Light|Compose|Motion

The mind of a filmmaker/cinematographer
Lighting Diagram for Requiem for a Dream 
A number of people have asked for my lighting setup for the sofa scene. It’s someone sketchy but hope it helps!
Light package includes
1x 650W ARRI fresnel (light the background/wall)
1x LED Spotlight (Backlight + flare the lens)
2x Softbox lights [Chimeras] (one on boom stand to light subject’s face, the other to the right of the subject)
2x practical lights (mood lighting and light the sofa)

Lighting Diagram for Requiem for a Dream 

A number of people have asked for my lighting setup for the sofa scene. It’s someone sketchy but hope it helps!

Light package includes

1x 650W ARRI fresnel (light the background/wall)

1x LED Spotlight (Backlight + flare the lens)

2x Softbox lights [Chimeras] (one on boom stand to light subject’s face, the other to the right of the subject)

2x practical lights (mood lighting and light the sofa)

Requiem for a Dream // an SLR Magic Anamorphot & Tiffen Black Pro-Mist filter Test

This is concoction of clips from a shoot I put together to really test the SLR Magic Anamorphot and Tiffen Black Pro-Mist filter. I wanted to see how easy the adapter was to use on a real gig and I must say it works well without major hassle. I was able to rack focus without dual focusing.

The diopters are highly recommended if you plan to get the camera any less than 3metres away from your subject. As you will see in the clip, they really flare (including vertical flares) which is really cool.

I did have issues using this with a longer lens. The image went really soft (even at f2.8). I believe the recommended focal range for S35 type sensors is 35-85mm which kinda sucks because I love my Canon 100L.

With regards to the Tiffen Black Pro-MIst, I really love the look, the way it blooms the highlight. The 1/4 strength i think is the sweet spot. It does make focusing a tad bit harder though and the smoke in the room also didn’t help things. I ended up with some duff shots which I thought were in focus but when I got home and looked at the footage on a big screen, it was soft and out of focus.

In summary, anamorphic shooting is great, many argue the 1.33x is a waste of time as it doesn’t give you the “anamorphic look”, yes, you don’t get oval bokeh you see with the 2x nor the distorted artifacts at the edges but it does give a wider FOV (Field of View) which is really cool.

Camera: Black Magic Production Camera 4K (shot 4K RAW)
Lens: Samyang 35mm T1.5, Canon 50mm f1.4, Canon 85mm f1.8, Canon 100L
Lens Filter: Tiffen Black Pro-Mist 1/4
Anamorphic Adapter: SLR Magic Anamorphot 50 1.33x (with SLR Magic Achromatic +0.33+ and +1.3 diopters)
Graded in Davinci Resolve using VisionColor Impulz LUTs
Edited in Premiere Pro

Obligatory stills from the first Cinematographers Club. Massive shout out to @loreraz_photography for his creative lighting and @katieathom for taking time out of her busy schedule to be our muse! #Anamorphic #JJAbrams

Camera: BMPC4K
Lens: Samyang 35mm T1.5 + SLR Magic Anamorphot 1.33x
Graded on Davinci Resolve

Obligatory stills from the first Cinematographers Club. Massive shout out to @loreraz_photography for his creative lighting and @katieathom for taking time out of her busy schedule to be our muse! #Anamorphic #JJAbrams

Camera: BMPC4K
Lens: Samyang 35mm T1.5 + SLR Magic Anamorphot 1.33x
Graded on Davinci Resolve

Flares

Flares

Sometimes you just have to wait until you have an holistic edit before you apply a grade. I think I’ll go with a neutral/flat first pass though so I don’t become biased!

Camera: BMPC4K

Lens: Samyang 35mm T1.5 + SLR Magic Anamorphot 1.33x

Anamorphic shooting earlier on today. I think we got some magical shots. The @smallhd monitor really came in handy with the anamorphic desqueeze and LUT feature. Watching your footage with a LUT is more inspiring that shooting LOG.

Anamorphic shooting earlier on today. I think we got some magical shots. The @smallhd monitor really came in handy with the anamorphic desqueeze and LUT feature. Watching your footage with a LUT is more inspiring that shooting LOG.

Stumbled across this shot from a music video I shot a while ago… i love shadows because the create interesting light.

Stumbled across this shot from a music video I shot a while ago… i love shadows because the create interesting light.

@smallhd DP7 Monitor arrived today! Amidst its many features, I really got this for two reasons.

1. Anamorphic desqueeze & monitoring. Pulling focus on a 1.33x anamorphic lens without desqueeze is hard as it is. 2x is just shooting blind. I can finally make use of my anamorphic adapters!

2. User LUTs on the monitor. I can upload my favourite LUTs and use onset to see what the finished work would look like. Looking at log/film mode footage is uninspiring as a shooter let alone a client. A client once asked me while looking over my shoulder, “I don’t like the look of the footage, it doesn’t look American”. To which I responded, “it’s ungraded”. Now everyone and their mother knows what grading means but some client still don’t know. This saves me the trouble of explaining!

@smallhd DP7 Monitor arrived today! Amidst its many features, I really got this for two reasons.

1. Anamorphic desqueeze & monitoring. Pulling focus on a 1.33x anamorphic lens without desqueeze is hard as it is. 2x is just shooting blind. I can finally make use of my anamorphic adapters!

2. User LUTs on the monitor. I can upload my favourite LUTs and use onset to see what the finished work would look like. Looking at log/film mode footage is uninspiring as a shooter let alone a client. A client once asked me while looking over my shoulder, “I don’t like the look of the footage, it doesn’t look American”. To which I responded, “it’s ungraded”. Now everyone and their mother knows what grading means but some client still don’t know. This saves me the trouble of explaining!

giganticfish asked: Hey man, I was wondering what kind of lens you recommended I get, I've already got a 50mm 1.4 and a 24-70mm tamron. I think I'm gonna get a 100mm L series lens soon but I need something normal, something that doesn't have the distorted wide look and something where there isn't so much shallow depth of field. Would a 35mm do?

Really depends on your sensor size. If you are shooting on a full frame i.e. (5D, 6D), I find the 35mm really hits the spot, no distortions and good depth of field to carry a narrative. On a crop (i.e. 1.6x 7D, Alexa, Epic), I usually use the 24mm, because the 35mm looks more like a 50mm on those. The 100mm is a workhorse for milky portraits and those macro shots! (Highly recommends), It’s also a good run & gun lens because it has Image Stabilisation, downside is that it’s a bit slow… f2.8 :(

Since you have a 24-70, you better off getting the 100mm since you already have a 35mm in your focal range.

Olan Collardy // 2014 Showreel

I’ve been meaning to do this since the start of the year but I’ve been rather lazy. Compiling this made me realise i’m not shooting as much as I did last year, which is somewhat of a good thing - I plan to shoot a lot less everything but more of the kind of projects I’m interested in.

I hope this showreel highlights my style -> lighting and movement :)

Camera-wise, the bulk (90%) of the shots are from my Canon 5DMk3 (ML RAW firmware), RED Epic, one or two shots from the BMPC4K.

While my shots are cleaner and sharper compared to my 2012 showreel, i think the style still remains the same.