Shown from left to right are the 15mm 2.8 Fisheye and the 100mm 2.8 Macro.

I refer to these lenses as my specialty lenses since they have limited uses and give specific looks. Both lenses offer some great advantages compared to everything else in my bag, that is the reason I use them at every wedding for specific shots. Keep reading below for a few notes about each lens and a few favorite images I took with it.

Canon EF 15mm 2.8 Fisheye If you are looking for a fun lens, a fisheye is one of the best! Due to the shape of the glass in this lens you get a huge amount of distortion which can be fun, but it isn’t flattering if used improperly.  My Canon 15mm Fisheye gives me a 180 degree field of view and allows me to focus as close as 8 inches.  With this huge field of view you really need  watch your edges to make sure your foot or other body part is entering the frame.  I mostly use my fisheye lenses for overviews of a wedding ceremony and for capturing fun images during the reception.  Every once in a while it comes in handy when shooting a fun group shot.  Check out the images below for a few examples. 

Canon EF 100mm 2.8 Macro  I mainly use my macro lens at every wedding for ring shots and occasionally getting ready shots. This lens allows me to focus as close as 12 inches (film plane to subject) so I can capture the smallest details on a wedding day. When shooting details at the minimum focus distance, the depth of field is very shallow a 2.8 so I often bump it up to 5.6 or 8 which requires more light.  Because if this, I always try to get details done early in the day using natural window light, if that isn’t possible bouncing a flash works well.   Here are a few examples of images shot with my Canon 100mm macro.

Recently “Absentia” has been picked up for North American distribution by Phase 4 Films and International distribution by Moving Pictures Film and Television.  Starting this Friday, July 1st,  “Absentia” will be available through Video On Demand on Comcast, Cablevision, Cox, & Insight in your home!  Later in 2011, or early 2012, you will be able to see “Absentia” by picking up a copy of the DVD at your local Wal-Mart, catching it on iTunes, Netflix, and many other services!  Below is the art that you should be looking for if you are trying to catch it through On Demand.

I just love the new poster for “Absentia” so much I needed to post it!  

With the way we are picking up steam and getting great reviews, I think 2011 is going to be a great year for all of us involved in the film.  Make sure you check out our latest reviews on DreadCentral.com and HeyUGuys.co.uk.  Click on the poster to see a larger version in a new window. 

It’s been 6 months since we wrapped principal photography on the psychological thriller “Absentia,” in which I made my Director of Photography debut. Below you can find some thoughts about the shooting experience, technical notes, goals for 2011, and what I learned. You will also find some stills from the film and the original teaser trailer along with the official feature film trailer. I hope you enjoy.

My Background

 I have loved watching and making movies for as long as I can remember.  Before I ever dabbled in still photography I was making short films with my parent’s video camera. I would get a bunch of my friends together and we would decide on a plot and characters and shoot a short film. I would then try to edit the film using 2 VCRs and even try adding sound effects. It was always fun, and not a bad way to spend a summer day while on vacation from school. As my friends and I got older we met less and less to shoot our fun short films but I still had that love for storytelling.

In high school I discovered still photography. I loved going into the darkroom and seeing the magic of one of my images appearing right in front of me. I still wanted to work in film/video but was having a blast taking stills.  After graduating from Towson University with a B.S. in Computer Information Systems and working in the defense industry for a couple of years, my wife, Victoria, and I packed our bags and moved from Baltimore, MD to Los Angeles, CA in October 2007 so I could pursue my love for photography and film.  Just one year later, in 2008, Canon released the revolutionary 5D Mark II which would open up the door for storytellers.   I immediately placed my order to upgrade my 12.8 megapixel Canon EOS 5D to the EOS 5D2.

A New Era 

What made the Canon 5D2 revolutionary wasn’t the ability to shoot stills at 21.1 megapixels, which is nice for my wedding clients, but the addition of a new video feature able to capture video in comparison to what you see in the theaters.  In August of 2008 Nikon introduced the first DSLR that could shoot video, just 3 weeks later Canon announced the 5D2 with a video feature.  The Nikon D90 could shoot 720p HD video at 24fps, a film like frame rate but not true HD resolution.  Even though the Canon 5D2 could shoot in true HD at 1080p, the frame rate was limited to 30fps, which isn’t ideal for film-like work.  Even with the 30fps constraint the Canon 5D2 was preferred by many budding filmmakers for it’s large sensor, which allows a super shallow depth-of-field, and it’s incredible low light capabilities.  Finally in early 2010 Canon released a firmware update to add 24fps to the Canon 5D2.   Even with the ability to shoot incredible video DSLRs are still designed to mainly be used as a still camera.

Since the introduction of the 5D2 and other subsequent DSLRs that shoot HD video many cinematographers in Hollywood have included them in their toolkit.  Their small size and low cost allow them to be placed in locations that a typical camera wouldn’t fit or could possibly be damaged.  Here is just a short list of some of the projects that DSLRs are being used on:

• House – Season 6 finale was shot completely on Canon 5D2 and every episode so far in Season 7 has used it for some footage.
• Saturday Night Live - The title sequence and many SNL Digital Shorts have been shot with Canon DSLRs
• Tiny Furniture – the award winning feature film was shot completely on the Canon 7D
• 24 – Plates for background footage in car scenes. 
• Black Swan – used Canon DSLRs for scenes shot in the subway.   

“The best camera is the one you have with you”

The above quote by Chase Jarvis is so true whether photographing a wedding or shooting a feature film.  Mike Flanagan, the writer, director, and editor of “Absentia,”  first planned to shoot his latest feature film ”Absentia” using his JVC GY-HD110U.  After doing a few tests in the planned shoot locations, which were in extremely low light, Mike called me and asked if we could test out my Canon 5D2 in the same locations.  I said “Sure!” not quite knowing what I was getting myself into but I was up for the challenge.  In April 2010 the test scenes shot with my camera quickly became the teaser trailer for ”Absentia”.  This was before Mike had even written a script.  You can view the teaser trailer, which helped raise funds on KickStarter for the feature, below.   

Landing the job

Even after the great reception we received from the teaser trailer there were still doubts, with the producers, on whether or not I was the right person for the job.  I never went to film school,  have never taken a filmmaking class, and have never worked on a feature film.  I was a still photographer; we were talking about making a film at 24 frames per second.  Also my background is in wedding photography, which is usually bright, romantic and fun; ”Absentia” is a dark and scary psychological thriller.  With 15+ years experience in photography, however, I was confident in my ability to compose shots and frames properly.  Despite their concerns, the producers, at FallBack Plan Productions, picked me to make my debut as a Director of Photography on “Absentia”.  They also provided the requested funds to make the 5D2 more usable as filmmaking machine rather than a still camera.

Overall Experience During the Shoot

Even though you may not be able to tell by the picture above, I had a blast filming “Absentia.”   I’m think I was looking down the street as someone grabbed this candid of me during one of our biggest days of filming.  We started our 15 days of principal photography on June 21st with a week of full  nights.  We would start shooting by sunset and finish at sunrise.  Being a small independent our cast and crew, many people were doing multiple jobs on set.  Everyone pulled their weight and then some; I am so proud to be part of such an amazing team.  Most days I was the DP, camera operator, focus-puller, steadicam operator, gaffer, and grip all in one, which isn’t out of the ordinary for a small budget independent film.  The days were long — I was usually away from home for 17 hours or more.  The good thing is I loved what I was doing so the time flew by.  Overall it was an amazing experience and a great start to my cinematography career.  Keep reading below for more details about filming. 

The Gear

After doing a bunch of research on the Cinema 5D forums I made a list of tools that we would need for the film that would give us the best bang for the buck.  Here are just a few items I used on the shoot:

• Since we were planning on shooting all handheld I needed a shoulder rig to steady the camera from small vibrations but still give it that handheld look.  After reading through the Gini Rig thread on the forums I ordered a rig from Korea as seen on me in the picture above.  The rig made it through the shoot and was great for multiple set-ups.  
• Along with my Canon Prime Lenses, Canon sent me the 14mm 2.8L and the 35mm 1.4L for the shoot.
• I also picked up the Shoot35 Follow Focus from the UK and some lens gears from Red Rock Micro so I could pull focus smoothly.
• The Zacuto Z-Finder 3X came in handy when we wanted to keep a low profile while guerrilla shooting.
• A bunch of HDMI cables and a few powered HDMI splitters which I then modified to run on batteries.
• 7″ LCD Monitor, batteries, and adjustable arm, which was used every day on the shoot.
• A Glidecam 2000 Pro for steadicam shots.
• 3 1′x1′ Litepanels from lensrentals.com and some gels. 

Learning Experiences

I had so many learning experiences while shooting the film, here are just a few:

• Don’t trust a cheap screen, You get what you pay for.  We had a few monitor issues during our shoot which led to footage not looking the way I had expected.  When I shoot stills on a wedding day I am great at dialing in the Kelvin temp for white balance and nailing the exposure.  I always double check the LCD on the back of the camera to make sure everything looks good before moving on.  This is a great practice and saves me a ton of time in post.   The problem was I wasn’t looking at the camera’s LCD screen hardly at all but the 7″ monitor I purchased for the shoot.  The LCD monitor I purchased for shooting could easily have its color and brightness settings changed by bumping the wrong button.  Also the color wasn’t as accurate as what I see on the back of my camera.  I would do a couple things differently on the next shoot with a DSLR.  First I would pick up a high quality portable monitor for me such as the Marshall 5″ V-LCD50-HDMI or the Marshall 7″ V-LCD70XP-HDMI and a nice quality director’s monitor and make sure they were calibrated properly.  I would also shoot a still with the camera settings I was going to use for the set-up, which would record my settings for that set-up, and  let me look at lighting, color balance, and exposure. 
• Pulling focus on the 5D2 is extremely tricky since the output over HDMI while recording is limited to 480p.  This means less pixels to see if something is in focus or not while pulling focus.  The Canon 7D and the 1 D Mark IV can output 1080p while recording making this task much easier.  That was one of my biggest gripes while shooting.
• Using an HDMI connection is great when it works.  It worked most of the time but we constantly had a loose cable or something that would make the monitors lose their signal.
• It’s best to hire a professional for the steadicam shots.  I did my best with the little experience I had but if we could brought someone else in I am sure it would have been even better.
• The low light capabilities of the 5D2 are outstanding.  All of the tunnel footage both day and night was shot without any added lights.
• I am confident in my ability to light for still images using flashes or strobes which you can’t see until you click the shutter.  I still have a great deal to learn on lighting for film and video.  At least it’s continuous so it should be easier.
• I learned a bunch of production terminology and common practices, but I still have a ton to learn.            

My Plan To Be A Better Cinematographer

First off, I just want to say this is one of my big goals for 2011.  Right now I can walk into any venue when shooting a wedding and use the given environment to create stunning images.  This ability has come from years of experience shooting stills using film and digital cameras, studying other people’s work, and practicing the right methods to get great images.  I plan on using these same practices to grow as a cinematographer in 2011.  

Currently I am working my way through some of the top books on cinematography and lighting for film.  This will help me learn terminology and basic cinematography rules so I can be more prepared and confident when I walk on a set.  Once I have a better understanding on types of shots, lighting, & camera movement, I’ll be able to better study some of my favorite films with amazing cinematography.  Since I have seen many of the Best Cinematography Oscar nominees and winners before, and own them on DVD or Blu-Ray, I’ll be watching them with a bunch of pausing and replaying of scenes to study the choices made by these master cinematographers.  I also plan to spend time reading some great  cinematography blogs and forums on the internet such as Shane Hurlbut’s Blog, and Roger Deakins Forum and watching the tutorials posted on the Vimeo Video School.  Since all of this studying means nothing unless I put it into practice, I’ll be busy practicing at home with my Canon 5D2 and gaining experience on shoots.       

How I’m A Better Photographer Now

With photography you have the option of shooting horizontal or vertical images.   Since we finished filming in July, I have shot several weddings.  I noticed a huge jump in the percentage of horizontal frames I capture.  This a great help when it comes to album design, it also means I have gotten even better at composing shots.  I am sure I continue to think and work this way it will only make me a better cinematographer and I’m positive as I continue to study and practice my cinematography I’ll become a better photographer.

Final Thoughts

I can’t thank Mike Flanagan, and the guys over at FallBack Plan Productions enough for giving me this opportunity.  I am very proud at what was accomplished on this film and I think it will be a big stepping stone for all involved, especially with the great reviews we are getting.

Yes, I still have a ton to learn.  When I look back at the first wedding I photographed I am amazed by how far I have come.  I am confident it will be the same way when I take a look at “Absentia” down the road. 

So would I do it again?  YES, in a heartbeat!!   

Please enjoy the official trailer for “Absentia” below. 

Links

Official “Absentia” website – www.absentiamovie.com – you’ll find the latest reviews and info on upcoming screenings

“Absentia” on IMDB

“Absentia” on Facebook

Here they are!

Weddings

Engagements

Shown from left to right are the 17-40mm 4.0L, 24-70mm 2.8L, and the 70-200mm 2.8L IS.

Zoom lenses offer some advantages over prime lenses. Two advantages are they are lighter, and offer more flexibility. The 3 lenses I have listed above, are essentially all you need to shoot weddings, giving you a range of 17mm (wide) to 200mm (telephoto). Any time anyone asks about what lens to buy next I always ask if they have this range covered with zoom lenses before buying primes. Zooms make it easier to move quickly and get shots by “zooming-in” when you don’t have the time or ability to get closer to get the shot. One of the disadvantages is that they are not as good for low light, compared to prime lenses, with their smaller apertures.

Keep reading below for a few notes about each lens and a few favorite images I took with it.

Canon EF 17-40mm 4.0L This is actually one of my least used lenses in my bag. I probably would use a wide angle zoom more if I had the Canon 16-35mm 2.8L which would give me another stop of light. When I do use my 17-40mm I tend to use it for group shots. Here is one of my favorites.

Canon EF 24-70mm 2.8L I have been using this lenses less and less recently. Maybe because I prefer my prime lenses, and also I let my assistant use it when I don’t need it on a wedding day. Actually many of my friends in the industry have sold this lens and no longer have it in their gear bag on a wedding day. I like to keep it as back-up for my primes, just in case. This lens comes in handy for group shots since group sizes tend to change constantly, so it is much quicker to zoom and reframe than move back and forth constantly.  Another nice feature is it’s macro capability, which is great when you are pressed for time and don’t need to use a true macro lens. 

Canon 70-200mm 2.8L IS. Out of all my L zoom lenses, this is the one I use most. This lens is my workhorse during the ceremony. I also use it at times during the reception, group shots, and shots of the bride and groom together. The IS (Image Stabilization) feature is really helpful during indoor ceremonies or low light reception halls. The zoom range is great for capturing nearly everything during the ceremony.

Here is the first of what will be several posts about the tools I typically use at a wedding and many of my film projects. I figured I would start off with my favorite lenses, my Canon L primes.

Shown from left to right are the 24mm 1.4L, 50mm 1.2L, 85mm 1.2L II, and 135mm 2.0L.

Fixed focal length lenses, or prime lenses, offer many advantages over zoom lenses. I think sharpness and a larger aperture are the biggest ones. Prime lenses are typically the sharpest lenses you can get. I shoot with my prime lenses so much that when I use one of my Canon L zoom lenses (post coming soon) the images almost look soft in comparison. The larger aperture allows me to shoot in lower light than I could with a zoom lens, it also allows me to get a shallower depth of field than I could get with a zoom.

Keep reading below for a few notes about each lens and a few favorite images I took with it.

Canon EF 24mm 1.4L Even though there are wider lenses, I think the 24L does pretty well. It gives you a nice wide view without as much distortion that you would get from a wider angle. I love using my 24L for many parts of the day. I most frequently use it while the bride is getting ready, but also for select portraits and details.

Canon EF 50mm 1.2L I most frequently use my 50L when the bride is getting ready, for select portraits, and details. The 50L focuses much fast than the 85L but I still think I prefer the compression and angle of view of the 85L compared to the 50L.

Canon EF 85mm 1.2L II The 85L is an amazing lens that requires much practice to master. The lens focuses really slow, due to the build and design used in this heavy lens yet allowing it to still stay relatively small. I tend to use my 85L most during portraits and the first dance, and details. If the room is big enough I also like to use it while the bride is getting ready. It also comes in handy in low light churches.

Canon 135mm 2.0L Honestly my 135L is one of my least used lenses in my bag. I had even considered selling it at one point. Most of the times I need to a lens longer than 85mm I am usually using my Canon 70-200 2.8L. I do love how fast the 135L focuses though, and it is nice to have the 135L in my bag as back-up for my 70-200. It was hard finding images I shot with the 135L. Here is one

I could nearly shoot a whole wedding just using the 24mm 1.4L, 50mm 1.2L, and 85mm 1.2L II. If fact if you ever see me working at a wedding or engagement shoot I probably am using one of those 3 lenses, since they are on my camera most of the day.

Stay tuned for a post about my Canon L zoom lenses.

Before I ever dabbled in still photography I was making short films with my parent’s video camera. I would get a bunch of my friends together and we would decide on a plot and characters and shoot a short film. I would then try to edit the film using 2 VCRs and even try adding sound effects. It was always fun, and not a bad way to spend a summer day while on vacation from school. As my friends and I got older we met less and less to shoot our fun short films but I still had that love for storytelling.

In high school I discovered still photography. I loved going into the darkroom and seeing the magic of one of my images appearing right in front of me. I still wanted to work in film/video but was having a blast taking stills. In 2008 Canon released the revolutionary 5D Mark II. I immediately placed my order. The 5D2 is my main body I used to photograph my clients, but it also can act as a video camera capturing film-like video in HD at 24fps. The Canon 5D2 was even used to shoot the entire season finale of House this year. Just think the camera I use to photograph my clients is being used to shoot one of the top rated shows on TV. The mediums have converged.

I am adding a new blog category “film,” which will cover my work on “American Marriage”, the new film “Absentia,” and any other new film projects. In a little more than 3 weeks we start shooting “Absentia” on my 5D2. You can see the teaser trailer below that we shot recently to help raise funding. Check out or Kickstarter page for more details about “Absentia” and some fun PSAs from the cast and crew. Little did I know at the start of 2010 I would have 2 listings for cinematographer on IMDB.

Mindy gave us some great insight about wedding industry with her many years of experience. During the interview I spent most of the time tip-toeing around her office shooting stills. I was so nervous everytime I pressed the shutter, scared that the sound would be picked up by the microphone. While I was taking photos I also got to listen in on the interview.  One thing she said really resonated with me.  She said one of the things she likes best about weddings the feelings of romance and intimacy that are evident in the couple, which in turn renews her romance to her husband.  I feel the same way: each time I come home from a wedding I can’t wait to kiss my wife.   

Here are a couple stills from the interview.

If you are a bride reading this blog, make sure you go pick up a copy of her book “The Wedding Book” on Amazon or your local bookstore.

Also go check out Mindy’s video podcast “Dress The Table with Mindy Weiss – Valentine’s Day”  about using some items picked at a local flea market for decoration.   Watching her podcast made me miss my weekly Sunday trips to the flea market we did when I was growing up.