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BEHIND THE SCENES: THE ART OF MOTION
In many ways I feel like I am late to the game in terms of doing video. Everybody and their dog seems to be doing video these days in addition to still photography because it is now built into most digital SLR cameras. The technology has made it more accessible for the average still photographer to jump in and get their feet wet in the video world, whereas before most folks just didn’t have the expertise, knowledge or equipment to do video or full 35mm motion film productions at all, and even fewer had the abilities to do it well. And that was why I waited. I knew I didn’t have all the skills to pull it off at the level I was aiming at and I knew I needed to build a team of people who could help me execute my ideas in a way that fit with my brand. And while the DSLRs can create some stunning video, I was looking for something to set my brand and myself apart from the rest of the pack.
Last fall, while traveling I found the perfect team to work with and we set out to make a demo reel to show clients our abilities. The whole point of this reel was to show that our “production value” is quite high and that we have a mastery of the many different aspects of shooting a motion piece including camera movement, lighting, sound, interviews and story telling. I think we pulled it off quite well. And judging from the responses that clients have shown they seem to think so as well.
The reel focuses on four athletes: a yoga instructor, a professional cyclist, a world-class gymnast on the rings and a pro-caliber BMX rider. We shot everything here in New Mexico. The most scenic segment we shot was with the yoga instructor, Gretel Follingstad, in White Sands National Monument. The landscape really dovetails nicely with her movement. We chose to shoot in an anamorphic widescreen aspect ratio (2.35:1) for this segment and for the entire reel precisely because we wanted to show the landscape like this and also because it helps to set the reel apart from those shot on HD video in the 16:9 format. We have nothing against that format – we just went super wide for this reel. Gretel’s amazing ability and limber body really shows through in a few shots here. The crew was audibly exhaling when she did a few advanced maneuvers.
Along with the motion reel I have also posted an article on my website about “Our Philosophy on Video” productions. I must say that it is hard for me to call the footage that the Red One produces “video”. The camera shoots at 4K resolution, which is 5 times more resolution than HD video and that equates to a 12 MP image for every frame at anywhere from 24 fps to 60 fps. It produces higher resolution footage than a full 35mm motion picture camera. And the new Red Epic, which we’ll have soon, is even higher quality. Here’s hoping that with the launch of our new motion reel that we’ll be working in that realm a far bit in 2011. Without further ado, here is our philosophy on motion and video productions:
Our Philosophy on Video and Motion productions
At Michael Clark Photography we pride ourselves on top-notch quality in everything we do, whether shooting stills or motion. With the recent jump to producing high-end motion footage we have kept that principal in mind and we have put together a team of expert cinematographers, sound engineers, lighting techs, grips and production staff for our motion projects. We have the ability to pull off complex camera movements, professional grade lighting and sound, expert editing and post-production. In addition to the technical aspects of your project, we are dedicated to the story and telling that story in a manner consistent with your branding.
The Red One is a 4K camera, which has five times the resolution of normal Full HD cameras. It is currently used to shoot motion pictures and advertisements worldwide. The Red Epic is a 5K camera with eight times more resolution than normal Full HD cameras. Beyond the resolution these cameras also have a dynamic range that puts them in a whole other category well beyond any normal or even pro-caliber HD video camera. This allows us to capture the entire set of tones in a scene, even in challenging high-contrast situations. The Red Epic is the standard for the digital cinema movement. These cameras are heavy duty, workhorse cameras and have been used to film a significant percentage of the feature films now being produced for Hollywood.
Of course, all of this tech-speak doesn’t mean squat if the end product isn’t well put together, visually stunning and entertaining. To that end we carefully plan out our shoots, making sure the entire team can execute what they need to do at the right moment so the end result fits the production and so we can come in on budget. In the planning stages of any production we create a detailed layout of every shot we’ll be going after if possible, and then once on set we can use our time efficiently and wisely to get the best possible footage. What this means in the end is that you have a well-constructed piece that you can be proud of and with which you can elevate your brand.
All of this isn’t to say that we don’t use other cameras including HD video cameras and Digital SLR video cameras when the project and budget would be better served with those tools. Depending on your budget and needs we can scale our pre-production, camera, crew and post-production to your needs. If you are looking for the best quality currently available anywhere then look no further. We look forward to speaking with you about your next project.
Of course I have to give a lot of credit for this production to the team that worked incredibly hard on this project with me including Charles, Nelson, Joey and Steph. Without their help this would not exist. I understand now why Hollywood movies have 60 people running around set dealing with all of the odds and ends that have to be dealt with. Shooting something like this alone just doesn’t happen.
Look for an expanded Behind the Scenes article in the upcoming Winter 2011 issue of the Michael Clark Photography Newsletter.
Michael Clark