shooting in lm.
However, recording the movie
entirely in dark conditions would
tend to make noise a problem.
To our eyes, the SN ratio in dark
conditions did not seem to be
improved over earlier models
such as the AG-HVX200A series
and AG-HPX170 series. Noise
from underexposure seems to
be much less of a problem when
using solut ions such as HD
NORM (normal gamma) or CINE-LIKE V.
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Cine-Like D was selected to convey the cold, lonely mood of winter on the Sea of Japan. We set the image darker andreduced the chroma.
Even with the 25 mm (F2.8), a relatively wide-angle cinematic lens, bokeh is natural, and theintended area comes nicely into focus.
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CINE-LIKE D offers the widest dynamic range but the
worst performance in terms of noise in dark area.
Because we launched this project with the aim of
creating a theater-ready lm, I wanted to use gamma
that was as close to the dynamic range of film as
possible. We chose to avoid creating a movie with
dark scenes only, to reduce the noise occurring in
underexposed scenes, and created a well-balanced
opus with the feel of a cinema-grade movie. Of
course, we also had to control the area and strength
of overexposed (bright) portions, so we tried not to
generate too many of these either. Our basic aim was
to create a beautiful, nicely balanced production.
With the waveform monitor at 100%, detail was
expressed, but from 105% upward, detail declined
rapidly. Above 110%, no detail was expressed and
some color inversion was seen. It is commonly said
that high-exposure (bright) portions are weaker
in video than in film, digital video has moved from
CCD to CMOS and from SD to HD, transforming
the expressive power at the high-exposure (bright)
end. Before starting to acquire, it is always vital to
conduct extensive testing and to plan your production
appropriately.
Backing Up Recorded Data
The recording media consisted of five 16 GB
SanDisk SDHC memory cards (class 10). Given the
AVCHD 1080/24p format, 16 GB is sufcient to hold
90 minutes of video recorded in PH mode at the AG-
AF100 series’ highest image quality. Perhaps because
each cut was no longer than 5 minutes, we encountered
no single writing/reading abnormality.
We recorded onto each card in turn until it was lled.
Each evening, after the day’s shooting, we backed up that
day’s original data onto three hard disks via a MacBook
Pro. On one of these hard disks, we used Final Cut Pro
to convert the data and save it in ProRes 422 format.
Reflecting that all work was conducted on location, we
will continue to hold all data on the SDHC memory cards
without any deletions. You may think it is an exaggeration, but it is our rule to
backup the video les onto at least two hard disks when
using a camera recorder with a memory card to shoot a
video. In fact, earlier we had lost the data for last year’s
opus in editing, and had to recover it from one of the hard
disks. Our plan was to edit the ProRes 422 data on hard
disk, storing the other two disks as backup in a separate
location.
★★★
Compared with the world of film, which has barely
changed in 100 years, electronic video has undergone
tumultuous changes. The signal has changed from
analog to digital, performance advances constantly,
and formats are always changing. A dizzying variety of
recording media are offered by a plenty of companies.
Video producers would love to see a commonly adopted,
long-lasting format, but this is a difcult prospect.
The AG-AF100 series, which records AVCHD files
onto SD memory, uses the Micro Four Thirds mount,
so it can use everything from amateur still lenses to
professional cinematic lenses. It will be interesting to see
whether the AG-AF100 series nds widespread favor with
professionals the way the DVX series has.
■Kamihate Shoten: To be completed in fall 2011.Scheduled for movie theater release in 2012.
Plot summary: A bus stop named “Kamihate” in a small,
lonely port on the Sea of Japan. Beyond, there are
a lonely shop run by an elderly woman and a sheer
precipice, a place known for suicides. In this little shop
in the cold winter, the old woman speaks to an unknown
customer who has happened to drop in…
Produced by: Kitashirakawaha
Distributed by: Magic Hour Inc.
Directed by: Tatsuya Yamamoto
Starring: Keiko Takahashi, Susumu Terajima, Morio
Agata, others
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AVCHD uses a hi gh compress ion ratio, ye t the trees in the fa r
background are clearly reproduced. Movie theater audiences would
never know they are watching a digital movie.
Shot with the 35 mm (F5.6) lens. On this fine day outside, the ND filter
was used to control aperture. Bokeh was easy to control regardless of
the lens used.
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Action-film director Yuji Shimomura is renowned for
such films as Shinobi and Dororo, and in spring 2011
he released Gantz, a movie starring Kazuya Ninomiya.
Recently, Shimomura directed Pink Spider, a short
movie for distribution in North America, with the aim of
familiarizing North American audiences with Japan’s new
style of moviemaking. He chose to record his opus using
the AG-AF100 series. Key factors in the action director’s
selection of the AG-AF100 series were its ability to record
in 1920 x 1080 full HD with variable frame rate; ability to
select zoom lenses as short as 7 mm; the lightweight,
compact design; and the camera recorder’s snappy
response.
In recording the action scenes, the camera crew made
maximum use of the AG-AF100 series’ combination of
responsive body and short zoom. In handheld use,they
could move about freely, quickly recording vivid, high-
impact video. As with a film camera, the AG-AF100
series makes it easy to
change the number offrames per cut when
recording. Moreover,
it delivers highly
efficient recording, as
it is capable of rapid
preview checking
onsite.
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When recording action
scenes , the camera
crew made maximum
use of the AG-AF100series’ combination of
responsive body and
short zoom.
Short Movie: Pink Spider
Tadashi Watanabe, Multicamlaboratory
Using the AG-AF100 series: Example 2
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Recording with Two Lumix Lenses
Thanks to its short ange back, the Micro Four Thirds
system enables a wide range of low-cost still lenses to be
mounted on the AG-AF100 series via a mount adapter.
While I was attracted by the AG-AF100 series’ strengthin producing shallow focus video, I also placed priority
on responsiveness, a key factor when shooting an action
movie. For this reason, I restricted my lens selection to
just two Lumix zoom lenses: the Lumix G Vario 7–14
mm/F4.0 Asph. and the Lumix G Vario HD 14–140 mm/
F4.0–5.8 Asph./Mega OIS.
The Lumix G Vario 7–14 mm/F4.0 Asph. achieves the
world’s smallest size in a daily-use lens and amply covers
the wide-angle range with a diagonal angle of view of
114°. Its recordable range is 25cm from the imaging
surface across the entire zoom range, and the lensmakes full use of perspective.
On the other hand, the Lumix G Vario HD 14–140 mm/
F4.0–5.8 Asph./Mega OIS is a zoom lens that features
a lens conguration of 17 lenses in 13 lens groups (four
aspherical lenses/two ED lenses). Covering a wide angle
of view 28–280 mm (35 mm equivalent), this zoom lens
incorporates as much angle of view as a standard zoom
lens plus a telephoto zoom lens, in the body of a single
zoom lens. Contrast AF precision is high and focus is
quick. Moreover, the lens is equipped with Mega OIS
optical image stabilization, repressing camera shake
even in low light, indoor shooting conditions.
■Pink Spider
Plot summary: Tokyo, 20XX. In a world overrun by
goblins, a team of goblin slayers, called the Pink Spiders,
ghts to protect humankind from the goblin menace. TheSpiders, a corps of three young women, wield special
powers that belie their charming appearance, and are
engaged in a life-and-death struggle with the goblins
day and night. After hiding in the shadows for centuries,
the goblins have at last emerged to declare war against
humanity. The balance of power between humans and
goblins has begun to crumble…
Produced by: WORSAL Co., Ltd.
Production company: North CKY, Inc.
Producer: Masaru YabeDirector and screenplay: Yuji Shimomura
Video director: Tetsuya Kudo
Action director: Kensuke Sonomura
Starring: Hikari Takara, Misaki Momose, Ayame Misaki (all
of HoriPro Inc.)
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In our production of Pink Spider, mobility was the top
priority. All shooting was conducted using the Lumix G Vario
7–14 mm/F4.0 Asph. and Lumix G Vario HD 14–140 mm/
F4.0–5.8 Asph./Mega OIS.
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Movie: Lari, Sayang, Lari
Produced and directed by: Kazuya Hayashi, Studio DU
Using the AG-AF100 series: Example 3
Sequence of Events behind Adoption of the AG-AF100
series and Selection of Lenses
In spring 2011, I produced a made-for-TV movie
for Astro, a cable-TV network in Malaysia. I used the
Panasonic AG-AF100 series for this project (model name
in Malaysia is AG-AF102). The title of the movie was Lari,
Sayang, Lari.
My director for this project was Yasuhiko Tanaka, a
scenario writer and analyst with extensive experience in
Hollywood. I took part as video director. Planning began
in early summer 2010, and we selected our resourcesbased on the budget and storyline. Even without an
extravagant budget, we wanted to create a product we
could distribute to other countries besides Malaysia. To
create the high-impact video we needed, we took the
basic approach of focusing on fixed focal lens shooting.
Of course, as this was the zenith of the DSLR movie-
making era, we anticipated using a DSLR for this project.
Still we hesitated to do so, as the support rig required
for DSLR moviemaking would pose a problem, given the
great number of moving shots we needed to make.
Just then, Panasonic announced the AG-AF100
series, a camera recorder that builds on the success of
the DMC-GH1 and DMC-GH2, mirrorless digital SLR
cameras based on the Micro Four Thirds standard. The
DMC-GH1 series had taken the world by storm; this
compact digital SLR camera offers the video producer
considerable freedom, as its short flange back enables
virtually any lens to be mounted using a mount adapter.
The series has video capability, and I had used it in a
number of projects before and recieved positive reviews.
Looking at the specs for the AG-AF100 series, which
appeared to be a camera recorder version of the DMC-
GH1 series to me, I made it my top candidate. I realized
that this would be the camera that would enable me toproduce Lari, Sayang, Lari the way I wanted to. With the
product launch due within the year, I felt I would have
sufficient time to perform testing and begin production the
following year.
I began selecting lenses. In addition to the Lumix G Vario
7–14 mm/F4.0 Asph. and Lumix G Vario HD 14–140 mm/
F4.0–5.8 Asph./Mega OIS, both from Panasonic, I opted
for a number of New FD lenses from Canon with the FD
mount, choosing the 14 mm F2.8L, 20 mm F2.8, 24 mm
F1.4L, 35 mm F2, 50 mm F1.4, 85 mm F1.2L and 200
mm F2.8, as well as the Ai Nikkor 50 mm F1.4S and Ai
Zoom-Nikkor 80–200 mm F4S with the Nikon F mount,
for a total of 11 lenses.
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Although lenses of the digital generation might have been
a possibility, I selected these lenses because I wanted
lenses with a unique character, even if I compromised
slightly on clarity of imaging.
For the mount adapter, I used a Miyamoto Seisakusho
Rayqual, handled by Kindai International. I was especially
glad for the Nikon-Micro Four Thirds adapter, an excellent
product with an iris ring that enabled me to use the
G-type lens series. This adapter was equipped with a
position maker, making it easy to adjust the aperture
when using a G-type lens.
As this product was the first commercial video for
which the AG-AF100 series was used in Malaysia, the
local Panasonic affiliate took an interest in my work and
agreed to cooperate with me in providing equipment.
■Focus work using the features of the AG-AF100 sereis
and the lenses
Having decided on the equipment, preproduction went
smoothly, and I started production in April 2011. On
location, I reconfirmed the conditions. Just as everything
seemed to be going well, something unexpected
happened at the local camera equipment shop where
I had obtained my gear. The monitor and related
equipment I had requested had gotten an accident and
could not be used. The shop had a replacement, but it
was an old Standard Definition CRT with a huge battery.
It was completely unsuitable for the nimble footwork I
would need to do for this movie.
The mishap turned out to be serendipitous, because I
would have to depend entirely on the AG-AF100 series’
assist features and my focus work using the lens. In
the end, this was a fortunate result, but I didn’t realize it
during shooting.
Using Assist Features to Achieve Efficient Shooting
Malaysia is located in a tropical rainforest zone. One
moment the sky would be brilliantly clear and blue,
the next it would cloud over and a torrential downpour
would begin, Needless to say, these conditions posed a
problem for continuity.
Nonetheless, I only had a limited number of days toshoot, so there was nothing for it but to keep shooting.
This was where the waveform monitor turned out to be
incredibly handy for maintaining continuity. I had to record
quickly. There was no time for measuring the light and
a thousand little adjustments. Moreover, the language
barrier led to frequent misunderstandings. I took a photo
of WFM on the LCD and established smooth transitions
between cuts.
In the bright conditions on open locations in the
endless summer of Malaysia, I set the gain SW settings
to L=200, M=320 and H=400. In the normal portrait shots
using the Canon New FD 24 mm F1.4L, 50 mm F1.4 and
85 mm F1.2L lenses, it is usual to set the ND to 3 or 4
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I used still photographs to record the WFM, comparing these to
ensure smooth transitions between cuts. This method proved
surprisingly efficient.
Unable to establish a proper monitoring environment, I used theassist features of the AG-AF100 series and focus work using thelenses.
The Rayqual Nikon-Micro Four Thirds adapater is equipped with
an iris ring and can be used with G-type lenses.
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and never leave the iris open, but setting the aperture 1
or 2 stops lower.
However, for a wide angle, I used the Lumix G Vario
7–14 mm/F4.0 Asph. I fixed the ND at 3, and intentionally
used the aperture function in order to utilize pan focus.
Having the ND filter built into the camera was an
enormous help. This factor alone was sufficient reason to
use the AG-AF100 series.
■Discovering FA’s wealth of advantages
Throughout the shoot, I was enormously assisted by
the AG-AF100 series’ Focus Assist (FA), a feature that
draws a red line around the area being focused on.
My director, Yasuhiko Tanaka, had a clear vision
for the project, made decisions quickly and put them
promptly into action. Our work on location made rapid
progress. Even so, at the beginning of shooting, time
constraints at the location meant that we had time only
for a dry rehearsal. Instead of a technical rehearsal, we
went straight to actual shooting. I felt we really needed
a technical rehearsal, but there was nothing for it but to
start shooting.
Receiving only the starting and ending positions, I
marked them on the focus ring. I adjusted the focus at
the same time as I did the framing. With FA on, I relied
on the red lines around the cast members’ eyelashes for
focusing. I performed all of these operations by myself. I’ll
spare the reader the background, but I felt it was better to
place all of these tasks under my own responsibility.
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The AG-AF105 is a compact camera recorder,so I could hold it in my hand wherever we went,
or easily install it on a crane or rail.
FA overcame any problems
presented by the rather
unforgiving focus.
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During nighttime shooting, I was able to obtain sufficient brightness with relatively little lighting equipment.
I had expected no less when I set out for Malaysia in the
first place.
I placed my faith in the performance of the FA, and it
did not let me down. One of the major factors in choosing
to shoot with the AG-AF100 series was this FA feature. It
really provided a wealth of features to lighten the burden
of video recording, reaffirming my conviction that I hadmade the right choice in the AG-AF100 series.
I can even say that I counld not finish the production
without AG-AF100 serires’ Focus Assist function. As
a result, I fell into a certain rhythm with the AG-AF100
series, continuing to use the same shooting techniques
in the second half of the shoot. Thanks to this camera
recorder, I was able to record a number of extra cuts,
more even than the numerous cuts I had originally
envisioned. It also made a tremendous difference that the
camera recorder was so easy to set up.
■Obtaining sufficient brightness even during nighttimeshooting in dark conditions
Though much of the shooting was done at night,
thanks to the fixed focal lenses, I was able to shoot with
a brightness that would have been unthinkable with
previous video projects. The ability to make do with a
minimum of lighting equipment was enormously helpful
in reducing the work time. Mainly relying on a gain of ISO
400, sometimes using ISO 800, I felt that the S/N ratio
was about right. Use of ISO 800 in daily use delivered
good quality.
Also, the AG-AF100 series is a compact camera
recorder, so I could hold it in my hand wherever we went,
or easily install it on a crane or rail. Occasionally I even
mounted it on the trunk of a car to shoot the following
vehicles or people.
★★★
The shooting schedule was so tight that I hesitated to
switch lenses. With the AG-AF100 series, I was able to
deliver satisfactory quality in such a tight schedule. This
was possible because the AG-AF100 series compressesthe handling of a camera recorder and the optical
performance of a DSLR into a compact body.
On the day after wrap, the local producers were so
delighted at the footage they saw in the preliminary
edit, they decided then and there to shoot a sequel.
The trailer for Lari, Sayang, Lari can be viewed at the
website of the production company, 42nd Pictures, at
http://www.42ndpictures.com. I invite everyone who is
interested to take a look.
■Lari, Sayang, LariPlot summary: Hakimi is under investigation on suspicion
of murdering the fiance of his lover Surina, who had been
engaged to her for a political marriage of convenience.
To prove his innocence and reunite with his beloved
Surina, Hakimi takes flight across the Malaysian
landscape. Surina’s wealthy family, convinced of Hakimi’s
wrongdoing, hires Jefri, a private detective and Surina’s
uncle, to track the fugitive Hakimi down.
Directed by: Yasuhiko Tanaka
Produced by: Bea Tanaka
Video direction by: Kazuya Hayashi
Starring: Alif Satar, Erin Malek, Roy Azman