![]() Even with the anamorphic decision, we were able to shoot without attracting a lot of attention. In Los Angeles, we shot on Hollywood Blvd., at Runyon Canyon, and at my producer's home. We filmed at Central Park, Rockefeller Center, and on 5th Avenue in New York. The Shogun Inferno even had a view mode that let us see the image de-squeezed as we filmed. The anamorphic setup was Eric’s Iscorama anamorphic adapter, attached to some classic Canon FD lenses, which attached to my X-T3 via a X-mount to FD-mount lens adapter. ![]() A 2x anamorphic lens on the Fuji would give us a film with a final aspect ratio that was much too wide. After all, we were recording to a Super35 sized sensor (more or less). The anamorphic look of a 1.33x lens is not as extreme as a 2x anamorphic, but I liked that for this project. So I trusted him to bring the right magic to “Cup of Kindness”.Įric owns an anamorphic adapter that gives a nice 1.33 optical squeeze to the image, which I de-squeezed in post to give a final 2.35:1 aspect ratio to the film. It’s exactly what I wanted, and Eric had DP’d a few anamorphic film projects before. There’s just something magical about anamorphic: the bokeh, the oddness of how it compresses things, and of course the lens flares. He insisted on shooting our film in anamorphic format. We work together a lot, so all it took was me saying “romantic” for him to get it. When we decided to make the short, Eric asked me what kind of look I was going for. It took me 15 minutes, and I’m not the fastest LUT builder out there. I created several over- and under-exposed LUTs from that. But it was a simple enough thing to load the Fuji Eterna LUT into LUTCalc. Yes, this approach to filming with the X-T3 meant we couldn’t just slap on the official Fuji X-T3 Eterna LUT in post. ![]() So we brought this idea to the X-T3, filming in F-log and intentionally over-exposing most shots by a stop or so during production. This gives us a cleaner image when we “pull it down” in post with exposure-compensated LUTs. My DP, Eric Richardson, and I have been purposely over-exposing our Sony S-log systems ( FS7/FS5/A7SII) a stop or two in certain situations for a couple of years. Shooting in log also lets you pull some tricks to get exactly the image you want in post. What’s more, I decided to shoot the whole thing on the X-T3. It’s a very short story about family and the holidays. And rather than feeling sorry for myself I decided to make a no-budget short holiday film called “Cup of Kindness”. ![]() I was stuck with a couple of “free” days in NYC when the paid job went away. Well, the agency project got put on-hold. So I bought one for myself, intending to use it as the b-cam and timelapse camera on a project for a New York agency this past November. I was curious what this camera could actually do in a real-world, small-budget production environment. The camera’s specs sure looked great, too- 4K DCI 10bit 4:2:0 video internally, with HDMI recorders giving you 4:2:2 and up to 60p (60p at UHD, not DCI). I watched a lot of reviews of the Fujifilm X-T3 before deciding to spend my own money on it, and of course I viewed Fuji’s official big budget cinema demo film shot on the X-T3. There’s some great mirrorless camera options, but none that have really gotten me excited. So I’ve been playing with mirrorless camera options from various companies for a few years to fill that need. But sometimes you need something smaller, like when you’re stealing shots for a personal project and don’t want to attract attention. I’ve been doing the filmmaker thing for awhile now, and I’ve shot on most every cinema camera out there: RED, Arri, Sony, Panasonic, Blackmagic, you name it.
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