This article was originally published in If Magazine #145 (Feb - March 2012). The third series of Offspring is currently screening on Ten.
The Red Epic has quickly gained a stronghold among big-budget 3D feature films: highly-anticipated features such Peter Jackson.s The Hobbit trilogy, Ridley Scott.s Prometheus and Bryan Singer.s Jack the Giant Killer among them.
But the appeal of the camera.s small size, 3D capabilities and increased resolution has not been limited to the big end of town. Popular local drama Offspring is the first local TV series to add an Epic to its Red-dominated camera lineup.
Cinematographer John Brawley says the camera size . which is less than half that of the Red Mx . and its ability to shoot at 300 frames per second was part of the appeal.
.Offspring has a kind of chaotic style in terms of its coverage approach and that just gives us more...
The Red Epic has quickly gained a stronghold among big-budget 3D feature films: highly-anticipated features such Peter Jackson.s The Hobbit trilogy, Ridley Scott.s Prometheus and Bryan Singer.s Jack the Giant Killer among them.
But the appeal of the camera.s small size, 3D capabilities and increased resolution has not been limited to the big end of town. Popular local drama Offspring is the first local TV series to add an Epic to its Red-dominated camera lineup.
Cinematographer John Brawley says the camera size . which is less than half that of the Red Mx . and its ability to shoot at 300 frames per second was part of the appeal.
.Offspring has a kind of chaotic style in terms of its coverage approach and that just gives us more...
- 6/19/2012
- by Brendan Swift
- IF.com.au
Writer/director Kate Dennis and Dop John Brawley shot six shorts with six available light locations on six different cameras. Ross Mitchell, post-production manager at Deluxe helped them in this adventure. This is their story.
John Brawley: Kate and I were working together on the first series of Offspring. We had some night exteriors to shoot in the backstreets of Fitzroy, and we were both amazed at how bright the street lighting looked when shooting the Red Mx camera using fast prime lenses. Kate has a film in development and she was concerned about how to shoot on the streets of Paris using only existing or available light. In the context of a wider discussion I’d been having with her about the differences between both film and digital acquisition, I thought it would be really interesting to test them all.
Kate Dennis: Being ex-camera department, I had...
John Brawley: Kate and I were working together on the first series of Offspring. We had some night exteriors to shoot in the backstreets of Fitzroy, and we were both amazed at how bright the street lighting looked when shooting the Red Mx camera using fast prime lenses. Kate has a film in development and she was concerned about how to shoot on the streets of Paris using only existing or available light. In the context of a wider discussion I’d been having with her about the differences between both film and digital acquisition, I thought it would be really interesting to test them all.
Kate Dennis: Being ex-camera department, I had...
- 6/29/2011
- by Colin Delaney
- Encore Magazine
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