Sony Pixel Power calrec Sony

ALEXA Mini LF digunakan dalam pengambilan gambar yang berkelanjutan untuk Seat at the Table

08/03/2022

Dibuat dan dipersembahkan oleh aktivis iklim dan pembuat film yaitu Jack Harries, Seat at the Table adalah serial YouTube yang terdiri dari 12 bagian, yang diproduksi oleh Studio Silverback. Serial ini menyuarakan orang-orang di seluruh dunia yang paling dirugikan akibat perubahan iklim, yang menggabungkan beberapa segmen yang difilmkan di banyak negara berbeda, namun diproduksi dengan cara yang paling berkelanjutan. Sinematografer Josua St bler berbagi tentang alasannya memilih ALEXA Mini LF, apa manfaat yang diperoleh dari penggunaan kamera format besar, dan mengungkap bagaimana produksi yang rumit di tengah pandemi.

Bisakah Anda menjelaskan bagaimana proyek ini dibuat dan bagaimana Anda bisa terlibat di dalamnya?

Pada awal tahun 2021, Jack Harries dan Studio Silverback memiliki ide untuk membuat sebuah film yang menyuarakan orang-orang yang berada di di garis depan tentang perubahan iklim. Proyek ini ditugaskan kepada saya oleh YouTube, dan saya ditawari untuk menjadi sinematografer. Pada awalnya, rencananya adalah berkeliling dunia selama enam bulan, menemukan orang-orang ini untuk menceritakan kisah mereka, tetapi kemudian gelombang COVID-19 melanda lagi, dan seluruh proyek harus dipertimbangkan kembali. Mereka punya ide untuk melakukan pengambilan gambar selama tiga bulan hanya di Inggris dan berkolaborasi dengan kru lokal di 11 negara yang berbeda untuk menceritakan kisah internasional. Tugas saya adalah untuk mengembangkan gaya visual untuk proyek ini, dan memberikan pengarahan kepada kru internasional tersebut tentang gaya visual yang dimaksud.

Sinematografer Josua St bler mengoperasikan ALEXA Mini LF genggam di pantai Inggris.

Apa yang membuat Anda menggunakan format besar, dan ALEXA Mini LF?

Sebagai seorang sinematografer, sekitar 70% dari pekerjaan saya adalah iklan dan 30% berupa dokumenter, dan untuk iklan, saya mengambil gambar menggunakan ALEXA secara eksklusif saat saya tidak sedang mengambil gambar menggunakan analog. Saya sangat menyukai apa yang dilakukan ALEXA dengan warna-warna; saya tahu cara bekerja menggunakan ALEXA dan cara mengekspos sensor tersebut, jadi bagi saya, pilihan itu sudah jelas sejak awal.

Untuk proyek ini, kami menginginkan 4K dan berada sedekat mungkin dengan karakter sebagaimana yang diizinkan oleh aturan COVID, mengambil gambar dengan kamera genggam menggunakan lensa sudut lebar untuk merasakan kedekatan secara fisik. Inilah yang membuat kami menggunakan format besar dan ALEXA Mini LF. Biasanya, kami menggunakan lensa dengan ukuran antara 24 mm dan 35 mm, dan sensor LF terlihat sangat keren pada jarak fokus tersebut karena bidang kedalaman yang dangkal. Saat kami melakukan pengambilan gambar lanskap yang besar, sensor LF selalu bisa membuatnya menjadi bahkan lebih epik.

Bagaimana cara Anda menangani kru internasional yang memiliki peralatan kamera yang berbeda?

Tentu saja, tidak setiap kru lokal memiliki kesempatan untuk menggunakan ALEXA di negara mereka. Awalnya, saya melakukan tes bersama colorist saya di Jerman. Dalam tes itu, kami membandingkan ALEXA Mini LF dengan kamera format besar Canon dan Sony, dan kami menemukan suatu show LUT dan sistem untuk mengubah gambar Sony dan Canon menjadi ruang warna kami. Final grade dilakukan di post house yang lain di Bristol, Inggris, tetapi mereka dapat memanfaatkan hasil kerja saya sebelumnya dengan colorist saya untuk menyesuaikan rekaman dari semua kamera agar sesuai dengan tampilan show LUT kami.

Presenter Jack Harries di balik ALEXA Mini LF dengan mirror rig untuk melakukan wawancara kontak mata dengan pembatasan jarak.

Apa lagi pengarahan yang Anda sampaikan kepada para kru internasional?

Hal yang paling jelas dan rinci adalah bagaimana cara mengatur, membingkai, dan menghidupkan suasana wawancara. Di sepanjang acara, kami mewawancarai orang-orang di depan latar belakang hitam, jadi penting agar latar belakang dan pencahayaannya sama untuk semua orang, entah bagi ilmuwan dengan pengalaman iklim selama 30 tahun atau petani yang menyadari bahwa tanaman mereka tidak tumbuh lagi pada dua tahun yang lalu. Saya melakukan pengujian terperinci dan sangat spesifik dalam pengarahan saya tentang sumber cahaya, jarak, eksposur, dan rasio kontras.

Untuk tampilan keseluruhan dari acara tersebut, pengarahan saya berisi hal-hal seperti mengambil gambar B-roll dalam gerakan lambat untuk nuansa sinematik; selalu mengambil gambar yang terbuka lebar untuk kedalaman bidang yang dangkal, dan memanfaatkan sensor format besar; menggunakan gimbal untuk jenis pengambilan gambar tertentu, atau lensa panjang dan tripod untuk jenis pengambilan gambar lainnya. Tetapi saya juga menganjurkan pembuat film lokal untuk menuangkan ide-ide kreatif mereka sendiri, dan saya sangat senang dengan hasil yang kami peroleh kembali. Sangat menyenangkan melihat banyaknya pembuat film berbakat yang bekerja di seluruh dunia, bahkan di tempat-tempat seperti Maladewa dan Kamboja, yang tidak memiliki sekolah perfilman besar.

Menyiapkan latar belakang hitam untuk salah satu wawancara.

Apakah Anda sudah mengunjungi berbagai jenis lingkungan di Inggris sebisa Anda?

Ya, kami pergi ke mana-mana, mulai dari Kepulauan Scilly di ujung selatan hingga Kepulauan Orkney, yang hampir merupakan ujung paling utara di Inggris. Kami memiliki berbagai pengalaman yang sangat beragam dari dataran Inggris, dengan beberapa tempat yang tampak seperti Karibia bagi saya, dan tempat lain yang sangat kasar dan liar dengan angin kencang. Akhirnya, pada bulan November, kami mengakhiri perjalanan di Glasgow untuk COP26, konferensi iklim PBB, tempat kami mengambil gambar untuk dua episode terakhir kami.

Beberapa lokasi yang liar adalah salah satu alasan mengapa saya memilih ALEXA Mini LF, karena saya tahu saya bisa percaya padanya. Kami mencoba melakukan perjalanan yang netral karbon, jadi kami selalu naik kendaraan yang berbeda, seperti perahu layar kecil di l
LINK: https://www.arri.com/news-id/alexa-mini-lf-digunakan-dalam-pengambilan...
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