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He adds: “The Gemini also has dual native ISO. That got us out of jail shooting the night-time exterior scenes because we could base the camera at ISO 3200 and get a better-exposed image.” A RED Komodo was also brought to the set, with the intention of using it as a B camera alongside the Gemini. “Actually, I was so impressed with its performance, I swapped the two cameras around in some scenes. For example, each scene captured from the motion control rig was done using the Komodo.” Ransom purchased the camera from CVP last year. He was one of the first in the UK to receive the compact, yet groundbreaking new camera – although extremely fortunate, it was a great reward to cap plenty of previous investment. “I’ve spent a lot of money on equipment from CVP. They definitely put me on a bit of a VIP list to get the Komodo, and I was very grateful for that,” he beams. “I’m a cinematographer that owns a lot equipment – I buy something new on an almost daily basis.” As such, he’s built a great working relationship with CVP, especially praising sales representative, Lucy.
“If I was shooting tomorrow and suddenly realised that I was short of an ND filter or needed a different battery, I would be able to give them a call and get the equipment delivered on the same day.” He adds: “They’ve got me out of trouble a few times!” Filming the heist, Ransom also brought film camera accessories he’d amassed from CVP over many years, including SmallHD monitors and an LMB-5 matte box. “I kept my Alexa Mini LF at home, though!”
The project was produced in collaboration with G6 MoCo’s Ramy Anwar, who enhanced the film’s heist narrative using motion control robots and tracking vehicles. “Our brief to each other involved utilising this gear to shoot something cool. Immediately, we brought a motorbike into the fold to get tracking shots with a stunt bike rider,” he laughs. “It’s all quite tongue-in-cheek, especially with the contra zoom and flashback sequence at the end of the film.” Ransom was supplied with a RED Gemini, which proved to be the perfect tool for the project – its colour space paired well with the Phantom, a camera the crew used to capture super slow- motion shots. “The Gemini’s dual native ISO got us out of jail shooting the night-time exterior scenes”
IMAGES On set, Ransom teamed up with G6 MoCo’s Ramy Anwar, supplementing great lighting with all manner of film gear
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