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Stunning new campaign from Comme Des Garcons


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Just wanted to open up a discussion about Jordan Hemingway's new work for Comme Des Garcons: 

 

I think this is absolutely stunning, really reminds me of a specific late 70s aesthetic. I am studying cinematography at the moment - wanted to ask you guys how to learn from some techniques used in this video, what's best to try out - both on set and in post! I know it's not one for the purists, but I really think this photography is great...

First post on Cinematography.com - how exciting! I have been an avid reader 😉

 

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Looks like it was shot on film. The first candle shot is composited digitally. The candle reflections don't fade out and the halation around the wicks doesn't change as the candles fade out. Some sequences are step printed. Probe lens in the second candle shot and the last shot looks like a composite of some sort also shot with a probe. Prisms/glass bowls in front of the lens but I can't figure out what he's using for the water/ripple effect. 

Edited by M Joel W
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Some cool tricks in there. The first macro shot where the hand grabs the bottle, and one later close-up has a lot of chromatic aberration - I have an old Pan Cinor that does the same. Also I think there's many shots where the camera is shooting into mylar that's being wiggled? Maybe one shot with vaseline around the edge of the lens, or a hole cut in a plastic bottle?

Edited by Webster C
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Just rewatched Frankenheimer/Howe SECONDS on Saturday, and the B&W snippets here really reminded me of those opening credits.

This looked really hot! Definitely looked like mylar gags, one of my fave go-tos (and what Edlund used to create hyperspace for the brief views in STAR WARS and RETURN OF THE JEDI.)

 

Some of the early images of the model laying down in space reminded me of the awesome ep 8 of TWIN PEAKS season 3, when Cooper is on that building out in space and falls off.

Edited by KH Martin
TP reference
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  • 2 weeks later...

Hey,

I shot this with Jordan and more than happy to share any specifics. 

But as discussed was all Super 16. Mostly Ultra 16 lenses and then a lot of vaseline and paint on an optical flat and I think Smoque. We used different glass objects in front of the lens and a Optex Excellence with the B4 back end and a Abakus B4 to Super 16 adapter for the trick shots which were all practical.

Lighting was usually a Mole Beam with a 6k HMI bounced for ambience. Then T2 and T5 units. K Flect mirrors and loads of flags and blacks. We even used shutters for the lightning stuff.

There is a hidden shot on digital (RED Dragon) but this was just for the off speed.

All pretty old school.

Jordan is a lot of fun to work with and Arthur the set designer helped us pull it all off on a relative shoe string. 

Hope that helps,

Jeremy

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On 11/4/2020 at 12:22 PM, Jeremy Valender said:

Hey,

I shot this with Jordan and more than happy to share any specifics. 

But as discussed was all Super 16. Mostly Ultra 16 lenses and then a lot of vaseline and paint on an optical flat and I think Smoque. We used different glass objects in front of the lens and a Optex Excellence with the B4 back end and a Abakus B4 to Super 16 adapter for the trick shots which were all practical.

Lighting was usually a Mole Beam with a 6k HMI bounced for ambience. Then T2 and T5 units. K Flect mirrors and loads of flags and blacks. We even used shutters for the lightning stuff.

There is a hidden shot on digital (RED Dragon) but this was just for the off speed.

All pretty old school.

Jordan is a lot of fun to work with and Arthur the set designer helped us pull it all off on a relative shoe string. 

Hope that helps,

Jeremy

Definitely wasn't expecting you to reply, Jeremy! Thanks so much for all the info. I absolutely love your work with Jordan, especially that short film you did for Saint Laurent a while ago. Big fan here! xx

Edited by Ralph Poes
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