Filming Food and Freelancing with the URSA Mini Pro G2

Filming for restaurants and chefs is definitely one of my areas of interest, especially the stories behind the establishments and people as it’s a great way to meet passionate, creative teams who are dedicated to their craft. I’m inspired by shows like Chef’s Table that really take it to the next level in terms of storytelling and cinematography. Here is a great article on a behind the scenes look at Chef’s Table if you want to find out more about what kit and techniques they use, it’s amazing what they do and it always makes me hungry.

I try my best to emulate the kind of shots on shows like this for my own projects such as The Taste Plug and also projects for paying clients. I recently had the opportunity of working with one of Gloucestershire’s top restaurants - Tonis Kitchen through a lifestyle magazine I work with called So Glos.

A frame from the URSA Mini pro G2 of Toni’s Kitchen pasta with truffles. All G2 shots are with the Sigma Art 18-35mm 1.8

A frame from the URSA Mini pro G2 of Toni’s Kitchen pasta with truffles. All G2 shots are with the Sigma Art 18-35mm 1.8

I saw this as a great opportunity to use my recent addition to my arsenal of kit - the URSA Mini Pro G2. The ability to shoot in raw, the beautiful colour science, 4.6K resolution and high frame rates all lends itself to shooting food.

I chose to shoot in Blackmagic Raw at a compression rate of 5:1 as this offers a nice balance between high bit rates and manageable (ish) file sizes. I shot to this Sandisk SSD via the USB port and I can vouch for its speed. It hasn’t let me down and has so far been excellent.

For this shoot I was lone working but the restaurant was closed so I could take my time to light shots. I used a combination of available light through the windows of the kitchen / restaurant where I could plus some pretty cheap LED battery powered lights with softbox diffusers to at least take away the harshness and create some soft light.

I have very recently ordered the new Aputure 300d ii with Light Dome II in order to up my lighting game and get more creative to make the step up to more professional lighting and looks. Having the URSA G2 and this lighting setup should be an amazing combination so watch this space!

Freshly made pasta being made on site.

Freshly made pasta being made on site.

Even with the fairly weak LED lights I had access to the images the URSA created blew me away. I even played some of the clips back to Jason aka Toni the client / chef on site (something I rarely do as I find its better to wait until the footage is properly graded etc before it has client eyes on it). He was just as excited as I was by the kind of content we were getting and it was a rewarding and fun shoot.

Now is probably the right time to show you the finished video so you can see the shots for yourselves. Its not perfect and there are some minor things I would change but generally I am pretty happy with how it turned out. I had the idea to record a voiceover in Italian to show the authentic roots Toni’s kitchen has to family and tradition in Italy. I wrote the script (in English) and then we even rang the chef’s father in Italy to get some feedback on pronunciation. It was a lot of fun.

There are some things to note when shooting with the URSA G2, they are fairly obvious but bare with me until I eventually come to a overall point I feel is worth making;

  • It is much harder work carrying around a heavy cinema camera (as opposed to a A7sii) most of the time I have both these cameras on me for options plus lenses so its double the kit

  • Lighting scenes means even more kit, more time needed to setup and greater care than just pointing and shooting

  • The file sizes will lead to greater costs and time spent backing up projects and keeping them safe for clients -you need a professional storage system and workflow.

There are actually a few shots that I didn’t use the G2 for and these are the timelapses when the video kind of ramps up a bit with the music change and the really close macro shots in the 2nd half of the video. I actually had to push for a second shoot in order to get these shots (plus a few others like the BBQ) as I felt it was missing something and I’m glad there was the trust and enthusiasm from the people I was working for to take it to that next level. Here are the timelapse plates shots that were made with the a7sii on a Crane 2 gimbal attached to a tripod.

Here is a Behind the Scenes look at that setup, it’s just not possible to mount G2 on a gimbal like this and the a7sii is a great addition to the G2 on shoots like this.

Here are a few of my favorite frames from the G2:

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So to conclude a somewhat rambling post - shooting food with G2 is fun and it can look absolutely stunning in my opinion. The bit depth and bit rate plus flexibility in post with Raw is amazing to produce natural looking food shots.

I think you have to be passionate about your work if you use this camera. Some of the things I’ve said about shot lists, lighting, post workflow will already be a given for some seasoned pros and I get that but for me these are things I’ve started to have the budgets and clients for only in the last year or two.

This project was fun and rewarding and the G2 was an integral part of making this project a success.

Thanks for reading.

Barney

3 Weeks with the Blackmagic URSA Mini Pro G2

By now everyone knows what the G2 is capable of specs wise and there is sure to be full review videos with tests either out there already or coming soon. For full specs and technical info you can check out the manual which is really handy for buying the extra bits of equipment needed such as the officially recommended ssd drives.

What I wanted to do with this post was give people an insight into what I’ve been shooting with this camera in the 3/4 weeks since picking it up. That way other videographers and small production teams can see what it’s like on actual jobs and read this alongside the more technical studio test videos. 

Shoot 1: Saracen Horse Feeds

The first job I shot on the G2 was a corporate styled video for a company that manufactures and sells horse feed. They are based in Surrey but ship orders worldwide. It was a really interesting shoot seeing the production line and a lot to cover in one day. I used the G2 handheld alongside 2 x Sony A7sii cameras with one mounted on a gimbal and one just shooting timelapses. 

There were a few deliverables for this and the videos had to be edited and signed off within two days of the shoot so it could coincide with a new business announcement in the Middle East. if you’re not into horse feed I doubt you will watch much of this past 30 seconds but here it is…. :-)

I edited this project in Davinci Resolve because I shot everything on the G2 in Blackmagic Raw and Resolve is the only editor that handles this file type. Because of the quick turnaround I didn’t have loads of time to spend on the colour grading but I absolutely loved learning and using Resolve. The client was really happy with the edits so I was happy too. 

The standout shots for me from the G2 are these frames, it looks super clean and detailed. I shot mainly in Braw 8:1 at 4K 50 and 100fps along with 1080 300fps for a few bits. The interviews I shot at 4K 25fps and used 2 x LED panels to light the subjects in the warehouse. The lens I am using on the Ursa at the moment is the Sigma Art 18-35 1.8 and I recorded everything via USB C to this SSD drive.  I don’t love having to mount the ssd drive onto the VLock battery but it works and is fine for now.

What I learnt from this shoot:

  • The G2 is heavy, especially with this V lock battery i use which will run the camera all day with no worries. 

  • It was solid to work with, there were no technical problems which is good for a new Blackmagic release :-)

  • The file sizes are big. Like really big. I shot around 350gb in raw and around 30gb on the Sony cameras. This is worth keeping in mind as this much data every shoot can rack up costs for backing up footage. I’ve invested in a bay RAID setup so I can just keep buying new drives for this and storing the old ones away rather than keep buying standalone external drives. 

  • Resolve is excellent to edit with even though I only scratched the surface. It is more powerful and allows more control over colour grading and FX than fcpx. 

Shoot 2: Stranger Things, Margate

The next job I shot was a few days later in Margate to capture some promotional content of an activation by Stranger Things / Netflix at a theme park called Dreamland. On paper this sounds like really cool #content and as a big fan of Stranger Things it was fun to work on this.

I was asked to shoot and transfer the footage on the day to the client via hard drive as we weren’t required to do any edits. Because of this I opted to shoot in Pro-Res on the G2 as a way to keep file sizes down and provide the editor with a file type that was easy to work with and accepted by all editing suites. Also the client wanted everything shot in 4K so having the G2 for this came in really handy for shooting higher frame rates and offering more creativity than being stuck at 4K 25fps on the Sonys. 

I also took an A7sii on a gimbal with me as I thought some gimbal shots would offer some production value and complement the hand held look of the G2. 

The theme was based around the now pretty iconic ‘Scoops Ahoy’ in Stranger things and the event attracted a lot of fans, Dreamland was also a really cool place to shoot. There isn’t a video edit for this but here are some frames from the G2 to give a feel for what it looked like. It was a really overcast bright grey sky but dull on the ground so exposing for this was hard but that’s the UK for you! 

What I learnt from this shoot 

  • The G2 has a good nice dynamic range for challenging scenes like an overcast sky

  • The G2 screen is only OK for monitoring shots outdoors (it supports loading on LUTs and false colour) but I do need to get a Small HD sdi version soon (I have a small HD Focus HDMI version but the G2 doesn’t not have HDMI out) 

  • The pro res files are still big but not as big as raw

Shoot 3 

The next shoot I did was for a personal project called The Taste Plug which is a food review show I do with a friend on Facebook. We go round eating food and filming for fun and free stuff basically. For this episode we went to a Kebab van in Gloucester because that’s just how we roll. 

I shot this entirely on the G2 and recorded the sound straight into the XLR input using a jack convertor and the wireless Rode Radio Lav setup. 

Food is something that I love to capture and I liked how natural the G2 colour science made the food look even if it was kebab meat. Again I didn’t spend ages colour grading this because we needed to get some content out there in a hurry.

It was nice to shoot without needing a second camera and not have to worry about bringing tons of kit. I didn’t use any lights so this was a run and gun setup which shows that the G2 can be used like this. 

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I filmed the cooking shots at 300fps and it produced a bad flicker because of the van light at this frame rate. It’s something to keep your eye on for sure if you’re using high frame rates. Thankfully Resolve has an incredible ‘Deflicker’ plugin and I have to say that this alone makes me kind of love this program. It is incredible.

What I learnt from this shoot  

  • The Taste Plug episodes normally take around 2 hours to film and produce roughly about 30 gigs of data on a Sony. This episode on the G2 produced around 350 gig, I shot mainly in Raw 8:1. It’s just a fact that shooting in raw is going to produce big files. I’m still getting used to this fact which is probably why I’m repeating this point! If like me you are used to shooting on consumer cameras it is a bit mind blowing making the step up to cinema.

  • Shooting in Raw in a run and gun situation is actually great for flexibility in post production. I’ve come accustomed to having to nail exposure bang on when using 8 bit 420 files on the A7Sii but there was one shot in particular that just wouldn’t have been possible had i not had raw flexibility in post. 

    This shot I have tracked and masked the window then bought the ISO up so that the exposure in this darker part of the scene is recovered and balances with the much brighter outside of the van. On a paid job this kind of flexibility can be worth a lot if it saves a shot that would be unusable. Again Blackmagic Raw with Resolve is amazing and there is literally no way of doing stuff like this in FCPX. 

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Shoot 4: MAN Truck and Bus 

I’d say MAN are one of my biggest clients that I work for directly with no agencies in the middle. They are a multi national company with a big social media following as you would expect. They need polished, clean content to appeal to their customers in the haulage industry and the work I do for them is always a challenge that I enjoy as they have high standards.


For this job I had to shoot an interview with one of their clients in Avonmouth, Bristol with a presenter who is a known figure in the truck world. I miked both of them up with Lav mics and recorded the sound into a Zoom H4N. I could have went straight into the Blackmagic as it has 2 x XLR inputs but because I needed to move around with a different handheld camera I wouldn’t have been able to monitor sound at all times which is obviously key in these types of interview videos. 


The widest interview shot is from the URSA and I was really pleased with how the dynamic range and flexibility in post helped me balance the sky and the shadows created by the trucks.

This was a really challenging shoot in that the yard was busy with lots of trucks doing deliveries and loading so sound was hard to manage. Also because of it being a cloudy day I had to carefully monitor the exposure on all 3 cameras when the sun came in and out. Shooting in raw gave me peace of mind that I could recover highlights if there were any moments where it was close to clipping. 

Most of the cutaways are from the URSA with a few gimbal shots thrown in from the Sony too. The client loved the slow-motion driver shots as it just adds a level of cinematic quality which is something I try to add into my corporate work wherever possible. 

What I learnt from this shoot   

  • I should have booked a second person to work with me on this as I was running around like a mad man organising 3 angles and 2 audio tracks!

  • Having the option of shooting 300fps really came in handy when shooting the driver as it was very bumpy. Even at 120fps it just didn’t look smooth enough and was jarring because of the camera shake so the G2 was great for this. 

  • Matching multicam interview shots from different cameras is always pretty hard to do but Resolve has some great features for this

  • Because of the ever changing light levels it was nice to use the built in ND filters on the G2 for when it got super bright. It has changed the way I expose shots and it’s just a better way of doing things than using screw on lens NDs.

  • I try to keep my ISO at the native 800 even though ISO is just metadata when shooting raw because at least then I can bring it down or up in post if I need to. It makes no sense to me to keep iso low and expose at 200 ISO in camera as it leaves no head room to change. I’d like to know other people’s approach to ISO when shooting raw… 

To Conclude…

So there you have it, ramblings from a videographer who has been using the G2 on real jobs. I hope people who do similar work can learn from this info. Would I recommend the G2? Yes. Should you sell your Sony a7sii? No. You need both in my opinion. Having multiple camera shots and the option of using gimbal is a must.

As you can tell I have liked using the G2 a lot and I’m impressed with the overall look and colour. I’ve shot more jobs with the camera and plan to do separate blog posts about these too.

One of the jobs for a restaurant/lifestyle magazine is possibly my best looking work to date. I took the time to light scenes so it really shows off the G2 cinematic look a little better than this corporate work. Here is a quick selection of frames from that but i plan on doing a full post on this when it’s done and I’m excited to share it.

I also plan to upload some Blackmagic Raw and pro Res clips for people to download and have a play with, let me know if you would find this useful and get in touch if you have any specific questions

Thanks 

Barney 

SLR Magic 35mm F1.2 Sony FE Review

This isn’t really a lens review in the traditional sense in that I want to tell people why I like using this lens as a videographer, talk about what I use it for and share some of the different shots I have taken with it without getting too technical.

SLR Magic 35mm Cine upclose with the Samyang 100mm Macro, a7sii

SLR Magic 35mm Cine upclose with the Samyang 100mm Macro, a7sii

If you want a really in-depth review check out this one by Phillip Reeve where he talks about the lens from the point of view of a photographer. He gets super techy about a lot of things with charts and examples and that’s handy, especially for photographers.

For videographers trying to create a cinematic look to their work we are a bit less concerned about cropping right into images and more interested in how the footage looks generally, how it feels to use, plus how the lens fits in to our current workflow when shooting.

I use this lens an awful lot now and its not perfect but I still love it. Like any good relationship we work through our issues together…. Its pretty much my go to everyday lens now and I realised this last week when packing for a quick holiday, out of all my other lenses (probably getting on for 15-ish) this is the one I chose as my trip companion along with the A7sii. Above all this lens is fun to use and lets me be creative.

Use with a Gimbal

This lens fits in nicely with my current setup of an A7sii, Zhiyun Crane 2, Mechanical Follow Focus as it has follow focus grooves built into the lens. I also own the SLR Magic 25mm and 75mm from the same family of lenses and this makes life easier when changing lens on the gimbal as they are all the same size and roughly the same weight.

The mechanical follow focus allows me to manually focus this lens whilst the camera is on a Gimbal

The mechanical follow focus allows me to manually focus this lens whilst the camera is on a Gimbal

The inbuilt focus gears on the lens are really sturdy,

The inbuilt focus gears on the lens are really sturdy,

The Magic Set - 25mm, 75mm and 35mm.

The Magic Set - 25mm, 75mm and 35mm.

Many clients like cinematic moving shots so being able to manually focus whilst still moving on the gimbal means more in-focus shots and more room for creativity such as pulling focus whilst moving.

Light Flares

Light flares are seen by some as a hindrance, but I think they can be beautiful and this lens creates some really unusual and abstract looks when filming on sunny days. It can be a bit too much for some people but as long as it adds to the story then a flare can be a cool look. Or rather a warm look… or… yeah.

The sun on a boat in Spain created a dreamy, nostalgic feel.

The sun on a boat in Spain created a dreamy, nostalgic feel.

On a shoot for Wholly Cow Gelato this lens created some nice moments in the winter sun.

On a shoot for Wholly Cow Gelato this lens created some nice moments in the winter sun.

Depth of Field

This lens is a bit of a depth of field king with its F1.2 aperture allowing me to get really creative with out of focus backgrounds and foregrounds. Before this lens I was using a Zeiss 24-70 zoom lens with a constant aperture of F4 and going to F1.2 opened up (lol) a new creative way of shooting things. This lens doesn’t have autofocus so manually focusing at 1.2 can be dangerous but fun and if you nail it the results are amazing.

I shot this image of a tree in Spain last week at F1.2 and the out of focus Bokeh is crazy.

I shot this image of a tree in Spain last week at F1.2 and the out of focus Bokeh is crazy.

F 1.2…. Foreground blur too.

F 1.2…. Foreground blur too.

Lanscapes

I like to travel a lot but I don’t like paying for hold luggage obvs. So if it’s just a quick 3-4 day holiday its important to take minimal kit with me and this often means just one lens in with my cabin bag. Shooting landscapes is something I love to do when exploring a new place so I can send to friends and family, Focusing to infinity is easy and this lens is sharp but doesn’t have a digital look at all, its pretty abstract..

España shot at F16

España shot at F16

The Rock of Gibraltar at F16

The Rock of Gibraltar at F16

What do you call a man with a seagull on his head?

What do you call a man with a seagull on his head?

Conclusion

So there we are then. A non technical review of a nice little cine lens i quite like using for work and travel /side projects. Its lightweight, creates some beautiful and quirky images plus it feels like it’s designed for use on a gimbal.

I don’t like how long it takes to pull focus on this lens…It feels like a long time in between minimum focus distance and infinity and makes it sometimes impractical to pull from foreground to background or opposite, its annoying and i only have one wrist. I also don’t like how the image ‘breathes’ when focusing between points…this is also annoying.

Apart from these points this lens is fun to use and like I said i love it. If you have any further questions just give me a shout and I’d be happy to help.

Thanks,

Barney aka Fluxx

The Taste Plug

In October we launched a new adventure into the world of food by creating a show called The Taste Plug. We wanted to create fun, presenter led content that helps promote great businesses whilst also letting people know where is good to eat.

One of the best things about creating The Taste Plug has been meeting small, independent businesses ‘off the beaten track’ around Gloucestershire such as Wholly Cow Gelato.

We’ve now produced 14 episodes for social media and have loved every second. You can see more episodes either on the facebook page or on the instagram page

The episodes are presented by kishi d'allebone who has had years of experience in the worlds of music, theatre and film making, he brings the good times wherever he goes and it has been amazing working with him.

We’ve made some great friends and contacts along the way, including masterchef contestants and award winning chefs. Keep a look out for the next episodes dropping weekly.

IBC, Amsterdam

We have just got back from the International Broadcasting Convention in Amsterdam where we had an amazing time getting our hands on some brand new releases, learning about emerging cutting edge video techniques and exploring the beautiful city.

Check out our video highlights edit for a taste of what we got up to!

Top 3 Highlights

  1. Atomos Ninja V

The Atomos Ninja V

The Atomos Ninja V

The impressive specs for this bit of equipment are already out there but seeing it in the flesh was great to get a real feel for the monitor. The build quality was really nice, it feels sturdy when compared to the Small HD Focus and the hdmi input seemed to make a strong connection with the lead.

It was nice and bright even in the well-lit IBC conference environment, plus it was really easy to use and responsive (things that are to be expected from Atomos!)

2. Kinefinity Mavo LF

The full frame Mavo by Kinefinity is a much sought after camera, virtually impossible to get hold of at the moment so it was a great opportunity to use it and see what it was actually like.

The Mavo is actually pretty light and for a full frame cine camera with these kind of specs and would be OK on a gimbal such as the Crane 2.

We are seriously considering investing into this camera. The next step will be to rent one for a week and really get to grips with it in the field but the image quality looked amazing and the resolution and frame rates make it a really creative tool.

3. Using an Arri Steadicam

Using an Arri steadicam was something we’ve been wanting to do for a long time. We have been using gimbals since we had the old Glidecam style weighted ones (back in the day!) and then moved into the electronic gimbal era with Ronins and Zhiyun's being the gimbals of choice.

The electronic Gimbals are great, they are a major tool in what we do but to experience the quality of around £40,000 worth of Arri kit was a taste of how hollywood films are made and it was really fun.

See you next year

We are already looking forward to IBC next year and if schedules allow we will be back to keep up with the cutting edge of video production. We feel its important to be inspired and passionate enough about what you do to travel, see new things and learn in order to progress. Big thanks to everyone we met along the way too! See some more pics from IBC and the city below :-)


What is a Hyper-lapse?

We thought it would be really handy for you guys to know what a hyperlapse is and what they can be used for.

Hyperlapses can be beautiful, interesting and exciting to watch, all at once. We really enjoy creating them for our amazing clients and sometimes just for fun in our own personal projects.

This will be just a short post and is not a 'how to' but if you want to find out more just drop us an email and Barney will talk to you all day about the subject! 

So as you can see from the example there a hyperlapse is essentially a moving timelapse and the key to a successful hyperlapse is how smooth the movement is. If the move is shaky or wobbly it can be off putting for the viewer and ruins the cool effect it is trying to create. 

They can really show how busy a place or event is and can be more interesting to watch than a static timelapse. The one above was shot at Cardiff Bay for a cool Volvo event and was a really nice introduction to the video as it grabbed attention. This is so important on social media where attention spans are dwindling and content can be lost amongst the masses of posts. 

Hyperlapses are fairly tricky to pull off but the results can be fantastic and in our opinion certainly worth the effort. 

Buildings and architecture can be a great application for a hyperlapse. They can add drama to an otherwise ordinary scene and possibly intrigue people to pay a visit to the subject place themselves. 

So, there you go. In a nutshell (with a few of our own examples thrown in to the nutshell) is what a hyperlapse is. Please feel free to use this information in pub quizzes from now on. 

Fluxx Films

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When I say Cine, you say Lens

We recently got our hands on some beautiful Zeiss, PL mount cine lenses and the results were worth a little blog post we think! 

On the shoot we had to use plenty of high quality ND filters as it was a really sunny day and the brief we were given wanted a shallow, cinematic depth of field to the shots.  

35mm, Aperture at T1.5

These lenses use the cinema standard T (Transmission) stops instead of F (Focal length) stops. To find out the difference between T and F watch this interesting video from Youtuber Wolfcrow

The out of focus 'Bokeh' is amazing

The out of focus 'Bokeh' is amazing

Shooting wide open at T1.5 created a stunning 'Bokeh' to the shots. The image from the lens has a certain analogue softness to it despite being shot on a digital camera - the Sony a7sii. Using these lenses created (probably) the best looking image we've seen from an a7sii.  For a really in-depth look at Bokeh check out this great article by phlearn.

Just. Wow. 35mm

Just. Wow. 35mm

The way light is interpreted by the lens creates a flattering tone to the shots that was a real joy to work with. Also the way skin tones came out looked spot on.

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Noice. Lens. Zeiss 35mm

Noice. Lens. Zeiss 35mm

To see the video footage this shoot produced check out the video. (We didn't edit this by the way)

If you would like a cinematic flare to your video then we now have our own in-house cine lenses at Fluxx Films and we love using them! They are not Zeiss PL mount but they are still super sick. See some images below from a recent shoot for a taster...

 

 

 

UK Live 2018

9 Weeks 

12 Festivals 

3066 Miles

It's been another busy and fun filled summer on the road working with Got Soul Films on UK Live's 'Let's Rock The Retro Festival', 'Sunday Sessions' and 'Penn Fest' festivals around The UK, calling at Cookham, Norwich, Bristol, Sunderland, Leeds, Scotland, Exeter, Southampton, Shrewsbury and Penn. 

View from Backstage at Let's Rock Scotland

Starting at the end of May and lasting all the way through to July the UK Live festivals make up a huge part of the Got Soul/Fluxx family. We all love music so getting to spend the weekends listening to acts like Example, Lethal Bizzle, Aswad, Sister Sledge, Kaiser Cheifs and many (many!) more is amazing. 

Aswad 

Aswad 

Capturing the atmosphere!

Capturing the atmosphere!

Sean Delahay project manages the project for Got Soul and between a combination of videographers and directors Got Soul/Fluxx cover the events with 2 videographers shooting on a variety of different kit and techniques to keep the output exciting. The ever inventive and superb videographer Matt Lesniewski even bought along his amazing helmet cam for some amazing 1st person shots on a few of the shoots! 

Matt Lesniewski's Helmet Cam invention

We try and make all the edits fun and different to what the festival had before getting us involved by creative use of transitions and a few different techniques.

Check out one of the edits from this year below to get a flavour of what the finished content looks like!

Lets Rock 2018 Norwich 

Here is to more festivals and more fun next year. 

Filming @ Lumina Learning Global Conference, Brighton

A few weeks back Barney was invited to film the Lumina Learning 3 day Global conference at The Grand in Brighton after being recommended by our good friend and client Clive Lewis from Globis . To find out more about what Lumina do check out their website here:  www.luminalearning.com

A shot of Brighton beach early in the morning from day 3, Lumina Learning

A shot of Brighton beach early in the morning from day 3, Lumina Learning

We didn't have loads of time before the conference but a few really productive group Skype calls with the Lumina team established what we needed to accomplish which was essentially 3 things 

1. To film and edit all the presentations throughout the 3 days (roughly 5/6 hours of film a day)

2. Shoot and edit promotional content to be released as a separate edit after the conference 

3. Shoot interviews as further promo content  

A Lumina splash in app

A Lumina splash in app

 

We opted to rent 2 x GH5 cameras to film the presentation content as they have no 30 minute recording limit and great battery life (2 things the Sony a7sii lacks)

Fat Lama is a brilliant resource for last minute rentals by the way. 

A frame export of Clive Lewis from one of the Panasonic GH5's, 

A frame export of Clive Lewis from one of the Panasonic GH5's, 

Frame export from one of the interviews 

Frame export from one of the interviews 

So it was a really busy 3 days! But it was also a lot of fun and Barney had great support from the in house Lumina media team Josh, Emma and Amelia (Big Thanks!) 

Lumina do conferences a bit differently and even had a 'Vibe Master' Tom Morley on site to create good vibes and lift the energy which he definitely did. At one point everyone from the conference played drums outside on Brighton beach which created some nice moments for the promo content!

Tom Morley aka 'Vibe Master'

Tom Morley aka 'Vibe Master'

We are now working on the edits for this and everything we captured turned out nicely. Lumina is a really interesting, cutting edge company and its great to be working with a global business.

Thanks to Lumina Learning for making Fluxx part of the family!

Lumina crew shot

Lumina crew shot

 

 

 

A Work in Progress; Skye Light

Firstly, Welcome to the first Fluxx Films Blog post! 

With this blog we aim to give a deeper insight into some of our projects and what we get up to, share techniques and talk about any new cool equipment we see. 

We are currently working on a really exciting project for artist Julia Christie who is based in the Isle of Skye, Scotland.

Skye Coastline 

Skye Coastline 

 

Barney and Sean were shooting in Edinburgh for the 'Let's Rock' retro festival and decided to hire a car and make the extra 5 hour journey up to Skye to shoot something for Julia as we have wanted to work with her for a while. Julia has amazing talent and her artwork has a distinct, beautiful look to it.

Kit wise we took: 

2 x Sony A7sii, 2 x Crane 2, an FS5, Atomos External Recorder and a Mavic Pro drone and some nice lenses. 

Sean with the FS5 and Atomos

Sean with the FS5 and Atomos

We wanted to tell the story of how Julia has changed her creativity since moving to Skye and how her environment has an impact on her technique and inspiration. 

Skye was absolutely amazing and Barney is now busy doing selects from the footage and building the backbone of the edit from the interview with Julia. 

Julia working on a painting

Julia working on a painting

We want the finished film to be cinematic yet simple, to draw attention to the scenery and to Julia's art work and techniques.   

More updates to follow but we are really excited with how this one is shaping up. To find out more about Julia check out; http://www.juliachristie.co.uk/ 

Juila working from her balcony

Juila working from her balcony