In the clip below, a fabulously realized LED wall provides background for a pair of young performers on a minimized set. With the addition of some sea spray and a bit of interactive lighting, they couldn’t help but deliver something special. As I took in the action from a sheltered spot, this thought came to me: What better way to spend a rainy start to the new week?
Over several days of shooting, a variety of filter grades have been placed inside the IOP lenses to interesting effect. What they do to the image is different from what we’re used to seeing when the filter sits in front of the lens. The best description I can think of is, subtle, yet distinctively present. Others might have a different reaction, but there’s no denying the freshness of what this new tool delivers. Keep in mind that as cool as the concept is, it’s not a shortcut to the Oscar podium. An appreciable amount of testing is necessary to learn how the internal filter dances with lighting and exposure. And once a look is settled upon, it should be uniformly applied to all the IOP’s you plan to use. It’s a serious commitment – you’re baking a look into your image. So, it’s no casual, mix-and-match sort of gimmick.
There’s plenty of in-depth information about the IOP’s on the web. You might also have a look at my previous two posts for some more actionable intel.
Repeating the relevant stats:
Facility: Stargate Studios
Writer\Director: Sam Nicholson, ASC
Cameras: Sony Rialto, Sony Venice
Lenses: Angenieux IOP prime lenses (18mm, 21mm, 24mm, 28mm, 32mm, 40mm, 50mm, 60mm, 75mm, 100mm, 135mm, 200mm) with a variety of internal filters applied
Thanks again to Tim Smith of BandPro Film & Digital for providing the lenses and to Sony for sending the cameras!
Two cameras but only one frustum? Unless I’m missing it, how are the two cameras overlapping their views of the LED a walls?
The second canera is a longer lens. It’s working within the field of the wider one.