Over the last week or so, I’ve been lucky enough to shoot some footage with two of Blackmagic’s pre-release cameras – the URSA Mini and Micro Cinema Camera. Some of you have already seen my URSA Mini test footage video, and today I’m releasing a tiny little short film I made for fun over the weekend with the Micro Cinema Camera.
While the Micro Cinema Camera is obviously going to be amazing for drones, gimbals, and action shots – I thought I would shoot a narrative style film with it to test it out in a more unexpected environment.
I gave myself a day and a half to come up with an idea, shoot, edit, and color. Having no budget or crew, I decided to keep the idea really simple, shoot only with natural light, not have any dialogue, and limit the locations as much as possible. Ultimately things came together well, and the small footprint of the camera made it possible to capture lots of material even while shooting guerrilla style.
The picture below is the entirety of my “rig” which essentially consisted of the camera, a magic arm, and a monitor. I had it on sticks for the majority of our shots, but also used it on a small rail system for a couple of handheld shots.
The film itself was shot on a mix of lenses, including: Tokina 11-16mm, Rokinon 24mm, Rokinon 50mm, Nikkor 50mm, Zeiss 85mm. Shooting RAW 3:1 allowed me to easily match shots from different lenses in DaVinci without having to fight against a highly compressed codec. It’s worth noting that the short was also edited in Resolve 12, and FilmConvert was used to add a final polish and some film grain.
Check out the short below.
The concept was obviously to play off of the “micro” theme as much as possible – from the micro SD card, to the fact that the lead character is metaphorically under a microscope. In the end it made for a fun little weekend project, and a nice excuse to test out the Micro Cinema Camera in a real world environment – not just shooting color charts and dynamic range tests.
I have to say I was really taken with the image quality from the camera, and enjoyed working with the S16 format. I have no trouble achieving shallow DOF with Super 16, and when working as a one man crew it’s sometimes nice to have a bit more wiggle room when pulling focus. I will be working with Super 16mm film on another shoot coming up soon, so this was a nice reminder that you don’t need full frame (or even Super 35mm) to achieve a cinematic look.
Be sure to check back soon for more videos like this, tips, reviews, and more!
Directed by Noam Kroll
Starring Rae Seistrup
Music by Andrew Seistrup – http://www.andrewseistrup.com
Produced by Noam Kroll & Jen Kroll