Wallander och RED One Camera
Den engelske filmfotografen Geoff Boyle, FBKS, filmade under 2008 del två och tre av den senaste Wallander-serien, ”Skulden” och ”Kuriren”. Han använde RED-kameran och andrefotograf var Nille Leander, FSF. Läs om Geoff Boyle’s erfarenheter av arbetet med RED-kameran. Stillbilder av Nille Leander, FSF.
I know that a lot of people reading this have been there, done it, but there are also a lot of people who need to know J
OK, shoot, 2 * Red cameras with Optimo 15-40 & 27-76 zoom and all Superspeeeds, a 200, 300 or so thrown in for luck, oh and a 16mm Masterprime.
First of all, we shot charts with all lenses and bodies, body with a 15-40 should be identical to body b with a 15-40, we did have a spare body c as well.
They weren’t the same and it’s very clear in post that body b is much greener than the others. We thought at first that it was due to a cam having the 15-40 and b cam having the 27-76 but when we switched to the SS’s we had the same problem and the lenses flew back and forth between cameras. B was definitely green.
We recorded to both 8Gb flash Cards and Red Drives.
Dailies were transferred to Avid SD format.
Selected takes were transferred from R3D files to HD DPX at full res transfer, very selected takes were transferred at 4K.
The post house ditched all metadata in the transfers as they had had major problems in the past with confusion caused by this. I have to say that I think that they made the right choice, I ended up with log DPX files that looked err “right”.
We did have problems with the selects that were to be 4K and we’re trying to find out what those were at the moment, the issues here were re-sizing and speed changes.
Grading has been incredibly fast, thanks Mats at Chimney Pot, of course my impeccable rushes made it all possible, ah, isn’t it great that you can’t see me cracking and falling over laughing at that last line!
I’m really happy with the look of this, it’s not 35mm, the highlights and colour give that away, however, it is possible to compensate for most of that.
Soft highlight clips are where we start, we add selective de-saturation of the colours that tend to go “video” and finally, although we may not include this as it makes the render times horribly long, a little highlight glow, only at 90% and above and only a tiny amount but it really works.
Now the real deal J the most important thing that we’re doing to make the pictures look better, and I really don’t mean like film, just better, is that we’re adding grain. Very soft low level grain but it’s amazing the change it makes to the pictures.
What it is doing is making the pictures look sharper and losing the plastic skin tones that we sometimes get with digital pictures.
The level that we are using is invisible at SD and only barely visible at HD, but the effect is staggering!
On faces that were very smooth we can now see the occasional wrinkle, laugh lines appear, it’s really cool J
So, would I shoot RED again? Like a shot J
Cheers Geoff Boyle DP, EU based