On the road to Vancouver to Banff – October 2018

We heard during Spring 2018 of a shoot in Banff National Park happening in the next Fall. We were invited to fly over, but with a new car coming in the summer, I decided to take few days before and…

On the road to Vancouver to Banff - October 2018

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We heard during Spring 2018 of a shoot in Banff National Park happening in the next Fall. We were invited to fly over, but with a new car coming in the summer, I decided to take few days before and after the shoot and make it a road trip from Vancouver to Banff and back. Set in late October, this was the prime time for the Fall’s colours.

The challenge for this video was to shoot only with the iPhone X. Luckily enough, I received the newly designed mobile lens from Moment — the Anamorphic lens x1.33 — featured on Kickstarter a few months earlier. I expected this lens for my trip to France in early September. Sadly, it didn’t ship in time.

The road trip to Banff was to be the first test with this new toy.

The Technical Part:

The iPhone X with the anamorphic lens was the primary camera. I used the Moment 60mm lens for a few shots. My app of choice was Filmic Pro, and I purchased the in-app log feature. Unfortunately, the log profile didn’t work with the 4K 60fps, so most of the shots were in standard colours.

* Codec Filmic Extreme — 100Mbps
* UHD 3840px-2160p
* 60 fps (80% of the shots)
* Shutter speed under control with a set of ND Filters + Moment filter ring adapter
* 90% of shots with the Moment Anamorphic lens x1.33
* Edited in Premiere and downsized from UHD to 1080p timeline
* Ratio set to 2:39.1 (In post-production)
* Graded with Film Convert Nitrate

Notes:

This was the first time using the Anamorphic lens and this setup in general. Many issues came in the game:
* Some of my ND filters were visible in the shot with a very wide anamorphic lens. Moment suggests the use of filter wider than 62mm.
* I didn’t use a tripod nor a handheld stabilizer, resulting in a lot of shaky footage. I used the warp stabilizer in Premiere, but in some cases, it created some weird warping and artifacts.
* Unfortunately, around 30% of the overall footage was lost due to an issue within Filmic Pro where the software couldn’t properly de-squeeze the anamorphic shots.
* For this project, I didn’t use a Denoise tool (NeatVideo), although some shots could have used it.
* I would strongly suggest transcoding iPhone shots to ProRes before editing. This way, Premiere will handle footage more efficiently.

Licenced music: Dive Down by Bob Bradley & Thomas Balmforth | AudioNetwork

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