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When Fujifilm approached us to design a photograph and video shoot the use of their latest, flagship large-format digicam, we made up our minds to create a sequence of situations that might problem each the digicam’s features and our ingenious group. We designed a complete day shoot referred to as “Poetry in Movement”, capturing footage and video with the all-new Fujifilm GFX100 II.
We’ve been Fujifilm shooters for the reason that inception of the GFX sequence and feature used those cameras to shoot difficult campaigns on each and every continent on earth. The raison d’être of the GFX sequence has very good symbol high quality. Pace, autofocus and video capability had been ok at easiest, frequently requiring workarounds within the pursuit of complicated captures. The most recent iteration of the GFX sequence promised a basic recalibration of capability, with AI-powered autofocus, broadcast high quality internally recorded video (and exterior RAW recording), and velocity will increase throughout each and every metric.
Along with the capability check, this undertaking required us to provide hero pictures for the GFX100 II business liberate and a video that proved the real-world capability of the 4K/60p, 8K/30p film mode. We made up our minds to shoot 3 skilled ballet dancers throughout a series of situations, from in-studio, to outdoor, at evening and within the rain.
Let there be gentle.
We elected to make use of consistent lights for all of the shoot permitting speedy switching between photograph and video sequences with minimum set adjustments. We hired 3 x ROTOLIGHT AEOS PRO 2 lighting fixtures, each and every with an digital good softbox that permits minute keep an eye on of sunshine focal point and dispersion. Those extremely cellular battery-powered lighting fixtures equipped virtually endless colours and flicker-free video. The merit with those consistent lighting fixtures (as an alternative of strobes) is the actual “what you spot if what you get” impact, with the preview on display, precisely matching the captured photograph.
Some of the joys of this Rotolight machine is mobility. Even supposing we began with lighting fixtures in fastened positions on C-stands, we switched to hand-holding the lighting fixtures for speedy and dynamic repositioning that yielded wonderful effects – particularly in video.
Small however mighty
One of the crucial video sequences required shifting the digicam on tracks. The GFX100 II is so small and lightweight that we elected to make use of the ultra-light “Legends Mike” Tripod Package with Levelling Base & AirHed Cine carbon fibre tripod machine from British producer 3 Legged Factor. That is the setup we’ll use for hybrid video capturing in faraway places, the place minimizing weight is important.
Exterior RAW recording
Hooked up to the tripod and hooked up to the digicam by the use of complete measurement HDMI was once the Blackmagic Video Help 7″ 12G HDR track. This ultra-bright unit allowed us to display seize from the digicam for the behind-the-scenes video and report 12bit B-RAW video information.
Quickest Media
Integral to the GFX100 II new video inner seize capability, and the buffer-free 8FPS photograph mode, is the improve to CFexpress Kind B playing cards. The power to put in writing high-speed, vast information to the similar media utilized by the sector’s easiest cinema cameras is integral to this digicam’s efficiency.
We used the most recent 2TB AV Professional CFexpress from Angelbird with a blazing-fast 1785MB/s learn/write capability. Years in the past, we misplaced essential information on a faraway island shoot because of card failure. That’s a painful manner to be told why you will have to put money into high quality media.
From elegant to surreal
We began the shoot on a continuing cyclorama background in-studio, shifting to a extra business phase with vast home windows offering sturdy backlight. Because of a haze system and slow-motion capturing (4K/60p), the dancers seemed dreamlike with streaming gentle rays and fluid motion.
We used the FUJINON GF120mmF4 R LM OIS WR Macro lens for a closeup of a dancer’s eyes to create an influence transition to the overall scene – at evening within the rain. This required a hearth truck with a unique nozzle and way to degree rain, illuminated via two of the Rotolights situated in the back of the dancers, flaring at once into the digicam. We use colour to create separation and distinction, making use of inexperienced/teal backlighting and unmarried nude/impartial key gentle to the topic.
There are plans, then there may be fact.
We knew this ultimate series could be difficult. It was once very chilly, and the water was once freezing. We deliberate for roughly an hour, however after five or six mins, it was once transparent that our dancers could be risking hypothermia. We impulsively moved between footage and video sequences at midnight, chilly, managed chaos.
The digicam captured those sequences with an exquisite honesty that contrasted closely with the studio photographs. The magic, then again, is within the RAW symbol information. With the loss of time to make changes, the unfold of the rain and the wish to stay the lighting fixtures dry, the photographs had been 4 to five stops underexposed. If shot on any other digicam machine, we’d have discarded the information. The GFX100 II, armed with the most recent CMOS II sensor, allowed for the very best restoration of those underexposed photographs, generating the most productive pictures of the day and the marketing campaign hero symbol for Fujifilm.
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