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174. Chapel's Adoption Story | the feature
1 month ago
a very touching story of adoption from Kelly boy, Kelly girl, + Posey. we were invited to come into their home and tell this story right before Candice, the birth mother, was set to leave town after Chapel was born. Kelly girl first shared her very powerful story with us to see what we thought and if there was a story there. we were really drawn in by the idea of being able to get involved with such an intimate and personal process that includes some pretty remarkable paths crossing. Joyce started out by calling all of the parties involved, getting an idea of their role and seeing if they would be willing to share their take on camera.
we ended up spending two days with the Kelly's and it was definitely an experience that left quite an impression on everybody involved. this film was commissioned by the Kelly's so that Chapel would know her story and so that they could share their story with so many others who might be struggling with the many different aspects of adoption.
TECH SPECS
shot with the MKIV for b-roll and the RED Epic for all interviews
lenses included our standard prime kit for DSLRS and the Zeiss CP2 35/50/85mm plus the RED 17-55MM
all interviews were lit with lowel caselights and litepanels. an interview such as Kelly girls used roughly 6 lights total.
Ray handled all audio for the production. he ran a boom for all interviews in addition to a lav as a backup.
WORKFLOW
the piece was a big pile of media that was both EPIC and DSLR footage. the DSLR footage was cut in FCP and then an XML sent to premiere. the EPIC footage was rough cut inside Premiere. the story was assembled entirely with native files (both DSLR and EPIC) and it wasn't until the second to last revision that the piece was colored in DaVinci and new ProRes 2K master files were created.
SOUNDTRACK
All of the music is licensed through With Eiquette's (withetiquette.com) new commercial license options. Many of the artists / songs in this piece are in our Playthis playiist on the With Etiquette site (Amy Seeley, The Dimes, Cars & Trains, Norman, Daniel Dixon).
we ended up spending two days with the Kelly's and it was definitely an experience that left quite an impression on everybody involved. this film was commissioned by the Kelly's so that Chapel would know her story and so that they could share their story with so many others who might be struggling with the many different aspects of adoption.
TECH SPECS
shot with the MKIV for b-roll and the RED Epic for all interviews
lenses included our standard prime kit for DSLRS and the Zeiss CP2 35/50/85mm plus the RED 17-55MM
all interviews were lit with lowel caselights and litepanels. an interview such as Kelly girls used roughly 6 lights total.
Ray handled all audio for the production. he ran a boom for all interviews in addition to a lav as a backup.
WORKFLOW
the piece was a big pile of media that was both EPIC and DSLR footage. the DSLR footage was cut in FCP and then an XML sent to premiere. the EPIC footage was rough cut inside Premiere. the story was assembled entirely with native files (both DSLR and EPIC) and it wasn't until the second to last revision that the piece was colored in DaVinci and new ProRes 2K master files were created.
SOUNDTRACK
All of the music is licensed through With Eiquette's (withetiquette.com) new commercial license options. Many of the artists / songs in this piece are in our Playthis playiist on the With Etiquette site (Amy Seeley, The Dimes, Cars & Trains, Norman, Daniel Dixon).
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Quick question... I noticed in some of the interview setups you did a sort of circular motion with the camera, was this to mimic a handheld feel? Just curious.
Again, great work as always :)
lil'j
Is the main interview camera handheld? If not why shake it so much?
Joyce ran the Epic for the interviews and i asked for a little motion/shake. they were shot off a nice tripod so it could have been static or smoother but we wanted just that little bit of motion to make you, as the viewer, feel more present and there and to also give it a little more of a raw edge. compare the same interview side by side with one perfectly static and the other with that little bit of motion and i'll take the shake for anything that is trying to get an emotional connection across. again, glad you guys noticed and questioned it.
P.
Question: Was the side angles shot with DSLR? If so did you find it hard to color grade and match with the RED footage?
P.
on a tech note, you can still def tell a difference between DSLR footage and RED..even with the web compression
but thats a good thing, otherwise people will spend alot of money on a camera that doesnt look different or hold detail haha
its odd, they are both digital cameras, but the DSLR footage...hard to explain, looks cold, almost a bit videoy...
still great cameras, dont get me wrong.. cameras blend well together too.
Next to EPIC, epic just looks, well EPIC.
Can only imagine what it'd be like working on good film, the feeling of film and look.
keep the awesome work coming :)
I'm about to purchase an Epic M Package with Zeiss CP2 lenses and I can't wait to see what images I can create!!
How are you liking Divinci?
Do you look at the RAW monitor feed or the edited one while shooting (I guess the operator chooses?)?
Thanks!
davinci is great, super easy to use and insanely powerful, but still needs some updates for a smoother roundtrip from Premiere.
the raw monitor feed is awesome, we often switch between looks.
P.
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P.
beautiful
P.
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P.
Are the interview shot handheld or fake camera shake ?
P.
BTW, I worked for you guys on "AGoH" while you were here in Colorado. Another great piece of work!
Thanks for sharing this.