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ACQUISITION A case in point were the batteries. Gold remarks: “By using the Anton/Bauer Dionic 90, we could shoot for a whole day on a single unit - very impressive. And we had no problem taking a number of the units with us on the plane. Durable, reliable and compact, they certainly fi tted the bill.” “We were also impressed with the new wireless Teletest Telesend monitor which allowed us to monitor the camera even when the DOP was perched halfway up a cliff. It’s strictly line of sight so it took us a while to get used to the system but we found this extremely useful. The monitor is easily good enough to check for overexposure and focus accuracy; most importantly, it let us check that the shot was properly framed and watch the play back from the bottom of the cliff. With the Steadicam, it really came into its own, allowing us to remotely focus the camera from a distance. Compared with older wireless systems we’ve used, it’s much lighter and the round-the-neck director monitor design is an excellent and robust design.” Shooting wireless in the Seychelles The production was the fi rst to use Canon’s new range of Cinema Zoom lenses, bought in for the production especially by VMI. According to Gold, the 15.5-47 and 30-105 both performed to a very high level, with the pictures matching well with footage shot with Cooke S4 Primes. “Shooting in rugged terrain over the course of a whole day, a versatile T2.8 zoom is great news. It meant that we could shoot more quickly and travel light and with the production lasting 32 days having to carry less equipment makes a big difference. Each lens and lens set comes in a metal fl ight case. Then when you include a tripod, Steadicam kit, mini jib, camera bags and batteries, the weight really adds up. If the crew get over-fatigued then injuries happen and so the importance of judging how much we could all carry by hand was a major concern.” Adds the producer. The combination of the Canon camera and lenses coped exceptionally well with the harsh highlights at midday. The DOP found the camera’s focus assist, neutral density and exposure zebras invaluable on the C300PL. “In the full glare of the equatorial sunlight, it can be diffi cult to monitor and set up a shot even with the brightest screen, so the extra functionality that the C300PL offers made a huge difference.” Remarks Gold. Despite the cinematic ambition of the producer and client, prospect of fi lming in 4k was never seriously considered. “The reality,” he concludes, “is that the HD produced by the C300 and the Canon lenses is exceptionally high quality. Plus, even as a 1080 project, we amassed as much as 1.5TB data during the whole shoot; the thought of having to transcode, store, edit and re- purpose the same number of hours in 4k is a terrifying prospect on many levels, let alone backing up all your rushes onto three drives every day. By sticking with HD and the C300, we were able to invest in areas we wanted to, such as hiring the highest quality lenses.” 74 | TV-BAY MAGAZINE: ISSUE 86 FEBRUARY 2014