DP Johnny Derango captures Radio 88 with the AU-EVA1

DP Johnny Derango captures Radio 88 with the AU-EVA1

5 minutes Neil Matsumoto

Cinematographer Johnny Derango came out to Los Angeles in 2002 after graduating from Columbia College Chicago. Before turning 25, he already had a number of feature films, television shows, and commercials under his belt.

In 2016, Derango was at the SXSW Film Festival with a feature film he had shot, Small Town Crime, and while attending the festival, he attended a VariCam workshop with DP Shane Kelly (Last Flag Flying, Boyhood) and was greatly impressed. “I was gearing up to do a pilot that I was executive producing and shooting for [actor/director] James Lafferty, and I thought about using the VariCam,” says Derango. “I took the cameras out on the shoot and I had an incredible experience. It’s the least lighting I’ve ever done on a project. It was very run-and-gun, but we still wanted the aesthetic of a real show and it turned out great.

Derango became the first U.S. cinematographer to test out the new 5.7K AU-EVA1. Radio 88, which Derango both shot and produced, tells the story of a young DJ, Angie DeFozzio (Cyrina Fiallo), who communicates with her dead father, Danger Dickie DeFozzio (Jeremy Ratchford), that she plans to blow up the radio station at the conclusion of its final broadcast at midnight. On the same night, a young musician, Fontaine (Paul Holowaty), is kidnapped and held hostage in a laundromat by a bank robber (Efren Ramirez) and finds a way to escape to get his record to Defozzio before midnight.Derango shot the project using two EVA1 cameras. “With this script, I thought it would be a cool exercise for the EVA1 because the environments are so different,” explains Derango. “The radio station has a warmer look to it with fantasy elements with Angie having conversations with her deceased father. I thought it would be an interesting stylistic approach to light it moody and play with the appearance of the ghost, yet still trying to make the environment look real. There’s also a laundromat with mostly overhead fluorescent lights, and night exterior running scenes with only practical city lights. The challenge was to take all three pieces and marry them together.”
 

EVA1 on set.

For the look of the short, cinematographer Robert Richardson, ASC’s work was a key influence. “Bringing Out the Dead (1999) is a piece that I really liked as a visual reference.  While discussing the look with gaffer Mateo Gonzalez, that was the film that I went back to for developing the Danger Dickie scenes in the radio station. I researched how Richardson created his signature blown out back/top lights. He used [Tiffen] Black Pro-Mists, so I used Black Pro-Mists, which is the first time I had ever used the filters. It gave me a great effect, which helped tie into the story.”

With the EVA1, Derango captured AVC Intra 10-bit 422 Long GOP (150-Mbps) files in 4K DCI at 23.98-fps. He also captured in V-Log and monitored his footage in Rec 709.

Even though the film takes place entirely at night, Derango reveals that he did not shoot at 2,500 ISO, but instead dialed down from 2,500 to 1,600. Shooting his character running down a street lit with practical street lamps, Derango felt he had enough light, even at 1,600. “The challenge for lighting is slightly diminished because you have the ability to light with smaller units, especially for an indie production,” says Derango, on EVA1’s Dual Native ISO capability. “If I’m on a big set and I can put up condors with big lights to light a night scene that’s great. If I’m shooting a smaller indie film, and I don’t have the availability to get a condor or big lights, the fact that I can shoot at 2,500 ISO and feel good about the image while shooting under natural streetlights and getting pops here and there with a few Par cans, that’s really beneficial.

“When I was at the laundromat,” continues Derango, “I couldn’t get the camera in the space I wanted to because the space between the aisles was too tight so I had to shoot on a 14mm. After seeing the footage, I wasn’t happy with how close the camera was to our subjects and there was a bit of keystoning in the image. I went back and cheated the bench further off and took the camera way back across the laundromat. I then rated it at 800, rolled it down to 500, and shot at a T2.8-4. It really helped the scene.”

For lenses, Derango shot primarily with Zeiss Otus lenses. “I was a little skeptical about using the Otus lenses off the bat,” says Derango. “They’re still lenses and if you don’t have an AC who is technically proficient pulling focus on a still lens, it can be quite challenging. Thankfully, my incredibly talented first AC, Derek Plough, was able to pull without any issues. The glass itself is gorgeous. [Zeiss Sales Manager] Snehal Patel told me that the Otus lenses are of a similar quality to that of Master Primes. I also used a Zeiss 21-100 compact zoom, which I had never used before and it was fantastic. It was nice having a zoom, especially the first night when we shot the jogging scenes because I was able to reframe while he was running.”

Radio 88 was color graded at Technicolor in Hollywood by colorist Alexander Schwab on DaVinci Resolve 12.5. Radio 88 editor Neil Evans, who also co-produced the project, edited the native files in Adobe Premiere Pro and delivered a 4K DCI ProRes 422 HQ project to Technicolor.

Watch a behind-the-scenes video on the making of Radio 88

“Johnny really wanted a warm and vintage look for the interiors in the radio station and some of the exteriors as well,” explains Schwab. “For the laundromat, he wanted more of an even and open look, in comparison to the warmth of the radio station. For some of the night stuff, we were essentially chasing consistency and trying to make sure that all the night stuff played seamlessly and really felt like night. You can say the laundromat scenes were a lot cooler to the warm interiors without it feeling too cold. There were a lot of these aluminum fixtures in there that sort of gave it a cooler feel and he wanted those to look distinctly different.”

According to Derango, the EVA1 is like a mini VariCam, especially in terms of color. “There is something that just feels more cinematic,” he explains. “The image looks soft, but not necessarily pastel and there’s something inherently pretty about it. I can’t exactly explain it from a technical level but it’s something that I can feel when I look at it. As a DP, that’s more important to me than knowing tech specs.”

For more information on the EVA1, visit http://business.panasonic.com/AU-EVA1.html.

For more information on Johnny Derango, visit his website here. His upcoming feature, Small Town Crime, will hit theaters on January 19th, 2018.

Radio 88 Final Cut

Authors
Neil Matsumoto - Marketing Specialist, Professional Video, Panasonic North America
Matsumoto has a decade of experience in the camera industry.

Capturing Crazy Rich Asians with the VariCam Pure

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Capturing Crazy Rich Asians with the VariCam Pure

5 minutes Neil Matsumoto

Crazy Rich Asians is a romantic comedy-drama film, which is based on the best-selling novel by Kevin Kwan, and tells the story of an Asian American woman who meets her boyfriend's family, only to find out they are one of the richest families in Singapore. The Warner Bros film was directed by Jon M. Chu (Now You See Me 2, G.I. Joe: Retaliation) and features an all Asian cast, including Constance Wu, Henry Golding, Ken Jeong, Michelle Yeoh, and many others. It is the first Hollywood studio film to feature Asians in leading roles since director Wayne Wang’s 1993 film, The Joy Luck Club.

The film was shot by cinematographer Vanja Černjul, ASC, HFC (The Perfection, The Deuce, Marco Polo) with VariCam Pure cinema cameras. Černjul discovered cinematography at film school at the University of Zagreb, Croatia. After graduation, he became a cameraman for international news outlets like the BBC, CNN, and NBC during the conflict in ex-Yugoslavia. “There was no internet available to us in 1991, so we had to distribute all the footage from the location to the networks via a satellite link, which was very expensive,” explains Černjul. “There was also a great time pressure because it didn’t matter how amazing your footage was if it wasn’t delivered before deadline. That taught me a lot about in-camera editing and shooting under various conditions, always utilizing available light.”

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It was Černjul’s experience working in South East Asia where he had shot two seasons of the Netflix series Marco Polo that played a role in getting Crazy Rich Asians. During the Marco Polo shoot, he met producer Tim Coddington who got involved with Crazy Rich Asians right after production wrapped. “I fell in love with that part of the world and was looking forward to going back,” says Černjul. “Tim connected me with director Jon Chu,” explains Černjul, “and I loved Jon’s approach to the story. Jon was very passionate about the project and told me he wanted Crazy Rich Asians to be the most beautiful film he ever made. He is a visual director and I was excited by the challenge. It turned out to be one of those rare experiences that were both pleasant and fun to shoot and turned to be a successful film of cultural importance that exceeded everything we hoped for. It was not easy to make, but the camaraderie and good vibes inside our very international crew made it enjoyable.”

According to Černjul, it was essential to capture and heighten the beauty of the locations. “I knew from my previous experience that the weather in that part of Asia dramatically changes throughout the day, especially during the monsoon season,” he explains. “We ended up with 38 locations in 42 shooting days and we had to move around quickly with a large cast, who had to look their best and were dressed in amazing costumes all the time. You can imagine that the heat, humidity, and daily storms weren’t going to be helpful. Luckily, our production designer extraordinaire, Nelson Coates, found ways to protect us from rain as much as possible.”

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Chu collaborated with Černjul, as well as production and costume design, to create a visual portfolio for all the departments with specific guidelines how each part of the story should look and feel. “The color palette for New York had to be contrasted with the tropical megacity of Singapore,” reveals Černjul. “Within Singapore, there were different cultural and socio-economic environments that also needed visual distinction. I am very happy how coordinated we all were despite a very short prep. We looked at a lot of classic Hollywood romantic comedies from the genre’s heyday, specifically because we didn’t want Crazy Rich Asians to look anything like that. We wanted a timeless cinematic look for the film.”

Černjul discovered the VariCam a year before starting on Crazy Rich Asians while working on the HBO series The Deuce, which he shot with VariCam 35s. On The Deuce, Černjul was impressed with the VariCam’s performance on high ISO settings which were going to help him for the series’ low-light shooting style. “After that experience, I knew VariCam was the right tool for the challenges of Crazy Rich Asians because of its versatility and robustness, especially with the Codex VRAW2 recorder for VariCam Pure,” says Černjul. “The option of capturing the film in 4K VRAW on a sensor I trusted and knew well made this choice a no brainer.”

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Černjul captured uncompressed VRAW 4K files in anamorphic that was de-squeezed to 2:39:1 aspect ratio. He worked with his longtime collaborator D.I.T. Matt Selkirk and following advice from colleague Dado Valentic, they decided early in the preproduction to work in the ACES color space. Selkirk created a bulletproof ACES LUT that they used for the entire film. “Matt’s partner from Frame Logic Digital, Nick Kay, had some fresh experience with ACES and VariCam, and his input was very valuable since we had very little time to figure things out,” explains Černjul. “Once we had the LUT, we tested it under different ISO settings and decided that the range between 800 ISO (from 800 Base) and 2500 ISO (from 5000 base) was right for the look we were going for. I felt comfortable mixing different ISO settings from within that range even inside a single scene. It was liberating not being held hostage by light levels from practical sources.”

Working with the Pure’s VRAW flexibility, Černjul wanted to capture widescreen cinematic images and having an anamorphic feel was important. “We didn’t want to crop the image and lose the resolution, which we would have to do if we went with full 2:1 anamorphic lenses,” explains Černjul. “The only choice left was the Hawk 1.3x Anamorphic lenses. Fortunately, I had a lot of experience with those lenses and I was very comfortable working with them.”

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The film’s finale was shot in Singapore’s Gardens by the Bay, which according to Černjul, is an amazing landmark and was a privilege to work in. The entire cast was in the scene, as well as hundreds of extras in black tie and heels. Since it was a major tourist destination and pride of the city, the production was only allowed a limited amount of time to shoot at the location. For Černjul, it was important that Chu and the actors had maximum freedom to move around. They also wanted to see as much of the environment and the city behind it, so the light levels had to be low and fine-tuned – both in intensity and color.

“Our great gaffer Julian White and his best boy, Nico Kalimerakis, came up with a great solution,” says Černjul. “They mounted 12 moving lights on the catwalks between the Super Trees (iconic tree-like vertical gardens, measuring between 25 and 50 meters tall) all fully controllable via an interface on Julian’s iPad. The whole scene was shot with a combination of existing light coming from the environment and the pre-rigged moving lights. We would still be shooting that scene if they didn’t come up with this great idea. I never used moving light before, but now they are a standard part of my package.”

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The film was graded at Company 3 by colorist Stephen Nakamura. During principal photography Černjul lit the film with the ACES LUT and Selkirk applied CDL corrections to every shot. This made their color grading sessions more efficient and gave Nakamura more time to work on creative color decisions rather than fixing inconsistent looks.

Overall, Černjul was very pleased with the way Crazy Rich Asians turned out. “Besides being an important milestone on the road towards more equal representation in Hollywood, the film was received overwhelmingly positive by both audience and critics so far,” he says. “I am happy I had a chance to be a part of what is being described as not only a film, but a movement.”

Shooting By Moonlight With The VariCam 35

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Shooting By Moonlight With The VariCam 35

4 minutes Neil Matsumoto

Premiering at the 2017 Austin Film Festival where it won Best Narrative Short, Demon tells the story of a desperate man emerging from the night where he encounters a solitary shack in the middle of the desert. It is in this night setting where he discovers a dark secret that the property owner possesses on his property. The supernatural drama/thriller, directed by Caleb Slain, was shot by cinematographer Drew Dawson with the VariCam 35 camera just outside Joshua Tree National Park.

The Demon script had the setting as a desert landscape with a full moon. According to Dawson, the goal was to capture the entire film with moonlight, practicals, and minimal film lights. One of Slain and Dawson’s biggest influences for the look of Demon was the Dogme 95 filmmaking movement from the ‘90s. Created by Danish filmmakers Lars von Trier and Thomas Vinterberg, Dogme 95 was a collective where filmmakers would take a "vow of chastity" by rejecting visual effects, post modifications, or technical gimmicks. Dawson found a happy medium between Dogme 95 while still using professional production tools. “Every choice in the cinematography needs to adhere to the story and the characters,” explains Dawson. “It was a great experience for me because I learned so much about story and working with actors. I think it was just a working style that we knew was adhering well to the way we wanted to tell a story. It was just reverse engineering everything to approach a project.”

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Along with Dogme 95, another big influence for the look came from Pablo Picasso’s Blue Period. In the color grade, colorist Chad Terpstra added some green to the moonlight which was captured at 4250K in camera. According to Dawson, by shifting the moonlight to be a little greener gave them the feel as if there was a kind of sickness out there in the desert.

Dawson and Slain tested many cameras, including the Sony A7S and A7SII, before selecting the VariCam 35, which they rented out of Panavision Hollywood. During prep, Dawson did a bracketed exposure test at different ISOs to see how far he could push the image. He also took the camera out to Joshua Tree to shoot a moonlight test. “I sent the footage to Chad and he took our 12-bit 444 V-Log files and graded them in Da Vinci Resolve and sent me ProRes HQ files back,” explains Dawson. “I screened the footage on my D.I.T.’s cart and was able to figure out what settings yielded the best image, including the signal-to-noise ratio, grain structure, where was the color landing, and how Chad could massage it,” reveals Dawson. “We decided not to go with native 5000 ISO, but instead setting the camera to 5000 base and dialing down to 3200. We found that was the sweet spot for our lighting environment. Chad de-noised a little bit, but only the chroma, not the luma noise. The result is a more textured image while removing some of the dancing color snow. We left a little of that texture because we wanted to embrace a rougher image – more gritty. It was very much like film grain structure in the end, which Caleb and I both like. The VariCam can really handle these extreme lighting situations, so Chad had a good digital negative to work from.”

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For the shoot, Dawson captured AVC Intra 4K DCI (4096x2160) in 23.98 and finished the film in the 2:1 aspect ratio. “I had been playing with the idea in creating a viewing LUT,” explains Dawson, “and I was using the low-contrast curve at first, but a lot of time, I was monitoring in V-LOG because of the extreme nature of the exposure. I wanted to make sure we weren’t clipping the flames and bright headlights, but also getting enough exposure in the tow for all the shadows of the scene. After a couple of set-ups, I viewed V-LOG for the rest of the shoot. That way I could monitor the waveform and know that we had a healthy digital negative to work from later.”

For lenses, Dawson used Panavision Ultra Speed Z T1.3 lenses. He typically set the T-stop one line closed to wide open to try and pull out chromatic aberrations and some of the softness rather than shooting fully wide open. “They’re an interesting set because the Ultra Speed Z’s were the only collaboration between Zeiss and Panavision,” explains Dawson. “They were made in the ‘80s and they have some characteristics of Zeiss lenses, but also characteristics of Panavision so they’re a really interesting hybrid.”

For lighting the interior of the cabin, Dawson wanted to motivate light from above so wherever the camera was, he would retain some detail on faces. He used a single LITEGEAR LiteMat1 with ¼ CTS wrapped in bleached muslin with a lighting control grid, as well as two LITEGEAR LiteStix in the ceiling. “LiteStix are these single pixel enclosures of Lite Ribbon. I had two six inch bi-color sticks, and a one foot bi-color stick,” says Dawson. “We dialed them down to almost the lowest input they could give us.”

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For an ambitious Steadicam shot where the character walks out of the cabin and into the desert night exterior towards a truck, Dawson lit the entire sequence with a six-inch LiteStick that he placed in the interior of the truck’s dome light, as well as practical light coming from a handheld lantern, fire pit, headlights and the moon. “We could have simply turned the dome light on,” reveals Dawson, “but I decided since we had an extra stick, why not use it? The beautiful thing about LiteStix is that they’re so small. It’s hard to notice, but that stick is in the shot. When the car drives away, it reveals the great desert expanse. We were able to shoot a deep night time desert scene with a great amount of detail. These are images that we’ve never seen before in a movie.”

Demon was finished in 2.8K so they could do post zooms and re-frames. For Slain, if he saw something special in a performance, but maybe the camera was too wide, they were able to push in 10 or 15% to get the exact framing he wanted.

 

Drew Dawson

“The main attribute that I love about VariCam is the richness of the color and the ability to grade the image,” concludes Dawson. “The camera has a really unique sensor, and for me, that opens up creative avenues. For this project, it was the only camera that I could shoot and light with.”

Dawson is a 2018 ICG ECA Award Honoree and will be screening Demon at the ECA Awards on September 30, 2018, at the Directors Guild of America Theater, with additional screenings in New York (10/28), Atlanta and Chicago (11/4), as well as Cameraimage (date TBD).

For more information on VariCam 35, click through here.