ADVERT I SEMENT FE ATURE . CVP
OUT IN THE OPEN Filmmaker Daniel John Peters studies the scene while shooting his debut feature on location
“While undertaking multiple production roles isn’t for the faint-hearted, Peters was assured that CVP had his back if anything happened to the Komodo” house, Peters was once again grateful for the Komodo. Its small stature and remote- controlled features enabled him to fit it in some cramped spaces. “I had this tiny, cute camera that could be stuck in a fridge or baby crib, and because it comes with RED Control – which has certain controls through an app – I could focus pull remotely,” he explains. with the rest of the film in his hometown of Bristol, but at almost £3000 a day, these locations were quickly vetoed, and the hospital scenes were captured in his living room. “It wasn’t good because there was very little downtime for me and my other half. When I finished, there was just a load of camera gear and tape lying around. In the end, though, it will make me better. When I do have my own crew, I’ll know exactly what it takes, and when to be easy or hard on them – which, if you don’t know, you can sometimes take advantage of.” With 70% of the film captured in his
“There was no way to get into those tight places to do it manually – any movements I made would have been visible on camera. It was an amazing tool to have.” Peters did have an older 28mm Sigma Art lens, but because the app handles new lenses much better, he upgraded to a newer version of the same glass. He initially envisioned shooting anamorphic – he’s fanatical about the look – but several tests revealed that a different route would better suit the story. He explains: “In my mind, it was always going to be anamorphic – I’d just bought two Vazen lenses for the shoot. Then I lost my mind for three weeks because the Sigma lens looked so much better. The film is a story of isolation, so I guess the spherical, full 17:9 readout of the sensor lent itself to the narrative.” SHOOTING WITH CONFIDENCE Filming took seven days to finish, with editing done the following day, and was achieved with a budget of £7000. While undertaking multiple production roles isn’t for the faint- hearted, Peters was assured that CVP had his back if anything were to happen to the Komodo – thankfully, it didn’t. “I don’t want to jinx it, but I haven’t had a single issue with the camera – I even got caught in the rain one time and still had no problems. All the same, it was definitely a comfort to know I could get in touch with Sam,” he concludes.
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