Chicago video production company: As a music video director, I am always striving to hone my craft by using news tools and techniques. My latest music video production for Marcus Matteo was my first 4k project and I shot it almost exclusively in 4k DCI with a Canon 1D X Mark II camera using EOSHD’s C-LOG Picture Style.
In order to take the viewer into the action, the lion’s share of the shots were captured with with a DJI Ronin-M or handheld when a dramatic visceral feel was preferred.
Almost all of the Chicago video production was shot in 4K DCI 4,096 x 2,160 is larger than UHD 4k 3,840 x 2,160, but the flower drop and the slamming down of the glass were shot in 1080P 120fps. In addition, the beach singing scene was shot at 60P and then slowed down to 40% to the base frame rate for the video which was 24fps. In order to pull off those shots Matteo sang along with a version of his song which was sped up 250% with an app called Music Speed Changer. I feel the results are great because it creates a striking contrast to the scenes with our fantastic actors Rae. and Tasos.
When I lit the piano scene I wanted to make it look like sunlight was reflecting off of a nearby building, plus I wanted to shoot 180 plus degrees without getting any of the gear in the shot. So I clamped a Mole-Richardson Fay with a daylight bulb above the drapes and the filled the scene with two Kino Flo 4Bank Fixture (2′) fixtures.
The Chicago Music video production was graded with IWLTBAP luts inside of Final Cut Pro X.
The kitchen scene was lit with two Coolights 150-watt HMI‘s, which I gelled with a 1/2 Color Temperature Straw and shined through a window and blinds *creating the lines on the cabinets). Then the whole scene was filled with a reflector. I was going to use a light bounced off the ceiling, but found that the Coollights have a magenta bias and it just didn’t look right. In retrospect I could have corrected the lights with a 1/8 minus magenta, but it was just as efficient to use the reflector.
Our Chicago video production company lit this livingroom scene with three lights to simulate what you might see on a summer day. I places a Mole-Richardson Fay at the end of a boom and shined it through the window to strike the lamp. Then I lit her with a 2′ 4-bulb Kino Flo as though it was light bouncing off something in the room. Then I used a Coollights 150-watt HMI to fill the room on the left.
I was able to use available light and a reflector on the drinking scene, but when it was time to shoot 120fps, I had to crank the ISO up to 3200.
At the end of the pier I loved using my Ronin M to create what amounted to a jib shot by simply holding it over my head and then squatting as I lowered the camera.
Our Chicago video production company used two 2′ Kino Flos side by side to light the scene of Matteo singing in front of a hand painted gray Gravity Backdrop’s canvass.
Full blog post with behind the scenes photos from out Chicago video production company at johngress.com/the-making-of-marcus-matteos-boomerang-music-video/
Chicago video production company Equipment used:
Canon 1DX Mark II
Canon C100 cameras
DJI Ronin M.
Canon EF 24mm f1.4L USM
Canon EF 50mm f1.2L USM
Canon EF 16-35mm f2.8 II L IS USM
Canon EF 24-70mm f/2.8L II USM