The Iron Psyche was shot on the Kinefinity Kineraw camera. This camera records 2k 12bit RAW files to either Cineform or Cinema DNG. kineraw.com/index.asp
The camera used was an engineering sample and not a production model.
It was edited in Adobe Premiere and the sound mix was done in pro tools.
It was very lightly graded, just the odd bit of contrast, saturation and black levels changed. We did this on purpose so people can see what the Kineraw image looks like. We did zero noise reduction or sharpening on any of the footage.
The camera itself does no in camera noise reduction. So what your seeing noise wise is exactly what's coming off the sensor.
This short was filmed over two days in Cronulla, Rockdale and Lewisham, all suburbs in Sydney, Australia.
Lenses used were the Zeiss ZF2's. 21mm f2.8, 35mm f1.4, 50mm f1.4 and 85mm f1.4. Additional lenses used were a PL modified 11-16mm f2.8 and a Samyang 24mm f1.4
A full review and article on the Kineraw is coming soon to dslrnewsshooter.com
Shot by Matthew Allard, Clinton Harn & Phil Arntz
Directed by Matthew Allard
Edited by Clinton Harn & Matthew Allard
Audio Mixed by Clinton Harn & Matthew Allard
Very Special Thanks to:
Silvana Ghoussain, Ken Thornberry,
Igor Goloubev - Head Trainer,
The Kostya Tszyu Boxing Academy,
Anna Dalton, Kinefinity Cameras,
Steven Rushworth, Jason Wingrove
Røde Microphones, Maria Pittiglio &
Shelley Watts for going above & beyond.
You know the times when all things just "click" together allowing one to achieve great results?
That’s how I felt when Michel and Ludwig from “hd video shop”, currently the sole distributor of Kinefinity cameras were kind enough to lend us the new KineRAW mini for a few days. At the same time Ram Leetal who is a great DP, friend and mentor asked me to help and shoot/edit a small story about 2 young sailors who are trying to make it to the 2016 Olympics on their own.
These sportsmen are very determined to make it despite the many obstacles on their way. (the main one is finding a sponsor who can support them fulfilling their dream). What else can I ask for, a nice little camera to test and a great opportunity to try and help the 2 sportsmen achieve their goal....
As one of the first people in europe we got the chance to test the KineRaw Mini, so we did a short fashion video. Normally we wanted to do some high key, beautiful sun shots, but Berlin was not kind to us, it was raining all day long, no sun anywhere.
We still shot something under a bridge, without any reflector or lights, all at 720p and 100 fps, to test its high speed capabilities. The sun did come through at the end of the shoot, everyone was freezing by then, still it had to match later on and we were frightened by all the mismatches.
We got home and played around with the footage and what a difference raw makes compared to something like the usual DSLR H264. So much dynamic range and grading possibilities. At 2K the camera is even better, 720p is a bit worse when it comes to sharpness/resolution and has some major problems with moiré (at least with the current firmware), still it makes wonderful images and we had a blast in postproduction.
Since we HAD the latitude to play around with the footage, we got wild with it, graded it until the codecs almost broke, so don't take this video as an official test, they are just some nice images to look at and showcase the camera.
Thanks to all who worked with us, especially Michel Juknat from hdvideoshop.com, who lent us the camera for the weekend, and Roman Fleischer (romanfleischer.com) who composed the music just for this video.
And of course our models/actresses Alexandra Sinelnikova and Tanja Heitzmann, who did a terrific job looking warm and staying in character even while freezing.
Shot by Matthew Allard
Directed By Clinton Harn
Assisted by Phil Arntz
Edited & Graded by Clinton Harn & Craig Hansen
Art Direction by Clinton Harn & Matthew Allard
Very special thanks to Anna Dalton for all the assistance you provided us in production.
The following music video was done on a shoestring budget. More importantly, It allowed Matthew Allard & I to test an engineering sample camera to see how it would hold up in a semi-controlled lit environment. There tends to be an abundance of camera tests floating around with available & practical light. For this, we wanted to see how the KINERAW S35 would perform in a "pseudo" working set environment.
There was literally no pre-production, storyboards or treatment. Everything right down to art direction was done on the fly. My saving grace however was listening intently to the lyrics and really understanding Craig's message in the song. To add salt to injury, Phil came up to me midway through the shoot to remind me that there was no reference audio on the camera. Being an engineering sample, of course it didn't have audio! Doh!
So, throughout the entire remainder of the shoot, I was thinking about the long arduous task of syncing everything in post, while attempting to direct Craig & light various scenes & large areas.
Well fast forward now, and I'm happy to report that all the manual syncing was done quickly & efficiently in under a few hours. The trick was knowing the song back to front, while understanding the chord shapes, song structure, and most importantly, the lyrics. Guess the years of music & audio training came in handy.
On the edit side of things, it was nice to have Craig sitting in.
He made the call on how he wanted the edit to emote the song. Yes, some cuts were perhaps way longer than you would generally incorporate in a music video, but he wasn't really interested in the entire technical pixel peeping "should have done this & that" vibe. Everything right down to the grade was requested by Craig, as he felt it would best represent his message.
Truth be told, there was approximately 230 Gb worth of rushes, so there certainly wasn't a lack of shot selection. Craig wanted various cuts, so I wasn't denying him that luxury just for the sake of "ticking all the right boxes". This wasn't intended to be a "high gloss glam" music vid. It was warts & all.
What started as a mere camera test, transpired into a music video and the story of friendship & passion shared by kindred spirits.
All footage was edited in 2K in Adobe CS5.5 and stylized & color corrected with Red Giant's Colorista II and MBL.