one world futbol

it’s hard to turn down an offer to shoot a spot in hawaii, even when it involves sitting next to a guy coughing up his swine-flu diseased lungs the entire flight.
hawaii-based director austin everett asked me if i would shoot a spot on the north shore of oahu for a charitable organization called one world futbol.
one world futbol sends nearly indestructible soccer balls to third world communities where “play and sport are used to foster social change.”
the shoot would be on a pretty tight budget, and with that in mind i decided that it would be a good opportunity to again test out the abilities of the 5d mark 3 with magic lantern.
here is a sample frame that the director sent me, flattened out to show the range that the sensor captured:


wide_flat

i wish I had a spot meter to more scientifically determine the latitude of the camera, but rest assured the sky/beach and the shadow/leaves under the trees had vastly divergent lux values.
here are some insert shots to see where the sun directly hits the beach next to canopy-created shade, and some leaves which were far back from the sun in dark shade. you’ll see a decent amount of unacceptable noise on the darkest leaves, but really that isn’t so bad as those are easily pushed towards black without altering the rest of the image very much.


sand_highlight
leaf_shadow

i’m really not trying to be a5d raw evangelist, but the camera is extremely affordable and produces a remarkably clean image. it is, however, definitely not a production-ready camera. the cameras raw menu system isn’t nearly as polished oruser friendly asalexa, red, or black magic. to achieve 2k or higher resolution requires a severely cropped sensor, and the post workflow is far from efficient. strides have been made recently regarding the post work flow, but most streamlined processes are achievable only at the significant loss of quality to the image (going from 14-bit to 10-bitmov files for example).a couple more shots:


writing_in_sand
medium_shott

the camera hasa ways to go before being taken seriously as a primary camera for a major production, if it ever will be. the hardware doesn’t support write speeds that 4k would require, which means that as the industry moves further and further into ultra hd as a standard as opposed to a luxury, the camera will likely at best find a place as a ‘b’, or specialty camera in the years to come. for a while though, this camera with some tweaks, could be used for commercial work, and possibly even broadcast television work.special thanks to my friend justin ahlmann at www.synergetikmedia.com for letting me use magic lantern on his camera for this, and the previous magic lantern shoot.

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