Phil Peel's Blog

We filmed a studio session last week with Steve Wood to promote his Michael Buble act, which he’s taking to the Greek Islands this week (lucky him, it’s a lot warmer there)

..and it was nice to be working indoors for a change. We shot four numbers in 6 hours. ..but we spent 2 hours of that rigging the jib and lights. In the end we only used three songs in the final edit.

In this sort of video, it’s not selling the music or the track, so I believe there’s no need to have any sort of story line or exotic location shots. It’s designed to sell the performer ..to show their personality and performance skills.

Here’s the video.

I think if you don’t have a big budget, then less is more effective, so we filmed in a blacked out studio with strongly dramatic backlighting.

Roy Perkins shot with his GH2 as second camera, Jude was rigger and lighting and Rachel Stephens was production assistant. ..and photographer.

She got some good shots as we worked.

Steve was really pleased with the results and he’s off with the results to Rhodes in two days time. …lucky him.

Technical stuff:   more details here 

We used a simple set up with three lights and Jude handholding the fill light. We were using a 12 foot jib and found that we got shadows on Steve’s face with a fixed fill light, so Jude dodged around the jib with a battery LED light.

I shot on my Panasonic GH2. I had concerns about having to use autofocus on the jib, but the focusing of 14 -140 lens worked perfectly.  You have to use autofocus on a jib, unless you have full remote focussing.

In addition to the Panasonic zoom I also used my Pentax 50 mm 1.8,  and my new SLR Magic 12mm 1.6 lens and the Lumix 14mm 2.8 when I did a few Steadicam shots.

I was surprised that the 14mm Lumix produced an annoying strange intense green flare spot when shooting into the lights,  but I  took the green out of it in FCPX.

I used some fairly extreme grades in the FCPX colour grading as I wanted to go for the dramatic look.

It was all Deanna’s fault.  I had seen all the 50 Kisses promotional stuff and had wondered vaguely about getting involved, but it wasn’t till  she rang me up to ask if I could could DP her “second” 50 Kisses film, that I was inspired into making one myself.

I always say there are two types of  filmmaker. Those that talk about it and those that “do” it.   ..and recently I’d become a talker rather than a doer.    ..though to be fair I’ve shot a lot of music videos, corporates etc.

But this was getting to be the first year in the last six that I wasn’t shooting a drama.  So I decided to get off my butt …and check out the 50 scripts.

Working tactically, I looked at the scripts that no one else was shooting …  and I could see why!    It wasn’t the storylines  ..it was the difficulties of actually filming them. Matching actors through generations and across changing ages. ..or really complicated locations to achieve on small budgets. Then I focused down on  Rob Burke’s short “Love” set on a moving bus, with a mysterious sinister stranger and his interaction with a  young girl and her mum. (The required “kiss” is between the mum and child. )

Filming on a bus would be not easy. Matching the external scenery and light conditions would likely be difficult. It seemed the only solution would be to hire a bus and get extras for all the other passengers.

Unless I could move it to another form of transport. What about the Tube?  I checked with the writer, who was happy with the idea. I was surprised to find he was from Washington on the West coast of the USA, when he explained that he couldn’t come along for the filming.

For the young child I chose Holly Jacobson, who I’d met at one of Chris Jones’ BBQs. She’s a pretty seasoned actress now. Check out her dad’s film Candy Crime.  Melody Reynolds matched her perfectly as the mum and Lula Suassuna was great as the sinister stranger.

So we met up for a good meal at Pizza Express.

Here’s Holly checking out the recce shots.

So trailing our posse of extras (otherwise known as the crew) Deanna, Terry, Ben and Kaley we travelled around London.

No need for lighting, tracking, jibs, tripods etc. Just me and a camera. I shot on a hacked Panasonic GH2 stowed with four lenses in a little Slingshot shoulder bag.

..and a black jacket with a hood , which I’ve learnt is very useful to avoid embarrassing reflections of the camera person in windows.

Sound was recorded on a Zoom H4N.

Wonderfully liberating working like that, though it’s hard work. Engaging with the actor’s performance is difficult, when you’re also juggling ISO levels, F stops, depth of field etc.  (By the way the fluffy bit on top of the camera is a very effective windshield for the in camera stereo mike.)

But it all looks great. All edited and currently going through colour grading.

Panasonic have just announced their upgrade to the GH2 …aptly named as the GH3. It can record 1080p video at up to 72Mbps using an ALL-I codec, as well as 50fps in AVCHD mode, at 28Mbps. The camera is based around a 16 megapixel Live MOS sensor, and can record in MP4, MOV (Quicktime) and AVCHD. The ISO range is 200 to 12,800.  Like the GH2 it also has full time AF in video mode.

Panasonic have roped in Bruce Logan and Philip Bloom to use a preproduction version of the camera to make a short drama to show off the abilities of the new camera. Like better low light response, slo mo etc.

Panasonic GH3 launch film: Genesis from Philip Bloom on Vimeo.

..and here’s a behind the scenes making of doco ..shot on the GH2.

Panasonic GH3: Behind the scenes from Philip Bloom on Vimeo.

The two main problems I had with the GH2 was the poor low light performance and the plastic construction.  The GH3 seems to have sorted both of these out.

and you can also run it from your smartphone !

Smartphone or Tablet Linking
The Wi-Fi function lets you use your smartphone to make settings and press the shutter button remotely, a short distance from the camera. The auto transfer function is handy for automatically backing up photos onto a tablet. This lets you monitor them on the tablet without having to upload them to a PC. You can also start timer interval video recordings from your smartphone. And you can use GPS data to simultaneously record the shooting location onto your images.

Here’s the spec.

• 16.05MP Digital Live MOS Sensor
• Total Sensor area: 17.3 x 13.0 mm (in 4:3 aspect ratio)
• Magnesium Alloy, Weather Sealed Body
• 1080/60p/50p – 50Mbps IPB and 24p 72Mbps ALL-I
• MP4, MOV and AVCHD Record Formats (Up to 230 Minutes Clip-Length)
• 610k OLED Monitor and 1740k OLED Live View Finder
• ISO 200-12800 (Extended Mode: 125-25600)
• Uncompressed HDMI
• Tele Conversion Mode – Stills: 2x // Video: 2.4x, 3.6x, 4.8x
• Time Code Support — Free Run, REC Run, Drop and ND
• Slow Movie extension (40%, 50%, 80%) Fast 160/ 200 / 300%
• Electronic Front & Rear Shutter – 6 fps max
• 60 – 1/4000 second // Max Sync Speed: 1/160 sec
• 1/8″ Headphone, 1/8″ Microphone, AV Output, HDMI C (Mini), USB 2.0
• Auto HDR for Still Photographs
• Full application remote control through iOS and Android applications
• SD/SDHC/SDXC
• New external vertical battery grip and Shotgun Microphone Attachment
• Availability: November/December
• Price: $1,300 Body Only

link to Panasonic website

My son Mike, who’s recently qualified as an FCP X  Advanced Trainer, has just sent me this trailer for his film “No Apologies”, which I lit and shot for him last summer. I’m pleased with the lighting, which wasn’t easy covering a five way conversation in a big blank hotel room.
It’s written by my good friend Ken Hammond. Not only did Mike produce, direct and edit, he also cooked and served the best food I’ve ever had on location.

Directed, Produced & Edited by Michael Peel
Written by Ken Hammond
Director of Photography- Phil Peel

Cast: Oleg Litvinov – Nicola McAdam – Tony Manders – Kristian Wightwick – Paul Barrand – Sarah Masters – Sean Pogmore

Crew: Paul Francis – Martyn Lowe – Paul Witcombe – Jude Peel

No Apologies IMDB page (http://www.imdb.com/title/tt2130145/)

No Apologies Blog (http://peelgrum.wordpress.com/noapologies/)

http://www.philpeel.com/2012/05/new-trailer-for-no-apologies/

http://www.philpeel.com/2011/06/filming-no-apologies/

http://www.philpeel.com/2011/08/no-apologiesthe-police-interview/

http://www.philpeel.com/2011/07/no-apologies-filming-the-other-sex-scene-4-in-a-bath/

http://www.philpeel.com/2011/07/filming-the-car-park-argument-no-apologies/

http://www.philpeel.com/2011/07/no-apologies-the-sex-and-strangling-scene/

http://www.philpeel.com/2011/07/filming-no-apologies-the-bathroom-scene/

http://www.philpeel.com/2011/08/no-apologies-final-scene/

Now Everybody Stand In Line by L&O Featuring Valentine & Dretonio is now on ITunes, Amazon and HMV and the video has had probably 750,000 hits in its various different versions.

So it all started on a local football pitch and we ended up being interviewed by ITV News crew outside the Emirates Stadium and number one in the US dance charts.

Here’s a “behind the scenes doco” of the football, studio recordings, video shoot and news coverage of Now Everybody Stand In Line Football Anthem by L&O. + preview of new Ibiza mix.

Filmed in River Studios, Meadow Farm Studio and Liquid night club.
featuring producer/football manager Gary Louca, singers Dretonio, Valentine, Chris Todd and dance crew & sound engineer Olli Daddarn
Camera crew Mike Peel, Jude Peel and Robin Wheeler.
BUY the track and whole package of club hits NOW AT iTunes http://itunes.apple.com/gb/preorder/now-everybody-stand-in-line-ep/id500556074

The music video was all shot on a Panasonic GH2 with Pentax Super Takumar 1.7 lens and the Panasonic 14-140 zoom lens.

The making of video was mostly shot on a little Pansonic TZ7 camera.

Here’s an interesting post from EOSHD comparing the New Canon with the GH2

Turns out, the GH2 has one unsuspecting video feature that beats out the current standard of DSLR videography, the Canon 5D Mark II, not to mention its recently reviewed successor, the 5D Mark III. Amazingly, the GH2 cranks out video with detail and sharpness clearly superior to either of the 5Ds. The results are visible in the test video, conducted by EOSHD, along with a detailed analysis.

“here is a summary: the GH2 produces a more pleasing image with far superior resolution and a more organic grain structure. Dynamic range is similar on each out of the box but you can gain a little more back on the 5D Mark III in post if you shoot flat with CineStyle or Flaat.”

“Overall the GH2 looks more like a digital form of Super 16mm with a fine grain and detailed image. It is also punchy and contrasty. With fast glass it has more of a dreamy Super 35mm look. The GH2′s sensor size is after all very close to motion picture Super 35mm, if not photographic 35mm. I am big on a fine grain of noise. Too clean and you get a plastic look, too blotchy at high ISOs and you get a very soft image. The noise grain on the GH2 is unusual for an H.264 based codec in that the high bitrates with the hack maintain a very fine grain structure like the broadcast MPEG codec on the Canon C300. The 5D Mark III is the opposite – a blotchy noise pattern and even a fizz at lower ISOs which is generated by the codec.”

“In terms of large differences to the GH2 the 5D Mark III has the advantage of full frame sensor size only.”

So is Canon DSLR video dead?

For a lot of people it is going to be and I suspect Canon want it to be that way, so you buy their pro video offerings.

http://www.eoshd.com/content/7631/panasonic-gh2-vs-5d-mark-iii

One of my earliest students was Andy Portch, whose gone on to have a distinguished career as a news cameraman for Sky. He’s recently taken to using the Panasonic GH2 and has written a really interesting report on using it and the AF101.

Size matters: By Andy Portch

A full size HD broadcast camera is picture perfect and looks impressive. The large camera also screams “TV Crew” and too often gives a ‘warped’ view as people react to the big camera or simply turn it away.  Twelve months ago the Micro four thirds (MFT) system caught my eye. The Panasonic AF101 and smaller GH2 stills/video hybrid cameras are cross compatible, sharing lenses and shooting the same AVCHD format. The AF101 is also significantly cheaper and smaller than the alternative Sony F3.

I went ahead and purchased the AF101 (AF100 in the USA) because it has all the video camera features: Neutral Density (ND) filter wheel, XLR audio inputs, Variable Frame Rate, SDI output and a dial in white balance. The AF101 ND filter wheel is the critical plus factor for me. I would not recommend any video camera without built in ND filters.

In the bureau with the Panasonic GH2

Working alongside my AF101 I have the GH2 which is small and discrete, with improved video functions over my old Canon 5D mkII. The GH2 has a crisp EVF with image magnification which means you don’t need an LCD loupe. Depth of field is shallow, but more manageable for video than a full frame sensor. I can still use manual full frame lenses with low cost adapters. In fact the beauty is I can carry the same creative stack of lenses for use with my GH2, GF2 or AF101 video camera.

I’ve used the combination of GH2 and AF101 extensively this year and to illustrate various points and lessons learned about the cameras’ use I’m going to refer to a portfolio of five news stories which I’ve done. Each is shot with Holly Williams, my correspondent in the Sky Beijing bureau. She has supported my tireless and sometimes tiresome quest for better imagery:-

Andy’s blog full report

Filming tonight  at a club in London, then onto studio in Henley for all day shoot with the dance crew. Then Tuesday in Portsmouth.   This is the girls on  a rehearsal shoot. Can’t tell you what the music track is yet. I’m sworn to secrecy

Now the following information will be totally incomprehensible and useless to anyone who doesn’t own a Panasonic GH2. So if you are unfortunate enough not to have one of these gorgeous cameras, stop reading now.

For those who do own the best video DSLR. (Canon eat your heart out) here’s some useful information.

Panasonic have now release firmware 1.1 which gives GH2 users 25p embedded in a 50i stream at 24mb/s AVCHD like the GH1. US owners get 30p embedded in a 60i stream.

The native 24p “cinema mode” remains.

Here are the rest of the details:

1. Added a video mode [HIGH BIT RATE] which is suitable for editing video recorded at high bit rate(24Mbps).
2. Added a function [POWER ZOOM LENS] when using power zoom lens.
   ([DISP FOCAL LENGTH], [STEP ZOOM], [ZOOM RESUME], [ZOOM SPEED], [ZOOM RING]*)
3. Full area enlargement of AF area setting.
4. Improved in the speed of consecutive shooting when shot with auto bracket.
5. Increased number of recordable images in consecutive shooting.
6. [EX.TELE CONV. (Extra Tele Conversion)] can be set ON/OFF separately in photo or video recording.
7. More accurate light adjustment of built-in flash.
8. Improved in the AF performance in video recording.
9. Synchronization of alarm volume for low battery with [BEEP VOLUME].
10. Added a function [HALF PRESS RELEASE].
11. Improved NR (Noise Reduction) in high sensitivity shooting.
12. Added a function [TOUCH SCREEN] which is ON/OFF control of touch-screen.

* Available with LUMIX G X VARIO PZ 45-175mm / F4.0-5.6 ASPH. / POWER O.I.S. only.

GH2 firmware download link

info via   nofilmschool