Jump to content
Tyler Purcell

My new cosplay documentary being shot on film

Recommended Posts

Shame you couldn't go the whole hog and cut and finish on 35 as well. Mag sound and everything. But I guess that ship has sailed.

Ohh trust me, if I shot standard 16 and 4 perf 35mm I would have contemplated a photochemical finish of some kind. However with Super 16 and 3 perf 35mm, there is an optical pass that requires a lot more work AND money. Laser out's have become cheaper and cheaper over the years and we own two recorders ourselves, so the cost to do it is simply film stock from my point of view.

  • Upvote 1

Share this post


Link to post
Share on other sites

We have Four huge interview shoots this year. First Portland in May.

 

 

Hey mate,

 

If you need any help in Portland just let me know. I'm good at humping gear and finding ways to make things happen.

  • Upvote 1

Share this post


Link to post
Share on other sites

 

 

Hey mate,

 

If you need any help in Portland just let me know. I'm good at humping gear and finding ways to make things happen.

 

I sure will! I'll need a dolly and probably some shitty old tungsten lights. :)

Share this post


Link to post
Share on other sites

 

I sure will! I'll need a dolly and probably some shitty old tungsten lights. :)

 

 

I've got two Arri 650's for you, will that cover it? Shoot me a message if you want to give me some details.

Share this post


Link to post
Share on other sites
On 2/7/2019 at 5:37 PM, Tyler Purcell said:

Well, honestly I've only physically shot one interview so far. I just made a new friend with a great XTR Plus package, who is willing to travel with me to shoots. So we may use my other trick, which is to record audio of the interview and when they say something great, run the two film cameras for that one moment and then stop until another moment happens. It's hard to use that trick for emotional moments, but if we get the funding I'm expecting, we'll have enough money to blow some film on interviews as well, especially now that I have another camera/operator willing to help out.

 

We have Four huge interview shoots this year. First Portland in May. Then on the east coast in fall; Boston, New York and Connecticut. Arizona for a week somewhere in there and then up to Seattle to finish it off in the fall.

 

I plan on shooting around 20 400ft rolls of 35mm and around 40 400ft rolls of 16mm for those shoots alone. Then we have 3 more shoots at conventions on top of that... probably another 20 rolls for the conventions as well. So 60 rolls of 16mm will give me around 600 minutes of 16mm and another 100 minutes of 35mm, that should suffice.

While during an interview with the two XTR's, do you overlap/stagger the cameras to get full coverage? Do you start the second camera a minute or so before the first one rolls out? I have thought about doing this and want to know others experience.  I know that matching lenses and the frame is very important for this, but you can cut away in the edit and then cut back to the interviewee and no one would ever know. Do you try to match the frame and focal length with the two or are they different?

Share this post


Link to post
Share on other sites

Honestly, I generally don't do a staggered start on interviews. I will do a staggered start on the concert we're shooting in Reno. Staggered starts aren't necessary with interviews because 99.5% of what the talent says, is going to be covered up by b-roll anyway. The only reason you'd shoot film at all, is to get those moments where they're emotional and you can plan them if you're a good interviewer. I generally start the interviews with the cameras running, introductions and such. Then I'll stop the camera and talk with just audio for a while. If they say something interesting, I'll just say "can you re-phrase that answer for me" and then run the camera's for that answer. Generally we'll run the cameras until they're dead, do a quick swap whilst we still talk and keep at it. I can do a decent interview with mostly everything said on camera as "meat" for the piece with 2 - 3 rolls of 16mm. Ohh and the two cameras will have different focal lengths. Generally I put one on the side and one straight on. 

Here is an example of what I'm referring to. The interview in this piece is 7 minutes of on-screen time, but the full interview is 34 minutes long on audio. 

 

Share this post


Link to post
Share on other sites

Well it's been a while since I've updated this, so figured it was about time. 

It's been slow the last few months, waiting for the shoot that just wrapped up last weekend. Things went really well with the shoot. I only had a few things to shoot, mainly because the convention was indoor and I couldn't afford to go randomly shoot stuff this time around, my budget has been cut pretty hard due to personal financial issues. However, I was able to get what I needed and I'm excited to incorporate it into a 2nd teaser trailer soon and of course, use the footage in the final feature. 

My XTR Prod was dropped by a customer recently, so it was serviced by Abel cine and they wound up accidently blowing up my main board, which fried my video tap. So I helped Girvan re-build the camera from spare parts and It's working better than ever. I also tweaked my 35III for the shoot, making it a lot quieter which is nice. Both cameras ran great for the entire shoot, most of which was on steadicam. We only ran through 2 rolls of 16 and 3 rolls of 35, but it was very specific shooting. My friend Derek came out from Utah to shoot 35mm, where I stuck with 16mm on the steadicam, so we could get close up's and wide's on two different cameras. I hope it came out well, it's at the lab now. 

tye_with_xtr_ashaeda.thumb.jpg.635cafd112776b2224e50424d1946def.jpg

This new Steadicam is from Came, it's one of the Chinese ones. I'm amazed how good it is and everyhting works better than the standard lower-end Tiffen Steadicam product. The cabling, weights and even sled parts, are very universal and not proprietary. So far my skills as an operator have increased dramatically simply because the steadicam works so much better than the Zephyr I've used prior. 

This is my new fursuit of my character Renn. Last year I ran around the convention with the 35mm and Steadicam, this year I did it with the 16mm camera. 

renn_with_steadicam.thumb.jpg.45380250e926fe3ef2bf1a49fe7684ec.jpg

Derek on the left with the Aaton 35III and me on the right with the XTR Prod on Steadicam. 

This was the first time Derek used 35mm and it was funny to hear him complain about the camera weight, knowing the Aaton 35III is one of the lightest 35mm cameras ever made. I joked with him about the weight because he wants a 35mm camera and I keep saying, he ain't gonna get much lighter. I think he's gonna just keep his 16mm and roll with it. As a side note, notice the extended handle that Clairmont made for the camera, it's really helpful when running hand held. 

We shot all the interiors with 500T and simply set the stop all the way open. Even though there are occasions where it would hit F2, most of the time it would be below F1, so we didn't bother metering. I did use the zoom a few times, but MOST of the shoot was 9.5mm on the super 16 and 24mm on the 35mm camera. 

IMG_E2332.thumb.JPG.5109a84a2a93a26be15eb7c246eb2f1a.JPG

I did a little bit of exterior work for the film because Ashaeda spends most of her life in a wheelchair. I blew an entire roll of 5207 on her and her wheelchair. It's a huge part of the story and I had no footage to cover it. I didn't want the footage to seem like it was part of the event, so I went outside near the hotel, to gather random shots of her in the chair.  

Here I'm using the 35III with an ND .9 250 ISO at around F2 in an awning leading into the hotel. 

IMG_E2424.thumb.JPG.b8b789089d5c3fcf175a2cbe15e796ab.JPG

Share this post


Link to post
Share on other sites

It's going to be a very positive film that will inspire a lot of people. Well done so far and best wishes with it.

  • Like 1

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.



  • Gamma Ray Digital Inc



    Metropolis Post



    Glidecam



    Just Cinema Gear



    G-Force Grips



    Serious Gear



    Abel Cine



    Tai Audio



    Paralinx LLC



    New Pro Video - New and Used Equipment



    Media Blackout - Custom Cables and AKS



    Visual Products



    CineLab



    Broadcast Solutions Inc



    Wooden Camera



    FJS International



    Ritter Battery



    Rig Wheels Passport


×
×
  • Create New...