This week Simpson Films hosted a sneak preview of where spot production is heading. The event featured a compelling look at eight spots I shot with the Phantom digital camera. A cross-section of industry folks were in attendance for the screening and an evening of conversations about this new direction.
I began experimenting with the Phantom camera some eight months ago and realized that it opened the door to a fresh and exciting look. That’s not to say it didn’t present some unique challenges. I and my partners began our work with conversations with numerous producers in the industry and found that although there was a high level of interest in digital cinema, there was an equally high level of reluctance to use it, Some of this hesitance stemmed from concerns with workflow issues, while some was rooted in production issues. I decided it would be worth attempting to resolve these issues and show the industry that the format is certainly one to consider.
Conversations began. And so did a lot of rigorous work. First, it was critical to gain the commitment of Vision Research, the manufacturers of the Phantom, and Iridas Software, which handles the raw files the camera generates, to join forces in resolving any workflow issues. Next, post house Company 3 was brought on board. Y&R, New York, then joined the conversation. Finally, as workflow and production concerns were mitigated, shooting the spots began, and now the conversation got even bigger. Version2, Big Sky Editorial and Cut+Run, all editorial companies with effects acumen, joined this team of collaborators, spanning from one end of the workflow to the other, and were actively engaged in the dialogue.
The spots, were for: Dannon Yogurt, Heineken Beer, the Omega 007 Watch, Jet Set, McDonald’s (three commercials), and adidas are each truly exquisite in their own right. (All but Dannon and Jet Set are spec.) Each highlights the potential of this technology. Digital cinema is the future and the future has not only arrived, but it is production-ready.
Having directed and shot eight spots with this camera, featuring a variety of subjects from talent to food, from liquids to solids, our team is convinced there are several reasons to embrace this technology:
• Shooting with this camera allows one to see on set precisely what the camera is recording, giving the director more time to shoot different scenes and other creative possibilities.
• The Phantom’s compact profile permits shooting in a fashion that has not been available with the heavy and clunky Photosonic film camera, opening still more creative avenues.
• When properly used, the medium allows the director and DP to create a new and fresh look to the imagery.
• It’s completely green. No more toxic chemicals used in film creation and development.
• A natural, intuitive workflow.
The conversation has grown, yet it has just begun. It will undoubtedly go on to launch millions of conversations in households around the world.
Tabletop director/DP Jerry Simpson maintains Simpson Films in Long Island City, New York.
