In the new era of advertising, people come first, and product comes second.
The Angenieux EZ 1 30-90mm T2 super35 zoom lens is one of a handful of lenses in the quickly expanding category of affordable cine-zooms. For a long time cinema zooms were always two things; heavy and expensive. In the past year or so we have seen manufacturers innovate and release a new group of lightweight cinema zooms. To name a few; Zeiss 21-100mm, Sigma 18-35mm / 50-100mm, Fujinon 18-55mm, and Canon 18-80mm. As a documentary and commercial shooter, it has been great to see this huge increase in choices at a reasonable price. I find myself taking the Angeniuex on set because of its size, its flexibility, and its performance wide open.
First and foremost, the size, weight, and handling of this lens are superb. It is well balanced and weighs in at just 4lbs. I shoot a lot of handle held work and gimbal work so weight is always a factor. Having built in focus, iris, and zoom gears is a big advantage in both keeping the lens streamlined and removing any extra weight from add on 3rd party focus gears. The EZ 1 also features rubberized grips along the lens for better control when not using a follow focus. This lens is built with the operator in mind.
In the documentary world staying flexible on set is a must. The ability to quickly go from PL to EF to E mount on set with no tools is a big deal. Pairing lenses and sensors is a big part of cinematographers job these days both from an aesthetics standpoint and a function standpoint. This lens is equally at home on an A7S wedged inside a car as it is on 35mm Arri film camera on a dolly. In addition to the lens mount, you can also change the rear optical block to go from covering just super35 to cover full frame/ vistavision. The 30-90mm or 45-135mm FF range is a great middle ground. We just wrapped a shoot last week were it was the only lens we used over 2 days. We went from studio to location and it didn't disappoint in either.
There is a certain feeling imbued into lenses by each manufacturer. A subtle difference that doesn’t come across in technical specifications but is often talked about amongst cinematographers and is unique to that manufacturer. Angenieux’s reputation is amongst the best of the industry. The EZ 1 fits in easily amongst its family members and delivers the same consistent colors and pleasing sharpness that one should expect from Angenieux. It offers a sharpness that isn't clinical but is forgiving on faces and falls of nicely.
Economics on Four Wheels
At our core, we are storytellers envious of anyone who is living a "Vanlife" or nomadic lifestyle. We have a dropbox folder dedicated for aspirational adventures, and gravitate toward stories that bring us out of our comfort zone physically and mentally. We’ve built a company that can have teams dispatched in less than 48 hours to cover an un-repeatable breaking story, and are able to maintain flexibility without losing quality on screen when a last minute location change comes up.
We can do this with the tool that we have built - the sprinter van.
We believe in the sprinter model for three reasons.
- It is often more economical for client
- We meet people and discover stories that we would have otherwise flown over
- We scratch the itch of being on the road in a van.
You may be a client or a future collaborator, so lets go into reasons 1 & 2 for this blog post, starting with a case study based on a recent production in Iowa. Below you will find a cost and time comparison of one way travel from Boston --> Iowa. Note: Airfare may be more expensive because time between job confirmation and production was 3 days, and we are assuming flights were available. Want a summary? Scroll down.
Time & Cost Comparison
Alright so the napkin math shows the sprinter being more economical, but a large portion of that is paying accumulated time for a DP to pack / unpack when departing, returning, and over the course of the shoot. That is part of the joy of the sprinter! Everything has a home, is charging while on location or in transit, and is an arms-length away, especially if you're Harvey.
You might be saying to yourself, "OK I can totally get on board with that, but driving to the Midwest is time consuming!"
You would be correct. But on the flip side, flying from Boston --> Burlington, IA would have taken about 10 hours, 4 of which I would estimate to be useful working time. Because the Sprinter is fully powered and is one giant hotspot, clients would never know we're on the road unless we tell them. Plus, our wifi is a hell of a lot more reliable than it is 35,000 feet up!
On average, we are able to save clients about 25% - 50% by taking the sprinter on location with us. Though we spend more time on the road for any given job, we are able to see the country and get B-roll along our travels to incorporate into the story or build our own content library for future projects. We are able to meet people who we wouldn't otherwise connect with and become aware of the ideals and values of people living in the Midwest and West.
Keep in mind we have only compared immediate, foreseeable expenditures in time and money. We haven't accounted for lost luggage, dead batteries, damaged equipment, and time spent dealing with these things. We hope this post has been helpful for you, and if you would like to learn more about the sprinter, or want to do some traveling yourself please email us!
Our life experiences, and resulting opinions and views, are pretty homogeneous. So while we strive to tell the stories of those who face systemic adversity, we often fall short in our ability to connect with them on a personal level. We'll do our best as journalists, listeners, interviewers, storytellers, but we won't pretend to have faced the same discrimination, insecurity, or injustices as many of the subjects of our stories.
It is my belief that strong research must exist alongside the production of goods and services. Filmmakers, especially, know that behind the pomp and circumstance of any productive shoot is a well-developed itinerary, and behind a successful rough cut is a team of driven editors. No different is what is lies behind the technology producers use in the field and in the studio; here lie the engineers, those who are willing to explore the problems of the hour, and look for answers.
From June 5, 2017 until July 27, 2017, I joined the team at Windy Films as an intern, under the supervision of Harvey Burrell. I took up the role as a developer, tackling a very specific problem that the Windy team had experienced over the last few months of shooting: their footage was too steady. Among car chase shoots, their material felt slow and bogged down, hindered by smooth camera movement. What they wanted was something that made the chase scenes feel faster, by adding action to not what was in the frame, but to the frame itself. Of course, these motions needed to be deliberate. With machinery, we had the ability to pinpoint the frame motion we desired, eliminating the human element – and likely the associated error.
I was tasked to design something functional, easy to operate, and flexible for the needs of the project. What slowly took shape was a hardware and software prototype, implemented using a basic Arduino microcontroller connected to a Freefly MōVI Pro camera stabilizer. Through written code and Freefly’s public API, we were able to take control the MOVI Pro’s gimbal motors, constantly changing their rotational velocity. This resulted in jerky pan and tilt, and visually something along the lines of a shaking camera frame.
Throughout the entire process, I found myself caught up in what it meant to do research for a small company like Windy Films, working on the development side of their team. One of the biggest problems I faced was the feeling of being so peripheral. It is hard to feel connected to the team’s core when Windy is so focused on the day the day, the what do we need right now, and how are we going to get it done. All the phone calls, all the meetings, and all the coffee cups make you wonder how you feel about being so future-focused. There is an unwavering desire to ask the question, “Where is this going? For if not today, and not tomorrow, when will this mechanism be the present, integral Windy’s day to day?”
Through my time at the studio, I have realized the importance of mindfulness when in the vicinity of these thoughts. The truth is that with research comes much failure, and a successful mechanism may not come into existence within the span of two months. As I learn to converse with failure, it becomes clearer that the success of development is ingrained within the process itself: to learn more about a piece of hardware, a programming language, to be able to communicate my thoughts more clearly, to have the means to problem solve, think critically, be creative, and work passionately. These are all successes, small and large, independent of the project’s usability, when all is said and done.
Even if this shake mechanism doesn’t make it off the tables of Studio 16, even if it proves to be unusable, research must go on. Day in, day out, we must build and break: it is this continual act that eventually takes us one step further to being a more self-sustainable company.
We are still in pursuit of the three main goals we had for the shake mechanism back in June that revolve around function, use, and flexibility. There is no doubt that accomplishing these three will take help from others. Integrating this prototype into an existing environment is our next step, making the hardware easier to interact with, and the software more direct. We want to see this motion feature in the community around us, useful to many. With any interest in the the project, we hope that you find the following links useful and informative.
For a highlight video: https://www.youtube.com/watch?v=TiPTbAjHiWw&
For documentation: https://github.com/glassb/shake-mechanism
It's all too easy for creatives to get caught on the hamster wheel, saying "yes" to too much or for the wrong reasons. As we navigate this process, we look to our friends at Oat for a model on how to determine success by our own measurements. They've taught us that in the long run, the most meaningful and effective way of creating value is actually by creating creativity. Setting time aside to focus on what's honest to yourself, creatively fulfilling and meaningful, not just what's profitable, will actually pay off in the long run.
This summer I’ve been interning with Windy Films, a small Boston-based documentary film studio. In the mornings, I fittingly take the train to the Maverick station, heading towards Wonderland, and a slew of possibilities. That’s about where the day-to-day regularity ends; I never quite know what I’ll find when I walk into Studio 16.
Hello there! Harvey here with another installment of all things gear related!
A few years ago, during the production of Endless Abilities, we purchased an underwater housing for the Canon 5D Mark II. The end of the film culminated in some very important surfing scenes and occasionally went up against some pretty serious waves as well.
It's been a lot of hard work over the past seven months.
But all of the floor grinding and repainting has paid off. Sometimes it can feel a bit demoralizing to demolish a wall, only to rebuild it again. But we're very proud of our headquarters now, and we want nothing more than to share the space with other like - minded creative professionals now. In the warmer months, the garage door is usually open, so feel free to swing by and we'll take you over to KO next door for a pie and a pint.
THANK YOU to all of our friends and family who had the patience to let us disappear for sleepless nights and weekends to make this possible.
We talk a big game about the economics of the trailer, but having only driven it as far as DC from Boston, we've yet to really put it to the test. Last time we shot in LA in October, we flew with ten tubs of equipment and rented a sprinter van, and by the time we rebuilt our gear, it was realistically a day and a half affair. So for the next shoot on the west coast, we asked ourselves, is driving anywhere really more efficient?
We get the question all the time: “What makes you different from other film production companies?” Our answer, though ever-changing as we learn from each project, always includes something that has been unique to us from the beginning- our 16’ production trailer dubbed the “Breeze Machine."
We recently decided to part ways with our beloved Canon C100 and upgraded to the C500. We found a good price on a used C500 and couldn't pass it up. I love(d) the C100. It was lightweight, simple, and just ran all day without protest. In my mind, the C100 and its younger sibling, the C100 Mark II, are some of the best value documentary cameras that money can buy.