Farrier, the first episode of the re:PURPOSE series examines the artistry of shoeing horses. An age old craft unfolds amidst the relationship between a father and son.

re:PURPOSE is a web-series that uncovers the lives of those who find purpose in their life's work.

If you know of anyone who would be a good subject for future re:PURPOSE episodes, please post your ideas below. What do you want to see next at 1500fps?

Tech info:

A few weeks after Vision Research's new Phantom Miro M320S was released, we shot Farrier to test a variety of the camera's capabilities. Primarily interested in workflow and picture quality, we found that working with this camera is a dream and it cuts great with Sony's F3 and Canon's 5D Mark III and 60d.

Our Miro was setup with a full studio rig, including matte box, follow focus and Sachtler v20 sticks. We lived primarily on Angenieux’s Optimo 15-40mm and also had a set of Zeiss CP.2’s. All Miro files were output through the new CineFlash system. The Sony F3 made use of the same lenses and output via the PIX-240 at S-log. The 5D and 60d shared a multitude of lenses: 17-35, 70-200, 50mm ZE, Rokinon 35, 85.

The CineFlash system is very good on the miro and downloads were quite fast. A full buffer takes about three minutes to go from internal RAM to CineFlash, but we rarely used the full buffer. It was a heavy day of shooting and we used up less than 420 gb worth of CineFlash memory.

All of the color timing was done via Da Vinci Resolve and edited using Avid Media Composer and Pro Tools, finishing in Apple Pro Res 4444, with this online streaming version h.264 at 1920x1080 7500kb/s. That F3 sure does sing. It’s not hard to see that the log-s image provides a broad tonal range, and therefore a bit cleaner image than the other cameras. Meanwhile, the 5D and 60d's low bit-rate and bit-depth are unfortunately very apparent in comparison. The Miro falls somewhere in between, as it’s 12-bit depth is higher than the F3’s 10-bit but the bayer process leaves a little noise. The F3, of course, also wins in terms of latitude. High-speed cameras have notoriously low latitude, often as low as 8 stops, while the F3 claims at least 12 stops. The Miro has showed us around 10stops and handles whites as well as the Phantom Flex, which is far better than any other high-speed camera now on the market. In fact, the white-roll-off is quite similar to that of the 5D. The Miro technically rates at 1200 ISO (compared to the Phantom HD Gold at about 200 ISO).

A Hollywood Special Ops & Island Creek Pictures Production

Bob & Brant Phalen of Phalen Horseshoeing and Supply
Rider: Racheal Johnson
Black Stallion: Constant
Brown Horses: Nikoo & Lilly

Director: Emily Bloom
Producer: Drew Lauer
Field Producer: Jerry McNutt
Cinematographer: Bradley Stonesifer
Camera Operators: Tim Obeck, Jimmy Hammond, Nick Piatnik
Editor: Patrick Chapman
Colorist: Aaron Peak of Hollywood DI
Audio Mixer: Michel Tyabji

Thanks to:
Bell Canyon Equestrian Center

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