I'm not the biggest fan of EDM. In fact, my favorite techno song was written by Strongbad and so I wasn't initially stirred by the prospect of spending time in a DJ's studio - until producer Dylan Coburn told me the larger story of this song, Kernkraft 400. I remember being at hockey games and hearing this crazy, chanting song that everyone would sing along to - the best I can do in writing is: "whoo-Oh ooh Oh whoa, oo whoa ooh woa-oo oo-oh, oo-oh". Break that one down. The story of how Flo - the driving force behind the EDM duo Zombie Nation - found unintentional international (and unwanted?) success and the battles that he and his friend DJ Hell went through during the process was fascinating to me as more of a larger music business documentary and less of a DJ-profile. Florian and Helmut are great guys and (I'm told) EDM royalty and we had a lot of fun hanging out with them. Dylan also tempted me with the other way to my heart - gear.
The nice part about music documentaries is that there's very little un-repeatable scene-work. Since we're driving the doc, the producer and I can ask a lot of the subjects and, since they've already appeared in tons of music videos, they're very media savvy. For this shoot, I elected to use only prime lenses on my Sony FS7. Due to the low light scenarios we'd be in, I elected to use an EF-mount Metabones Speedbooster to adapt the lenses which limited the different cine primes that were available. While I love and respect the Canon CNes and the Schneiders, I'm such a sucker for Zeiss. Not only that, both of these dudes are German so it's only fitting that we use German optics. I settled on a full range of Zeiss CP.2s. We decided to capture in Sony's slog3/sgamut3.cine on the FS7 to give maximum data for color in post.
A few months ago, I was wrestling with my desire to understand the best practices of gimbals vs. the limitations of using mirrorless cameras like the A7S. I don't like to shoot on small stills cameras that use SD media as I feel that I can see the image compression in the final pieces & they won't hold up to color correction. Aside from that, I rarely have a focus puller and the in-house gimbal is an M5 - which has a very low load limit. Through faith and trial, I managed to cram a C100mk2 on the M5 and, lo and behold, it flew. Using a light Canon lens like the 10-22, the C100mk2 has built-in Dual-Pixel Autofocus that's reasonably responsive. Combine that with a deeper stop and you've got a pretty good chance of pulling off some sick focus racks by messing around with framing. The M5 was unavailable for this shoot so Dylan graciously provided a MoVi Pro and we were off to the races. I also played around with some longer focal length Canon lenses on the C100mk2 to give the really soft, f1.8 textural b-roll. The C100 was set up with clog/rec709 color capturing MP4 files in primarily 60fps for 23.98 slow motion. All in all, I'm super happy with how this piece came out - I think its slick and coherent.
Doodeedootdoo. The system is down. And remember the lightswitch is not a toy.
Yes it is.
Sony FS7, Zeiss CP.2 Primes, Canon C100mk2, Canon 10-22 zoom, Canon 50mm f1.8 prime