To this day, I still remember the little white box that changed everything.
It was several years ago, but I remember exactly where I was when the delivery man showed up outside our makeshift studio.
Inside the box? Two EOS 7Ds – pre-production cameras, that Canon had graciously sent us to test out in the field.
It was those cameras and that opportunity that pushed us to shoot JC and Esther’s wedding film on way too short of notice, with the most basic of crew. It was just me, two cameras, and 4 lenses – but I had a mission to make the most of our time with JC and Esther and to put these new pre-production cameras to the best possible use.
Because my resources were so limited, I couldn’t possibly shoot everything.
At first that felt like a negative, but I quickly realized that it was a massive liberation. I had an excuse to skip everything I didn’t want to cover and could very easily pick and choose just those things that I wanted to focus the story on. As the film was a free offering to them and rather improv due to the pre-production cameras, there was no bride offering suggestions on what should be covered and there was no pressure of exactly what needed to be delivered.
By having a situation where less was being asked of me, I was able to do more than I ever had before.
That film is the same one that, when put online, went viral and wracked up over 200,000 views (for a last minute wedding film).
One of those people who viewed that film was employed by the NFL.
That one view changed the entire trajectory of Stillmotion and started our relationship shooting for the NFL. Our work on the football field led to contacts at CBS, our work with CBS led us to the Emmy’s.
That little white box, my decision to shoot that wedding, and how we approached it, has sparked momentum for us that still hasn’t stopped.
While you may not be lucky enough to find yourself in a situation with pre-production cameras, volunteering to do a film, and blessed with absolutely no restrictions, there are several ways you can go about getting yourself more creative freedom on your shoot.
More creative freedom ultimately means you can tell the stories you want, and if we are any example, that can lead to some pretty special opportunities.
Had we shot JC and Esther without this creative freedom, even with double the crew and resources, there is a very likely chance the NFL never would have seen it.
Flash forward in time to this year…
We’d recently been approached to make a Kickstarter film for a team who had created a pretty remarkable innovation for your iPhone. They had found a way to use the light on the phone to illuminate your finger, then the camera would detect the shade of red in your lit finger, and from that would come up with a close estimate of your heart rate.
An iPhone app that feels the pulse of your heart.
That in itself is pretty nifty, but they went one step further – they used an algorithm they had built earlier that could take this biometric data and turn it into composed music on the fly.
An iPhone app that feels the pulse of your heart… and turns it into music for you.
Woah.
They called their concept BioBeats and their team was spread across the globe with Nadeem and Sandeep in San Fran, Davide in Pisa, Italy, and David in London, England. From the first phone call, we knew we wanted to tell their story by visiting each one of them.
Visiting each member would allow us to tell this story in the way we KNEW it should be told – but was a rather expensive proposition, something much bigger in scope than they had originally thought when they approached us.
Do we compromise on the story?
Do we wait until additional funds can be raised and allocated?
Neither was a great option. This story deserved to be told right – and deserved to be told now!
We were stuck…
…and then the phone rang.
It was Canon again.
As many of you may have noticed, when Canon releases a new camera they often work with filmmakers to have a piece created with that camera. It serves as a testament to whats possible and gives Canon some real-world footage from their new creation. Win-win!
Canon wanted to know if we were interested in submitting concepts to make a film as part of their C100 launch plans.
There was only one problem…
They were meeting the following morning to make a final decision. They wanted to consider us – but they needed a treatment in the next 12 hours.
We stayed up all night and put together pitches for three separate stories. In our hearts though, there was one that stood above all the rest.
The Canon 100C fit our ideas for the BioBeats story perfectly. Canon’s support would take some of the burden off the company to fund an around the world shoot. And the new prototype would *definitely* be pushed to the limit on something like this (giving us a tangible, clear idea of its potential).
Canon called us back a couple days later.
BioBeats was a go. Canon was excited to see what their new camera could help create.
So here we are with an incredible story to tell, amazing locations across the world, and some awesome prototype cameras to film it with. A ton of buzz and excitement, but also a ton of added pressure.
We knew how many people would see the film and we knew it wouldn’t be easy in the production process. We’d need to learn a new camera, visit 3 countries in 11 days, and tell a powerful story.
Above all of that, for the story to be as strong as possible we knew we would need to tell it the best way we know how, with our approach, style, and vision.
While we all start our films with the best intentions of making them exactly how we want, the reality is that our clients often have suggestions, interpretations, and guidelines that differ. In this particular case, we had much more than one client, we had six.
Each member of the BioBeats team had a different background and would have a unique perspective on this piece. On top of that we had the agency working with Canon, as well as several team members at Canon. Six layers is quite the daunting task to get through and still keep your vision intact.
This is why a treatment matters.
We’ve talked about it at KNOW, it’s in our Field Guide, and we keep coming back to it because it is such a big part of communicating your ideas.
We started with a comprehensive treatment that outlined the BioBeats story, what we wanted to cover, and how we would approach the different elements. By outlining our whole process and presenting a clear and singular vision, it showed that we had really worked through our whole concept and that nothing we were presenting was arbitrary or taken lightly.
Both the agency and Canon loved the treatment – it is a large reason why we and this film were chosen for this project.
The treatment didn’t stop there though, we took the time to send it to all four members of the BioBeats team. It surely wasn’t needed or expected, but it showed them just how much thought was going into their piece.
Sometimes we assume our clients know just how much we are putting into their piece, but in reality they have no way of knowing the countless hours we spend brainstorming, prepping gear, and cutting something together. By sharing the treatment it started to give them a sense of just how much we were putting into this and how much intent there was.
Though our shoots in San Fran with Sandeep and Nadeem were close and rather simple (logistics were easy), we still took the time to send out both call sheets and storyboards. In truth, we could have gotten by without any of these and they took a great deal of extra time to prepare.
But now, by the time we showed up for our first shoot, we had sent in three documents that all showed our approach and intent. For the client, that then showed them that we were prepared, organized, and that we cared.
We weren’t just showing up and shooting, figuring it out as we go. Instead of getting suggestions from the client on what we should shoot, where we might conduct their interview, or which people we might consider covering, we got nothing more than their unconditional support, and they offered to do anything they could to help.
For this film, we came into several situations where we really needed to count on the support of the people we were shooting.
The BioBeats team went to bat for us several times, in huge ways, because they knew we were busting our butts to make this the best piece we possibly could. It’s even fair to say that the film would be much different, much worse, from the one you see now if it hadn’t been for some pretty unbelievable support from David on one of our last days of production.
When we landed in London we had 48 hours to shoot David’s interview, all of his b-roll, and adjust to the jetlag. From there we would be off to Pisa, Italy to shoot Davide for 30 hours before we were off again.
The story of BioBeats, for us, started with David and his experience of flat-lining in an airport from extreme anxiety.
We knew David’s interview was perhaps the largest piece of this film and it had to live up to that. We considered doing the interview in his home but with a train station right outside his window, we were concerned we would need to constantly interrupt our conversation and never be able to get into a natural flow and rhythm.
We tried Google Labs, where much of BioBeats was developed, but the foot traffic was too heavy and unpredictable. We looked for public spaces, coffee shops, design studios – anything that felt right and might work but we just couldn’t get the right mix of sound, timing, and feel.
We then started resorting to the last place any of us want to end up for an interview – hotel rooms.
We located a suite with some rather original design and more than enough room to turn it into anything we wanted. When taking a tour we were told it was scouted as a possibility for James Bond’s hotel in the recent 007 flick. We took our time in preparing for the interview by reviewing all of our documents, talking through our story, and lighting it with precision.
What we hadn’t planned on was just how long it would be.
We started at 2:30 that afternoon and by the time we finished it was well after 5.
Shooting on the C100, that interview length posed no problems at all. However, looking at the light and the change from day to night surely did.
We had all been so engaged in what we were doing that none of us fully recognized the gradual change in lighting that left us with a look and feel that was much much less desirable than when we started.
More than the change in look and feel, such a drastic change in lighting would also present some large challenges in post as we couldn’t cut an end portion of the interview with something in the beginning, as it would look so different and distract the viewer.
Truth be told, we left David’s interview thinking everything was great and we didn’t fully realize just how bad our problem was until we were in Italy the following day reviewing everything.
Our reaction started with “we’ll need to make the best of it”, which quickly changed to “we’ll need to try and show as little of this as possible” and ultimately ended with “this won’t work, we need to do better.”
With that, we found ourselves in Croatia (the location of our next shoot), with a flight leaving to take us home in about 18 hours, and the need to get together with our main character and redo his interview from scratch.
The first thought was to try and change our flights and get a connection in London that was long enough to let us shoot the interview. That would get us to David and then we would need to sort out another location (the suite was too expensive to rent twice) and make sure David could fit us into his schedule.
We looked into the change and it ended up being almost $3,500 for our crew of 4 – certainly more room than we had in the budget.
Then Ray came up with the perfect solution – instead of flying four of us to London, why don’t we ask David to fly to Croatia? It would minimize expenses, time, and then let us focus on finding the right location.
It did mean we would need to find the right spot in less than 6 hours that would be open from 12-2am that night and offer a warm and intimate feeling while looking close enough to something you might see in London.
Before we could even get there, we’d need to see if we could convince David to get on a flight to Zagreb, Croatia in the next 3 hours so he could do an interview with us, which would need to happen at well past midnight that evening.
My text to David…
“Hey – Are you busy tonight? We could really use your help. This is a big one, get ready.”
He replied…
“No worries. I am going out with Elise but it’s with a bunch of other people so I can sneak out if needed. What can I help you with?”
At this point he is thinking we need to chat for a couple minutes – far from our actual request of leaving the country on 3 hours notice :)
“Can we put you on a plane to Croatia tonight and fly you back in the morning? We could really use more for your interview and it looks to be much easier to fly you here instead of flying all of us there.”
It took only a few moments for him to say yes.
He was in, canceling his night out and instead, driving to the airport to board a last-minute flight.
That night we were re-shooting his interview in a local coffee shop we had convinced to stay open for us so we could totally rearrange their furniture and shoot.
Every production has challenges, and as unpredictable as that always will be, the more prepared you are and the more support you’ve gathered, the closer you can come to the story you had hoped to tell.
Heart builds action, and when everybody involved can see just how much you are putting into their story, they naturally want to help in any way they can, especially when they are faced with a seemingly unsurmountable challenge.
Had we not flown David to us in Croatia, the story wouldn’t be the same, and this is just one of many examples of how our story was helped tremendously by those involved.
Of course we’d be lying if we suggested that sending in these documents before every shoot guarantees you can tell the story you want to tell.
You’ll still always face challenges, objections, and revisions.
The key is to set yourself up to minimize objections and revisions and gain support for the challenges you might encounter. The best way we know how to support your story getting told in the way you’ve dreamt is to push yourself to know as much of what you want to say as possible, and then share that with everybody involved.
We did that here through a treatment, call sheets, and storyboards.
If you are having a challenge getting the creative control you would need for your films, consider putting in the extra time to build out your story and present that to the client. Whether it is for a commercial client or a bride, the thought and heart comes through and can quickly get you much more freedom in your productions.
We are so excited to get to share ‘Pulse’, a film shot entirely with the C100 in 3 countries over 11 days, with you today.
If you didn’t watch it yet, scroll to the top of the post and let us know what you think!
So how did the new Canon C100 work out for us?
Extremely well.
Honestly, we were blown away that we could pull off this diverse of a shoot on a camera we had no practice on. That says a lot about the design, function, and power of the C100.
For our full thoughts on our C100 experience (what we liked most) – check out this great Behind-The-Scenes video we helped put together:
Many thanks go to Canon for making this possible. Their support over the years has changed who we are as filmmakers and as people.
Canon just launched PULSE on their Vimeo Pro account, which you can find here
vimeo.com/canonpro
You can find Pulse, the behind the scenes, and other great films supported by Canon on their media gallery.
cinemaeos.usa.canon.com/media-gallery.php
Also, thanks to the BioBeats crew for believing in us to share their story with the world (and fighting along side of it to make it the best it could be).
As a storyteller, you know the pulse of your story.
Protect it. Fight for it.
Go the extra mile to share your vision with those who can make it possible.
Your stories deserve it.
*****
What did you think of the BioBeats story?
How do you fight for the stories you tell?
Let us know in the comments below! :)
Hi Patrick, awesome stuff! Any chance you can fill me in on your audio set up. Which mic was being used for the interviews on the boom? Was it going into a preamp and recorder, or simply straight into the c100?
Hi Patrick. Great write up and a great project. Very informative. I’m considering making the move from 5D’s to the C100. I have a 24-70 and am considering the 24-105 IS. How is the Depth of Field at F4? And can you hear the noise from the IS motor in the raw video file? Thanks a bunch.
We now have a couple C100′s and use those for almost all of our event and doc work. You still have somewhat shallow DOF on the 24-105 of course depending on your focal length, distance to subject, and distance from subject to background. That is a crazy pairing though
P.
Hi Guys,
Could you guys shed some light on your post process for the edit? Did you transcode the AVCHD footage?
I’ve used ClipWarpper to rewrap the files and import into Premiere but my system struggles a bit with the footage for some reason.
cheers,
Glenn
Hey Glenn
We did not rewrap, we just threw it into Premiere and did the edit and color natively on a Retina Macbook Pro.
P.
Hi. Thanks for sharing. I’m wondering how you guys did audio for the interviews? Did you mike right into the camera or did you have external recorders?
One other question I had was if your crew utilized the noise reduction settings of the camera. Did you or just keep it off (which I think is the camera default)?.
amazing work guys,
stoked to work together.
Clicked to see the C100′s test, ended up watching an amazing film. Genius! Great for Canon, great for the artists, great for us. What an intelligent economy. Thanks a lot for that!
Love the doc! The story between the characters flowed so seamlessly. I think you might have touched on this, but during the interviews, do you try to steer the conversation to cover story transitions and connections or is it another factor of knowing the story inside and out?
Another question, you mentioned that David had a train station by his home. Did he offer that up or were you able to learn that info from taking with him? Just wondering how you get that info from clients who might not be aware of those limitations.
BC
Hey Brian
We knew the story and in a conversational way asked them to connect the dots. So we might ask how A relates to B. It certainly isn’t telling them what we need or where we are going but instead trying to challenge them to think through the pieces on the spot. That creates a strong connection and intimacy but still let’s you stay focused on the story.
As for the trains – it is very tough to get the client to give you the info you need when they aren’t filmmakers themselves and don’t hear and see things as we do. When we landed we went straight into scout mode and checked everything out. We literally got our rental car and headed straight to David. That initial scouting trip is where we gained a lot of insight and could make the most of our next 40 or so hours there
P.
I’ll second Perrona’s comments. Fantastic work and greatly appreciated. Would you mind sharing your basic settings for your C100s? With so much possible customization on these cams, it can be overwhelming trying to find the perfect balance…and while there’s beauty in being able to tailor the settings to each of our needs, it would benefit many of us to know what settings you prefer on the C100. I watched the behind the scenes and heard one quick reference to Wide DR. Anything you could share about preferred setup would be very appreciated!
Hey Paul,
We used the factory default WideDR as it does offer a wide dynamic range while still looking good out of the camera and requiring less commitment than Canon C-Log. WideDR is what we would recommend most event shooters use in everyday shooting and it is what we’ve taken forward and used on several other projects. That paired with Zebra’s set to 100 (so you know what is overexposed), peaking set to a minimum, and you have a good quick read on exposure and focus while retaining a ton of detail and keeping your speed in shooting
P.
Patrick, what’s the IS in the 24-105mm like? is it good, does it make any difference together with the C100?
I know u guys liked the IS in the Tamron 17-50 for the 7D =D
It would be great if u guys or canon cud make a short video or just a written article blog post, with some educational hints and tricks on the C100… Ideal settings like ISO 850 and stuff..
that tells u a bit about things that u shud be aware of with the cam including the iPUSH AUTO IRIS, ZEBRA Waveform and so on in order to get good results
Thanks a mill
Thanks Perrona, we will certainly see what we can do on that front.
P.
Hey Guys,
Having David redo the interview, how did that affect his “performance”. I put “performance” in quotes as I know how much we all don’t want our characters to perform for the camera but to be themselves.
And when you say you “convinced” the coffee shop to stay open later, was there any money exchanged for the time there?
Great piece by the way, it shows how preparedness and relationship building goes a long way.
Hey Nick,
Having a natural interview is such a huge part of having the story come across in a way that connects your audience and so we definitely spent a great deal of time in working through that process before David arrived. David’s first interview was 2.5 hours, we only had 30 minutes for his second one. We made detailed notes and asked to talk to him about certain parts in more detail. We kept it conversational but challenged him to be succinct in the connections and points that we were trying to get across. We had the luxury of knowing how things fit so we could tell him what Nadeem said and where something might go and ask him his thoughts in that context. It certainly isn’t how we would normally approach this, but knowing David and being in our situation, it worked very well – David was comfortable and we got passionate answers that were focused on the storyline we were putting together.
As for the Cafe, it cost us a couple hundred dollars in US equivalent to have them stay open for us. They normally close about 11, so they had somebody stay with us. We also had to completely rearrange the place to get the right space and furniture.
P.
Hey Patrick! Amazing piece as always and quite successful as a kickstarter video! I can only imagine how successful their project is doing. I’m very interested in their app.
Funny, the question I have concerns how you guys work in different countries. Like you said, you guys convinced a coffee shop to stay open for you guys, Did you have any trouble with language barriers? I can imagine lots of people know english, but if that’s not the case what’s your solution?
We often have friends from around the world help on shoots and act as local guides. In this case, Dario from Croatia helped us on the shoot and was the one that found and secured the location for us. Having somebody local is such a huge value, especially when you run into challenges :)
P.
Hey guys! A few of you have asked that we enable the playbar so you can ask about specific moments and find them again in the future. Thanks for being patience… the playbar and fullscreen are now enabled for these videos as well as previous embeds on the blog.
Joe.
On a piece like this, when you have a narrative that someone else is writing (I’m assuming), how does that work in pre-production when you’re writing the treatment and planning your b-roll? Does the interview/script influence what type of b-roll you’re shooting? And the general, overall feeling/flow of the piece? How do you know what types of shots you want without specifically knowing what your interviewees will be saying?
Amazing question!
Our process, and I think this is pretty specific to our process, is to get inside the story so much that we can assemble it through the words of our characters. Knowing everything about the story from the different perspectives involved we start asking where we want to start, how we will go from there, and build through to the end. When you know where you want to start, you can think of which character might lead, and by knowing them you can predict the language and statement they might make. In the end we create a script based on what we think they might say and how we would then want to edit it together. Our interviews are very natural and conversational, which means we aren’t asking them to say specific lines, but if we do our research well we can predict the story to a high degree of accuracy and then just make it better when we do the actual interviews.
P.
Hey P.!
I was seriously interested in the C100 even though we own a C300. I had a suspicion it would fit the way we work much better. Smaller, faster, lower profile. So happy to finally see your piece and have it confirmed that it’s the right move for us to go to. Any plans on doing a similar SMAPP tutorial like the fantastic C300 one? I’ve made all of our shooters watch that tutorial twice before rolling with the C300.
Mike
Hey Mike
Great idea – we hadn’t thought about it but it certainly is something we should dive into. We have some big updates on SMAPP in Q1 so we are focusing there first but i would love to hear what you would like to see in a tutorial like this being that you are a C300 owner and you have seen that tutorial. What new info do you think would be of value in this one?
P.
I’m a commercial still photographer based in Taiwan and Shanghai, shooting dslr video for couple years. I’ve followed stillmotion for more than a year and learned a lot from “KNOW” DVD. The main reason that I appreciate from stilmotion is I can feel your passion of filmmaking(story telling) in your works. Great stuffs and BTS, Thanks for sharing.
Thanks for sharing. It’s incredible how much more depth that passion adds to everything we do.
P.
Any chance you can share your treatment with us? I’d love to see a completed treatment for a project like this …
We thought about that and we would love to share, but we are looking to wait for a project we can more completely profile. This one is rather different in that we discussed several story options in a more abbreviated format. I’de love to hear your thoughts on the C100 for the work you do.
P.
Hi Patrick, your work is amazing, as always! I loved the lighting in this piece. Do you guys have a “favorite” light kit you guys take in this run and gun jobs? I would love to hear your take on that.
Thank you.
We have some key components we always bring, but it does seem to change based on an interview, travel, or more of a commercial spot. We will be highlighting these in upcoming blogs.
P.
How easy are these to shoot with for an amateur? I had my 5DII for a year shooting still and then decided one weekend to record a day in the life of my nephew. I felt like it was a fairly simple transition.
Do you think the transition from a few years of experience with a Mark II to the C100 would be fairly easy? How steep do you think the learning curve is?
We learned in a couple hours, so that says a fair amount about the design and layout of the camera. You can use the camera in a similar way to the MK2 and skip the advanced features. The awesome part is that as you grow you can quickly start utilizing the additional features. I think you can move pretty smoothly overall – it is a very inviting camera.
P.
Thanks for being so transparent and helping us think through how we might best tell stories….and thanks for another great story…truly inshrining
These challenges are what seem to exist in every shoot and finding a way to overcome is such a huge skill to develop. We hope that sharing the large mistakes and challenges we encounter to this day it helps everybody feel more comfortable when they are thrown into something similar and that helps them push through
P.
I love this video. Can you please make a video (or a series) with the parts of the workflow that you not normally concentrate on in your tutorials, such as actual video editing technique and your approach to it, colour grading and other elements of post production. I (and probably many others) would love to hear about that :)
I’ve only recently discovered you, but I have to say I find myself loving your content :) Amazing projects!
Peter
Thanks Peter. Your idea’s are very much appreciated and are definitely something we are looking at. I would also check out our DVD tutorials on constructing emotion in a scene and constructing a highlights – they are very much in line with what you are looking for.
P.
Im aware of video compress and convert…
but does the C100 original footage look as crisp and sharp in full screen, let say external 27″ monitor… as it does in the small web version?
just wonder since this web version obviously doesn’t look great in full screen, but it looks amazing in the small window format..
Just curious how well the C100 performs
Being that we did this piece with Canon, we needed to verify the final output on a 27″ monitor in full resolution and i feel like the Pro Res export looked very solid. Whenever you look at the pixel level, i find it doesn’t look as good as something slightly smaller – regardless of codec. Even looking at Red Epic footage at 5K – when we go to 100% it doesn’t look nearly as clean as at 80%.
P.
Patrick, did you modify your monopod? In Picture 1, it has a red ring around it and in the BTS you were raising it up like a jib when shooting the saxophone.
Ha, no mods. The red tape is to label it’s my mono as i check the joints and tension before i leave for a shoot. The jib shot is something that we’ve been practicing and adds a ton to the tool
P.
Im curious what you mean when you said “They wanted to consider us – but they needed a treatment in the next 12 hours.”
I looked on google but cant find anything specific…. what is a ‘treatment’ ?
They were considering several concepts from several studios, so they wanted to hear our concept within the next 12 hours to compare them all.
A treatment is a mostly written outline of your approach to a project. It varies from studio to studio, but the objective is to get across your approach, it’s strengths, and why you feel you and your approach are a good fit. Some talk about their background, some talk about specific shots or sequences, and some talk purely about the story. The key is to get people excited and on board for your concept. On the back end, if it does get green lit, your treatment helps avoid any confusion or frustration when you start sharing your film with the client.
P.
I’ve always been drawn to Stillmotion for something else, in addition to the incredible production value and the passion behind the work, but I could never figure out why. I just realized that y’all recognize the truth in work and the ability to truly understand the essence and story of a person or an organization, at no cost to the story.
I’m not a videographer, but your work convicts me to make my own stories and work even better than ever. Thanks for everything you do. Can’t wait to see what’s next.
James, we appreciate you taking the time to share with us and i think you comments about essence are absolutely integral to our strength as a team. Finding the essence of a story or a person is likely the biggest and most important task in any film you make. Our ability and process at finding that essence feels like it is always evolving and something we are always exploring.
Thanks for sharing.
P.
Thank you guys for an great insightful work on Pulse and the behind the scenes. I had totally dismissed the C100 when I first heard about it following the wave of cameras announcements. Yet can i say “WOW”. Your team at STILLMOTION has shown us your ability to use storytelling and tools in powerful ways. Pulse is a powerful piece and well crafted. Your behind the scenes show us how a piece of work does not always go smooth and planned. You always need to bend with the wind in creativity. Thank you!
I have to say, this is one of my favorite pieces that you guys have done. I loved the intimacy that you created with the creators storylines, and how you recreated their journey both visually, and through some superb editing. Great job, and I’m excited about the app!
Thanks Karl – we too are pumped for the app and it has been a blast showing it off to people along our journey.
P.
Amazzzzing!
Been learning a lot about the pre production process through the know dvd…
1. Did you actually go down to the offices to take pre prosuction photos for the storyboard?
2. When photos are not avaliable who does your storyboard sketches?
3. Who does all the studio logistics?
4. Was the BTS shot with the c100 as well?
Hey Sam,
1. We scouted everything we could and took photos then. In this case, it made it so so much better as we came up with all the questions you see on the storyboard and made it that much better when we came back the following day. We also found larger issues such as not having an interview location for Sandeep and had the time to rent the yoga studio next door to make it happen. In landing in London we even scouted in the middle of the night so we knew what to expect the next morning.
2. We often do our own storyboard sketches, bad drawings and all. Brody, on our design team, does killer sketching when needed to present to the client. We will often rough it out ourselves just to wrap our heads around the ideas.
3. Winnie and Kela handle our studio logistics and Winnie did a lot of the producing duty on this piece.
4. BTS was shot on the MK3 for the most part and the C100 for the interviews.
Thanks for joining the discussion.
P.
Amazing work! I’ve been looking at the C100 since it was announce and I’ve seen many clips recently but none compare this. Its definitely on my radar of upcoming purchases, but the codec is scaring me a little. How did that work for you especially with grading. Also, how would you say it compares to the C300 in terms of ergonomics as well as the files out of the camera before and after grading?
WOW! It takes a lot of humility to admit when you made a mistake, but all is well that ends well. Great Job! Thanks for sharing. Your article gave me a greater appreciation for putting in the effort for treatments.
it’s amazing that the whole film was captured with the c100, i see this camera replacing your entire line of DSLR for wedding coverage because if it ease of use and form factor – great stuff guys
I can’t imagine anything else for event work myself. It is so quick and allows you to do so much more with so much less. Add a monopod and a 24-105mm and you could shoot all day in varying environments, while also keeping the pace up.
P.