According to DP Colin Noel, there are certain locations that a cinematographer dreams to shoot in. When the music video concept of Hartford, CT-based Bronze Radio Return's Only Temporary was presented to him, it was an opportunity he couldn't pass up. A nighttime amusement park with a Ferris wheel was on my list of places that I wanted to shoot so I was super excited about it, says Noel. We started looking at gear and like most music videos, our budget was pretty low. We wanted to try and use the practical lights inside the amusement park as the actual background lights as much as possible without having to mimic them. We started looking at the Panasonic VariCam LT and that's where we decided to go.
The music video was shot at The Island, an amusement park in Pigeon Forge, TN, right outside of Nashville. Besides mainly working with practical light, Noel's other big challenge was that they were only allowed to shoot from midnight until sunrise since the entire music video takes place at night. We essentially shot the whole music video in six hours because that's all the time we had in the park, reveals Noel. Even if we had rigs and lights to simulate the amusement park, we wouldn't have time to set up, dial it in, and shoot the video in such a short period of time. How do we use the existing light and bring up a key light for our talent, but also use background light as much as we can with just what's there?
For developing the look, Noel watched a number of videos that were shot in amusement parks but couldn't find anything as colorful or vibrant to what he and director Sean Dav of Revolution Pictures were looking to create. One of the major inspirations was the music video, Weekend, by Priory. It's got this really cool anamorphic vintage feel to it, reveals Noel. It was definitely one of the visual references we used for the color palette and how we wanted it to feel.
DP Noel shot the music video with a single VariCam LT with Cooke anamorphic lenses
Noel shot the video with a single VariCam LT with Cooke anamorphic lenses, which Noel chose over a set of vintage Hawk anamorphics. We ended up choosing the Cookes because we wanted to capture a sharper image while still having the option of knocking it down in post for a softer feel, reveals Noel. The Cookes are a little faster and a little easier to work with while the Hawks are of different sizes and weigh a ton. With such a quick turnaround on the video, I wanted something to give us exactly what we wanted.
Over much debating, Noel shot the video in 2K with most of his footage shot at 48-fps because the video features numerous speed ramps within shots. According to Noel, he shot in 2K over 4K because it was going to be a 2K delivery and he wanted to capture in AVC-Intra 2K 422. (4K/UHD AVC-Intra 4K 422 only captures up to 30p.) I opted for capturing more information at a smaller resolution, he says.
Noel also captured in V-Log, creating a viewing LUT with Teradek Colr while visitors were still in the amusement park. He built the LUT based on the look they were going for and also recorded HD proxy files with the same LUT. [The editor does not like working with flat Log footage.] The LUT was fairly simple, explains Noel. It was a Rec 709 look with a bit of extra contrast. I also warmed the midtones up a bit and pushed a little more blue into the shadows for more of a Hollywood blue/teal kind of look. We didn't spend a lot of time on it - maybe five or ten minutes with our female talent and then we had to move on to actually get the ball rolling.
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According to DP Colin Noel, there are certain locations that a cinematographer dreams to shoot in. When the music video concept of Hartford, CT-based Bronze Radio Return's Only Temporary was presented to him, it was an opportunity he couldn't pass up. A nighttime amusement park with a Ferris wheel was on my list of places that I wanted to shoot so I was super excited about it, says Noel. We started looking at gear and like most music videos, our budget was pretty low. We wanted to try and use the practical lights inside the amusement park as the actual background lights as much as possible without having to mimic them. We started looking at the Panasonic VariCam LT and that's where we decided to go. 
