THE PROCESS WAS ALL ABOUT execution, precision and compromise ”
CHASING THE FRAME Shooting across three days, the Hwang Broz learned to let spontaneity shape their structured plans
“uncontrollable variables like location and time.” At one point, their request for a filming permit was rejected; at another, they realised that VFX would be an added and unaffordable expense. “The opening scene originally featured a character floating in the air with their feet slightly off the ground, but during production, we were far from achieving the original idea due to budget constraints,” Wang adds. “As a result, we changed the opening sequence to a fast-paced montage of the cityscape, which worked well.” “The budget constraints pushed me to think outside the box and come up with
creative compositions and movements to serve the narrative,” he adds, “all while working within our limited resources.”
Camera crew Huang shot the video on the Canon C300 Mark III, using the brand’s C70 for B roll. “They share the identical sensors but were used quite differently,” he explains, choosing the two for their ‘great dynamic range’ and ‘Dual Gain Output processing’. As for optics, Huang alternated between the Angenieux Optimo 24-290mm T2.8 and ARRI Zeiss Ultra Primes. Working
primarily with what was available, he only added a light source for scenes shot indoors. “We had an Aputure LS 600C Pro, an ARRI SkyPanel S60, a few Aputure MC panel lights and some diffusion,” he describes. Certain shots required some cinematic tricks, like slowing down and speeding up frame rates, using car rigs or doing multiple takes and then
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