Can you provide background on your recent project, “A Sound in Motion”?
“A Sound in Motion started as a camera test for the new Sony VENICE CineAlta 6K Digital Cinema Camera and evolved into a much bigger project. The film, presented by Golpe Filmes and released this summer, was directed/edited by Ricardo Teixeira. It is a fictional story based on the way deaf people adapt themselves to daily life situations. The intent of the film is to be a positive influence in the way people think about the ‘differences in human beings’ and about issues related to social inclusion, but without turning it into something moralistic or that seems fundamentalist. Through sounds not speech, words or verbal expression we want to relay a positive message and display a clear gaze upon that difference.”
What gear was employed for this project?
“For A Sound in Motion, we used the brand-new Sony VENICE with a Fujinon HK zoom lens set, 14.5-45 and the 18-85 both T2 w, the Fujinon XK lightweight zoom 20-120 t3.5, and the Atomos Shogun Inferno coupled with the Atomos Sumo 19” monitor for the director. This camera package was supported by the Arrow X7, either with the sprinter legs or on the hi-hat whenever we were in a hurry, or on the Skyline 70 whenever we needed very stable shots with longer lenses. We also had a Sony FS5 with the Fujinon MK kit on the Compass 15 with carbon fiber Solo system legs.”
What are the main features you look for in a tripod?
“Having a tripod that we can adapt by choosing multiple variations of the counterweights allows for versatility and quickly executing smooth camera movements. This is of extreme importance and is both a time- and money-saver. There are other brands on the market that can change the counterweights, but none that do it with the small increments that the Miller X series can handle (ArrowX and CompassX), with 16 steps in total. This capability enables a great range of use with different camera packages, maintaining the fluid and smooth movement that Miller always impressed us with. When not using Miller, I’ve struggled when I wanted to use a bigger or smaller camera package on the same shoot.
“As a cinematographer, I’ve been using Miller to support my cameras since I started 10 years ago. Miller’s ArrowX and Skyline 70, provided by EACAMPOS Video Profissional, were used for A Sound in Motion. The use of the Skyline 70 on this project was very helpful. In order to move a camera rig that is more than 25 kilos (Fujinon HK PL, zoom lenses mounted on the fully rigged Sony VENICE), you need a stable platform that guarantees a smooth movement. The Arrow X7 was our main go-to tripod. We were really impressed with the way the movement was fluid even when fully loaded. We used it in all types of configurations, including on a hi-hat, doorway dolly and Miller sprinter tripod legs.”
Are there any specific examples where your tripod helped make your workflow easier for this project?
“The Miller tripods that we had on set were of extreme utility and never delayed us or the production. Whenever the director needed a stable shot either static or in movement we managed to achieve the shots by using one of the three tripod set ups that we had on set. The Arrow X7 tripod head was the one that impressed us the most because it never failed us, even if we were almost surpassing the load limits of this head, which is 25 kilos. It’s surprisingly stable when you consider how light it is with the carbon fibre sprinter II legs that, by the way, are a joy to set up even when you are short-handed with a camera package this heavy.”
Can you tell us what are the next steps you will be taking with this project?
“We are planning some online promotion of the short movie online, on social networks and during live events where we will showcase the final project, making of it and all the content that we produced throughout the shoot. We are also preparing multiple pieces of content to showcase the products of our supporters and partners on this project.”