IN[FOCUS]

This post is a review of the Zeiss 50mm f 1.4 lens which is our most recent investment. The video above is a bit of test footage for you to see just how sharp and rich the lens is.

On my birthday, Sunday August 21, 2011, I decided to film an event as a favour for a friend of mine (a restaurant owner). It was the second annual event and the idea was simple: a pizza eating contest – held outdoors in the restaurant’s parking lot.  Takeru Kobayashi is the world record holder for eating hot-dogs and he was invited to the event last year and destroyed the competition. We made a video for that event and it was played 30,000 some odd times and was embedded on websites across the world. Pretty cool.  So it was not a problem for me to film the second annual “Let ‘em eat!” event as Kobi was returning to defend his title.

To make a long story short – the event, which was 12 minutes in duration, started at 3:00pm sharp. It was cloudy but the rain was holding off.  About 30 seconds after the contest started – it started to drip a bit. Then it started to pour. And then it basically turned into the extra-rinse-cycle on my mom’s high efficiency front loading washing machine. All within the first 3-4 minutes.  There was a 30′ x 12′ plywood backdrop on the competition stage that ripped off during the gale – it nearly blew onto the highway (aka. interstate)  which could have been a huge danger to the traffic. Here’s where this gets relevant to you fine In[Focus] readers: I decided to continue to shoot in the rain – disregarding whatever warnings I was given about filming in these conditions. I figured – hey – my Canon 5D Mark II is supposed to be weather resistant and my Canon 50mm 1.2 L series lens is designed to hold up to a bit of rain. 

Long story short: two days later – the $2300 lens was not responding. I took it to Canon Professional Service and they took one look at it and said it was destroyed.  They had this attitude in their voice like I was a bad parent.  It made me sad. If you’re at all interested in seeing the footage that came out of this  - click here.

I shared this news with my facebook friends and one of my good friends from Texas – and fellow In[Focuser] – Aaron Tharpe of 31 Films suggested that instead of replacing the 50mm f1.2 from Canon – I should purchase a 50mm f1.4 from Zeiss instead.   I was surprised by this at first – because the lens is less than half the price of my recently deceased L-Series sweetheart. But I absolutely love and respect the work those creative Longhorns are doing, and after all: You Don’t Mess With Texas. I also knew that another friend and mentor Michael Y. Wong had recently switched from Canon glass to Zeiss – so that was good enough for me!

Ok – so – the Zeiss lens came in and the first thing I noticed was the size of the lens. It was small and compact. It was built like a tank – solid metal construction. It had a good weight to it. I like a lens with some weight to it.  I quickly popped the lens on at the store and did some quick tests and immediately – I decided that this lens will do just fine. So I bought two. As my friend Aaron informed me – the Zeiss Planer T SLR lense features the exact same lens elements as the Zeiss Compact Primes (which are $4000 each to start). We haven’t missed that extra stop of light yet. (from 1.2 on the Canon to 1.4 on the Zeiss).

If you haven’t seen the video above – take a look at the footage. It’s some random footage (real wedding footage designed to show you focusing and bokeh).

Some quick reasons why I think this lens is awesome:

Price. $725 USD
Build. Lots of metal and glass – very little plastic
Image: It just looks nice
Focusing: Has a hard stop on both ends for pulling focus – unlike Canon lenses that will rotate forever and don’t give you a real idea of when you have hit your mark.

Bottom line – this lens is sweet and you should give it try.

Andrew Sorlie

Andrew and Emily Sorlie are the owners of Honey & Dear, a successful Toronto, Canada - based wedding cinematography company. They attended their first [In]Focus conference in Austin, Texas in 2010, and it radically changed the direction of their company. With the knowledge and experience they gained, the Sorlies rebranded their now-flourishing business from Sorlie Arts to Honey & Dear. Together, they have filmed more than 80 weddings all over the world including Australia, Dominican Republic, Singapore & Canada.

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In the last few years many of us have transitioned from “long form” documentary style edits, with extended sequences, to “short form” cinematic style edits which are dependent upon strong storytelling. Because we rely so heavily on capturing ( not good but) GREAT audio to make short form films, I don’t think we’ve ever seen a time in our industry’s history when proficient interview techniques have been more important. Unfortunately, much like our industry’s overall image with the general public, guest interviews have gotten a reputation as being “cheesy” over the years, and to some extent, I can understand that image. For instance, if you’ve ever been a guest at a wedding, and  some rookie videographer does what I call “jamming a cam” in your face asking you to “say something to the bride and groom,” don’t you want to run for cover?

In the spirit of the “What you need to know…” series today I want to offer you some basic advice on how to improve your interview skills. If you need inspiration or guidance on creating great wedding film stories, check out Bill Gaff’s of Human Story Films 2010 presentation from In[Focus] in Austin about finding stories, and Konrad Czystowski’s of Fresh Sox recent live stream on the In[Focus] blog about building stories. Very different filmmakers, with very different styles, but both are extremely good at getting people to share.

PEOPLE GET NERVOUS WHEN YOU POINT A CAMERA AT THEM

Here’s an objection to interviews I hear a lot – “But people are nervous when they’re on camera!” Yes most people are. One key technique is to have them look slightly off camera. What I usually do is frame my shot (using that rule of thirds), and then position myself slightly to the left or right of the camera so the interviewee isn’t looking at the lens; they’re looking at me. Let them know false starts and stumbles can be edited out. Also, using a lavaliere mic instead of a hand held mic may help some people to relax. Lavs also help you avoid “chest thumpers” and keep folks who use their hands when they talk from waving the mic all over the place.

The second thing I do is assure the person that they don’t have to think of anything to say, they just have to answer my questions. Your goal is to have conversations where you simply talk to people and they talk to you. When people are comfortable talking to someone they are more likely to relax and reveal what they know along with their personal thoughts and feelings.

The third step is to ask questions which directly involve the interviewee, not just the bride and groom. How do they know the couple? What was she like in college? The first time Sara introduced you to Cameron did YOU have an inkling this was the guy? People like to talk about themselves. Once they’re comfortably talking about themselves and their own perspectives, it’s easier to get them onto the subject you’d like to pursue on behalf of your bride and groom.

ASKING THE RIGHT QUESTIONS

While talking to people, be careful to structure your questions so that they can’t elicit a one-word response. “How do you know the bride” is really for your own reference, so you know which direction to take your interview. “You’ve been best friends since Kindergarten? Wow! Tell me what Amy was like as a little girl…” Now my maid of honor is telling me how Amy has always been the tomboy in their little group of friends. Then I talk to the mother of the bride “Chloe tells me Amy was a tomboy growing up, how did she get from tomboy to Monique Lhuillier?” Now I’ve got great audio to use underneath the bride getting ready which gives me some real insight into who she is and how she ended up in that designer dress.

Here are some guidelines:

• Don’t ask “yes” or “no” questions.
• Keep the questions brief.
• Ask one question at a time.
• Try not to interrupt.
• Don’t rush to fill the silence – your subject may not be finished speaking.
• Don’t be afraid to keep rolling a little longer on interviews. Often people will say something wonderful once their focus isn’t on answering your initial question.

GIVE YOURSELF ENOUGH TIME

We always try to adjust our shooting schedule should the opportunity arise to get some great soundbites.  Try thinking of it this way, when you see television reporters on the capitol steps trying to get some politician to make a comment on camera about a current event, does it turn out well?  Do they get a thoughtful well-structured response? Probably not, because those reporters are kind of like that wedding video guy who just jams a cam in someone’s face asking them to congratulate the bride and groom.  It’s in the reporter’s interest to set up an interview in advance. So schedule time for interviews! Rob and I prefer to schedule them for a day other than the wedding. We’re not stressed trying to fit everything in, and people are generally more relaxed and willing to talk because they’re not overcome with the hustle and bustle of the wedding day. Usually, we just tell our couples we need time to do interviews, and in the past our brides have set up things like pool parties or backyard barbecues so we can get the time we need with their family and friends.

On the actual wedding day, take advantage of the downtime –like when the bride is late coming back from the hairdresser. That’s a good time to see if you can’t scout out a spot where you could talk to the bridesmaids and her parents. Preferably without a blaring television or radio in the background!

There are so many directions you can take this once you feel comfortable with conducting interviews. I love hearing a father talk about his daughter as a little girl as part of the audio for a father/daughter dance.  Can you refute the wisdom of grandparents who have been married for 50 years when they offer advice on a happy marriage? I promise you, it’s addictive. And rewarding. And hands down, the thing our couples talk about the most when they call to thank us for their wedding film.

{To see a sample of  interviews worked into a wedding film check out David + Laura on our blog.}

Joanna Banks-Morgan

Joanna Banks-Morgan of Diva Productions has spent most of her 43 years in newsrooms or on sets. The daughter of a journalist and an actor, she was bitten by the producing bug early. She attended Cardiff University’s Journalism, Film, and Television program in Wales and started her career in 1992 with British broadcaster Westcountry Television. Before creating Diva Productions in 2007 with husband/business partner Robert Banks-Morgan, Joanna worked for CBS 42 KEYE in Austin, Texas where she also attended St. Edward’s University, graduating Summa Cum Laude with a degree in Communications.

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In part one of “What you need to know… About filming with Super 8,″ I shared advice from industry peeps on what every event filmmaker needs to know about filming with Super 8mm. In part two we took a look at what film stocks are available, what our peers favorite stocks are, and who they use and trust for processing and transfer. In part three it’s all about what you need to know when buying Super 8mm cameras.

We have a couple of Super 8mm cameras. One of them we inherited. It’s a Sankyo EM 60XL. It shoots at 18, 24, and 36 frames per second and has split glass focusing.  I’ve really loved this little camera, and when we had the first roll from it developed and transferred in 2008 I knew I was going to be hooked on filming with Super 8mm. By 2010 I realized we needed a second camera and several people recommended the Canon 814 Auto Zoom. Because we’d gotten so lucky with the passed down Sankyo, I didn’t want to tempt fate by going the eBay route, and decided we’d buy it from a respected reseller, Du-All Camera in New York. As I mentioned in the videolog in part one, we were VERY excited when the Canon arrived and took it straight out to a “Save the Date” shoot. We shot five rolls of film that day. When we had the film processed, we found that anything filmed in bright sunlight with the Canon was severely overexposed. We were shooting with Kodak EKTACHROME 100D Color Reversal Film 7285, so bright sunlight shouldn’t have been an issue. The only thing I could attribute it too was, that having grown up with SLR cameras, I felt confident adjusting the aperture manually. On our next outing with the camera, I kept the aperture on automatic. This time when we got the film back, anything filmed in bright sunlight resulted in even stranger exposure problems – it pretty much blacked out the image whenever things got to bright. Again, we were using Kodak 100D film.

To their credit, Du-All replaced the camera after we shared the footage with them. I really can’t over emphasize how important it is to shoot, develop and transfer some film before you use a new Super 8mm camera on a paid shoot. Depending on what camera you buy, it’s going to be a LEAST a couple of decades old, so even buying from a respected reseller isn’t going to be an absolute guarantee that the camera is in perfect working order. There’s a silver lining to this story, never one let good footage go to waste if it’s even barely useable, I worked some of the over exposed “Save the Date” footage into our couples’ wedding film trailer and they LOVED it.

Here’s what our peers who shoot Super 8mm on a regular basis have to say on the subject of buying cameras:

Do you have any advice on buying Super 8mm cameras?

Kat Small, Cinema Chic Productions

This is tough since you are buying used equipment.  The only thing I can say is – do your homework.  Have an idea of what make and model will work best for you, ask people in the business what they are shooting with, inquire as to what dents and dings are common. It’s critical that all parts on the camera are working because finding someone to repair these cameras is very difficult.  Most important, as with any camera, is the lens.  This must be in perfect condition.

Celia Hilton, Hilton Heads Productions

When choosing a Super 8mm camera, there are a few features which are non-negotiable.  You want a camera that accepts 64T and 100D film stock, because the film is new and the cameras are not. Look for a camera which meters light properly. Split glass focusing is a good feature, and you want a camera that offers a variety of frame rates (18, 24, 54, 1 for animation). Don’t let sound be a deciding factor because you don’t need or want it. There are literally hundreds of brands, but that should help narrow your search.

 Megan Hill, Hello Super 8

I stick with Canon and Nikon cameras. I’ve purchased cameras on eBay, Craigslist and super 8 retailers. It’s very tempting to buy cheap models off of eBay/Craigslist but you’ll be taking a risk. You never know the real condition of the cameras until you actually test them out and you could get a lemon. To be safe, it’s best pay a little more, and to go with a retailer who has quality tested cameras like Du-All Camera in NY, Super 8 Camera Shop in Germany, and Super 8 Film in Austria.

Matt Buckman, I Do Films

If you are going to buy a Super 8 camera, buy either a Canon or a Nizo.  The Canon 1014 XL-S is, in my opinion, the best Super 8 camera ever made.  You’ll notice it’s a lot heavier than most other Super 8 cameras.  It’s very well built, has a nice big lens, shoots in the various speeds I want, and has never jammed up on me.  The Canon 814 is also a great camera, just a little smaller with a few less features than the 1014.  I’m also a big fan of Nizo cameras because they are very good at auto exposure if you need it, they’re very simple to use, and they look cool.  Of the Nizo models, I recommend either the 801 or the Professional.  A good place to look for a camera is from Du-All Camera.  They have lots of models and usually refurbish the cameras.

Steve Moses, Vantage Point Productions

I have used eBay with great success. The way to avoid a bad camera is this; if it is priced really low, something is probably wrong with it. Make sure the seller is rated high and that they have a return policy. I love my Canon 814 XL-S paid $495 for it, which is about norm.  Always shoot a test roll and see the results before a paid gig.

Bryan Coward, Tampa Wonderworks Films

I have a Canon 814XLS and an 814 AutoZoom. I love them both but the XLS is my baby. I bought the XLS from Super 8 Arena in Germany and I got a great deal on it. The autozoom I bought locally off of Craigslist. I have had to send the XLS off for repair and I used Du-All Camera in New York City. They did such a fantastic job repairing the camera that is dawned on me if I would have bought it from them in the 1st place I would have saved money. They really managed to get it looking and sounding better than ever!

And we’re going to give the last word on buying a Super 8 camera to Chris P. Jones, Mason Jar Films

For some reason, and I was guilty of this too, event filmmakers inherently seem to think that it is ok to buy a Super 8 cameras off of eBay and take the risk that the camera will operate effectively.  I don’t know if there’s a worse way to get started in Super 8 filmmaking than doing this.  This is going to be a camera that you are using for professional purposes, and it’s likely to be 25+ years old.  Would you buy a video camera for a paid shoot that is 10 years old and from someone who has recently pulled it out of their closet after 5 years of it being boxed up?  Heck no you wouldn’t!

I buy from Du-All Camera, but you can also find what you need from the Super 8 Camera Shop in Germany as well as Spectra Film & Video.  You can spend as little as $300-$500 and get a solid unit. 

Summary: That’s our last post for “what you need to know… about filming with Super 8.” We hope you’ve found this sub-series on Super 8mm filming helpful! Look out for my next article in the “what you need to know” series “What you need to know about… conducting interviews.”

Joanna Banks-Morgan

Joanna Banks-Morgan of Diva Productions has spent most of her 43 years in newsrooms or on sets. The daughter of a journalist and an actor, she was bitten by the producing bug early. She attended Cardiff University’s Journalism, Film, and Television program in Wales and started her career in 1992 with British broadcaster Westcountry Television. Before creating Diva Productions in 2007 with husband/business partner Robert Banks-Morgan, Joanna worked for CBS 42 KEYE in Austin, Texas where she also attended St. Edward’s University, graduating Summa Cum Laude with a degree in Communications.

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