C100: Anyone watch the doc "I'll Sleep When I'm Dead" How did they do it?

As far as the slow-motion aspect is concerned. I see a lot of small cameras shooting 60p on gimbals on a lot of doc/concert films lately, then it's just a case of ramping up and down for the desired effect. Is that what you're referencing?
 
Hi Jim,

Yes that's what I meant. So you're saying they just shoot in 60P and the editor can ramp up or down?

Thanks,

Ned
 
This may blow you away even more:


Not quite as fast paced of an edit, but far more moving camera shots and a great fluidity to it. He shot that entirely on an A7r.

As to the lighting on the sister, big key source and big fill. The light ratio between the subject and the background adds to the smoothness of it. Notice that they did not use any back light or edge light. Because the background is illuminated in the area behind her head, no separation light is needed. The shot avoids the typical "glamour" hair light. You don't get that look with just a Diva and a flozier for a key light. Likely that is a 4' x 4' source if not 6' x 6'. It helps that the woman has a small nose and a smooth, round face with great skin. And, as you noted, she is quite an attractive person.
 
That's not lens breathing, that's called the zolly effect. It's where the lens is zoomed in or out at the same speed as the dolly is pushing in or out, but in this case it was probably a ronin.
 
Ned,

Please note the use of primes, dollies, steadicam, drones and other toys. Please also note the lack of reality/ENG style shoulder mounted shooting. This is precisely the type of documentary I was referencing in that elongated thread where people were saying shooting docs on primes was nonsense. Welcome to the dark side:-)


Reggie Brown said:
That's not lens breathing, that's called the zolly effect. It's where the lens is zoomed in or out at the same speed as the dolly is pushing in or out, but in this case it was probably a ronin.
Click to expand...

Correct, a dolly zoom, though I know it as a trombone shot or Hitchcock zoom.
 
Well...I might as well retire now! That was great, but it's basically a montage whereas the Netflix doc tells a story with a backstory.

I'm a BTS junkie. I was wondering how Li did it, I figured some interiors were drones because I noticed the op could not place their feet anywhere. The light levels were often so low I assumed they were using mirrorless. I feel I could have handled the cinema verite style shooting on that, but I can't do the stabilizing moves with my baby Osmo and I decided to outsource any drone work so I know nothing about achieving that, but am fascinated watching them use it indoors without giving someone a hair cut. Can those shots be done in the US with our amount of lawyers?

Here is the BTS of the HK doc, notice the producer states on the street scenes they had 4 cameras going. Scroll down to DIRECTOR'S COMMENTARY:


https://petapixel.com/2016/05/21/hong-kong-travel-film-filled-creative-camera-tricks/

As to the dolly effect, I used to joke around doing those shots sitting on 3-400 pound dollies called Eyemacks and Fishers, and the only time the effect was ever seriously used was in the low budget horror films I did, often campy, tongue-in-cheek. There was no term for it in those days, we were just practicing smoothness, goofing around between takes. There had to be great comm tween the DP and Dolly Grip so we would do those but never roll, after all, film was very expensive! Nice to see that everything old becomes new again. That's why I never throw out a tie.

And Liam, I would love to use primes for docs but sold them with my AF100 because I have to move so fast, if I had to use one prime, it would be just a wide. The HK doc above, he can use a prime because he isn't needing to provide an unknown editor a traditional Wide, MS, CU, OTS and Cutaways, that's why I'm always changing. Also, seems they had several shooters most of the time, so I guess there were different focal lengths at play? I do need to buy one 85mm 1.8 because it seems that is my sweet mm spot for interviews and relying solely on the 70-200 isn't smart, otherwise my prime days are over.

As to the gorgeous sister in the Netflix doc, when I laid eyes on the shot I knew it was in a still studio set up because they have giant diffusion frames for that great wrap around look, (plus she's beautiful which makes it easier). Many times I have had to shoot people right after their still shoot, so I would utilize the house's frames for that look. I however, never have that amount of space in normal conditions, but last year I had to emulate an out-of-town DP's interviews and conversed with him over the phone, he talked me into buying the Wescott 42" 6-in-1 (I don't use the other 5) Illuminator Reflector to punch through, so I can achieve a similar look in smaller quarters, but my shot must be tighter since it's throw won't cover a wider area, plus I can't control it's spill onto the bg but it gives such a natural look I don't care. If they made a larger one that would be better, but I know that most environments I am in I won't have the space. In the old days when I had much larger vehicles I carried 4x4 diffusion frames so now this 42" must suffice. But that shot was killer. Trying to figure out the camera and lens? I'm still researching the BTS factoids on it but a little busy now.

Here's the tech geek factoids on the HK montage video:

Later,

Ned
 

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Liam Hall said:
Correct, a dolly zoom, though I know it as a trombone shot or Hitchcock zoom.
Click to expand...

Yes, it was famously used by Hitchcock in Vertigo in the mission church scene at the end where Jimmy Stewart is dragging Kim Novak up the stairs. Scorsese also uses it in Goodfellas when Henry and Jimmy are sitting in the diner..
 
I am a dinosaur, that HK video gave me a headache with it's never still camera work and gimmicky Hitchcock zoom while dollying movement. Some great shots to be sure and a lot of talent went into it so it's nicely done but just not for me. That edit would work great for a trailer but seven minutes of it, ughh. I also notice the really ugly Sony skin tones repeatedly. In a few exteriors, the skin tones are passable but the interior lit stuff, gack. What we do is a visual language and what I watched here was an auctioneer at work, impressive in it's speed and ennunciation but not much of a conversation. I had to turn it off at about minute four. As a visual storyteller, I would never try to emulate this.
 
The style represented in both of these videos is something that's gaining popularity. Call it cinematic pop-doc or whatever, but we're using more mid-level prosumer products in conjunction with the professional equipment to capture stories, I think it started with gopros and 5D's. I've seen this in both docs and branded content for event work. While I think my C300mk2 is the perfect camera for doc work, it wouldn't be strange to be asked to shoot with a Weapon, A7S, Gopro, Drone, Gimbal, Jib, Slider, Dolly, 1DC all on the same project.

I wouldn't be so quick to dismiss the style of the HK video, this looks like it may have been a passion project to showcase a vision, that type of kinetic b-roll is an evolution of what made "Requiem for a Dream" come to life on screen. I wouldn't be surprised if that type of pop pop fizz b-roll edit ended up on some network show. Not to mention the audio editing is actually quite stunning.
 
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