This personal project actually came about after shooting my previous fashion film, “culture.street.runway” in Feb 2013. I met Christina McCasty (AKA Tina) through her then roommate and model, Sabrina Lorena, who brought her in as a last minute replacement and she saved our butts by adding to the feature model segments in a major way.
Since then, we’ve been talking about creating another piece together, I wanted to experiment in another personal fashion project and Tina was in need of a video portfolio. So we all helped one another out in a great way with “Evicted!”.
We’ve been working w/ Magic Lantern RAW (MLRAW) for quite a bit now and I’ve gotten some awesome results. I chose to stick to the 50D rather than the equally awesome 5DMKIII version primarily due to the sensor size, with the 50D’s being a 1.6 crop, super-35 film size like the 7D, 60D and others. That said, I recorded in the maximum resolution allowable at a 16:9 aspect ratio for a 2.35:1 crop in post and used VisionColor as my on-set LUT.
My lens package remained the same, consisting of Nikkor AI-S 28mm f2.8, AI 35-70mm f3.5 and Samyang 14mm f2.8. Even with the slight color difference, the Samyang matches up beautifully with my Nikkors’ sharpness and color depth.
Thanks to the mini HDMI out on the 50D, I was able to whip out my trusty DP4, which is my go to piece of gear for just about everything. Especially with both rig setups, which consisted of a modified action cam and my shoulder cam (using the full DP4 EVF Loupe). Considering how much literal running around was needed, there was no way I could’ve done this properly without my DP4 on the rigs. Now I don’t even bother rearranging parts any longer, they’re simply the standard rigs designated for whatever jobs may come.
The developers over at Magic Lantern have been working some miracles in a major way. What was once considered early experimental Alpha code has now turned into a full-fledged option rivaling the likes of the BlackMagic, Ikonoskop and other mid-range cinema cameras. So it’s become a totally different conversation when speaking of “DSLR video” compared to only several years ago.
Our post production workflow is the same across the board for DNG processing; an older school, telecine style. We unpack the frames using RAW2CDNG, open them in Davinci Resolve, with a VisionLog LUT and BMC Film process and export in DNxHD 10bit 422 or 444 (for movie screen work). After editing has been wrapped, we then export the timeline into a DPX sequence and do the final color grade in either Davinci or After Effects CS6. If the resolution of the DNGs are larger than 1080p however, then we stick to a 422 video round-trip back to the RAW files for color after the edit’s been locked.
I definitely have a lot more to learn about the fashion world, coming from a narrative and action sports film background. However, the journey has been great so far and I couldn’t have done it without my crazy team, beautiful talent like Christina McCasty, and the awesome minds over at Magic Lantern and Small HD.
I hope you enjoy this and much more to come!
Director Of Photography | Cinematographer