Here we are again this week!!
It’s been a very exciting time for us over here at A Fat Wreck lately.
We are excited to begin gearing up production on all the orders we have received
from the Indiegogo, we have begun solidifying our interviews for Punk Rock Bowling in Las Vegas at the end of May, and we are currently getting our gear list up to par.
Rather than discuss a simple gear log, I wanted to talk a little more about our set up and
approach to our teams filmmaking process. While the type of gear is an important factor, we feel that our years of trial and error, we have gained some valuable insight into the documentary filmmaking process.
Our team started off making budget music videos for local artists in the North Texas
area. Not only limited to music videos, we began taking on bigger projects, such as short films, band tour diaries, and corporate videos. After a lengthy stint at the CW, our team member Johny Cane (who will be featured next week in our first Q&A session) brought a knowledge base from his time in broadcasting that helped us gain valuable insight in deadlines and creating content on the fly.
Leaning more towards Canon Cameras and Lenses, our pick for DSLR filmmaking is the
Canon EOS 5D Mk II. The 21.1 megapixel full frame cmos sensor is in our opinion, one of the best sensors on the market. There’s a certain look that can be achieved with this camera that is very appealing to our eyes. It just has that 5D look that we love to work with. We also enjoy shooting with a Canon T2i as well. Having the same sensor size as the Canon 7D, the T2i allows us to use a firmware update (magic lantern) that lets us take full control of the sensor as you would be able to with the 7D. It allows us to be more detailed in our shooting.
Most of our earlier interviews were shot using the Canon 2070mm f2.8 lense. Although
not the best in low light situations, with proper LED panels and lighting, this lens captures great depth of field and very accurate color detail. A fixed Canon 50mm lense is slowly becoming afavorite for Director Shaun Colón. There’s just a certain picture quality that comes with this lense, that you can just tell it was shot with a 50mm lense. As fans of anamorphic widescreen, we like to shoot with wider 28mm lense, that allows us to use certain plugins in post-production to achieve the desired anamorphic result.
While there are no standards for filmmaking, we have found that these cameras and
lenses have worked best for us; heavy duty, reliable, and they can stand up to our abuse.
Later on we’ll be diving into the audio portion of our equipment list and providing further insight into how we approach the audio aspect of filmmaking. If you have any helpful solutions for us or have your own battle stories we’d love to hear them. Feel free to contact us with any questions or stories you may have. We are always happy to gain new insight from you or if you just want to say hello with any helpful advice you may have, we’re excited to listen also.
Next week will be our first Q&A, where we’ll get a more indepth look at the process of
Director of Photography/ Film Editor Johny Cane’s work and his approach to the filmmaking process.
If you have any questions about the production, feel free to tweet us at @afatwreck We are always looking to help!
Producer/ Creative Development
A Fat Wreck
Twitter: http://twiiter.com/afatwreck @afatwreck