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Auryn creates a very special look with the Blackmagic Cinema Camera in his latest music video

16/01/2014

Auryn creates a very special look with the Blackmagic Cinema Camera in his latest music video Tanto la Cinema Camera como la Pocket, ambas de Blackmagic, junto a la grabaci n con curva film y la latitud incre ble que supone grabar en RAW, han permitido al realizador Greg A.Sebastian lograr un look muy especial en el videoclip Breathe Your Fire del grupo Auryn.

Greg A.Sebastian, realizador con gran experiencia en el rodaje de documentales y spots, est ahora centr ndose en la producci n de v deos musicales con gran xito en vista de los trabajos que sellos como Universal Music y Sony Music le est n encargando.

Recientemente, trabaj con Warner Music y la banda espa ola Auryn en el rodaje de material para el lbum Anti H roes, que ha logrado un disco de platino.

Para la producci n del v deo del tema Breathe Your Fire, Greg A.Sebastian utiliz dos de las soluci n para captaci n de Blackmagic, Cinema Camera y Pocket.

Antes de pensar en cualquier idea para un videoclip necesito escuchar la canci n al menos 50 veces, no es broma. Necesito contaminarme de ella antes de poder coger l piz y papel y empezar a anotar cualquier cosa. Luego, mi cabeza act a como una lavadora, dando vueltas y vueltas hasta que termina el centrifugado , explica Sebastian.

Como en cualquier producci n, siempre hay que considerar los costos a la hora de desarrollar una idea. Despu s vienen, claro est , las limitaciones a nivel de presupuesto, m s con la actual crisis del sector que estamos padeciendo. Pero no dicen que la falta de medios hace potenciar todav a m s la creatividad? , sostiene.

Breathe Your Fire fue sin duda un proyecto ambicioso desde el punto de vista financiero ya que trata de una invasi n extraterrestre a escala mundial donde un grupo de j venes con poderes (los integrantes de la propia banda) intentar n hacer frente a la amenaza.

Sebastian revel que no le gusta planificar cada aspecto de sus producciones antes del rodaje: no me gusta ce irme a los guiones t cnicos. Son un punto de partida pero no un mapa para seguir al detalle. S , mi equipo me odia por eso, sobre todo mi jefa de producci n .

Necesito estar en el set con mis actores, empaparme de la localizaci n, respirarla. Improvisar y crear en el instante hace m s excitante el proceso. Hitchcock dec a que lo m s aburrido de la creaci n de una pel cula era el rodaje, porque lo ten a todo perfectamente planificado en su gui n t cnico antes de ir a rodar y no hab a sorpresa o motivaci n alguna mientras rodaba. Para m es lo contrario , asegura Sebastian.

Creando la apariencia

El v deo de Breathe Your Fire incluye varias escenas grabadas en Londres que plasman la apariencia general para el sencillo. Londres y su cielo invernal plomizo y nublado nos daba una paleta muy suave y poco contrastada, perfecta para conseguir la atm sfera que busc bamos. Usamos filtros ND para poder rodar con diafragmas abiertos con los cuales conseguir una profundidad de campo bastante reducida. A la hora de filmar en interiores se buscaron contrastes m s pronunciados, pero sin llegar a perder la suave transici n que quer amos entre las sombras y las zonas medias , indic Sebastian.

Sobre la iluminaci n, el realizador asegura que las condiciones de luz al rodar en exteriores eran impredecibles, lo cual supuso un reto para el equipo de producci n.

Rodar en interiores siempre supone un control de la iluminaci n y de todos los aspectos de una grabaci n que no te permiten los exteriores. Por eso, como en casi en todas las producciones, los exteriores supusieron un reto al que enfrentarse, m s todav a en una gran ciudad como Londres. Por una parte, el cielo nublado ofrec a una luz suave muy de agradecer, pero por el contrario, los cambios variables de luz hac an que tuvi ramos que estar muy pendientes de conseguir un raccord de luz cre ble. Uno de los aspectos que nos decidi a rodar con la Blackmagic fue la ventaja de poder generar archivos de 12 bits en RAW , afirma.

Colorimetr a de pel cula

Tanto la Blackmagic Cinema Camera como la Pocket me han dado el look que buscaba gracias a la grabaci n con la curva film y a la latitud incre ble que supone grabar en RAW. Estoy gratamente impresionado de los fant sticos tonos de piel que se consiguen con esta c mara. La colorimetr a de estas c maras es sensacional. Los colores obtenidos y la manera de tratar las altas luces me recuerdan mucho a la pel cula tradicional. Si usamos la Blackmagic Cinema Camera con un buen conjunto de pticas podemos lograr una apariencia cl sica sin perder los detalles capturados por el sensor de 2,5K. Soy un director de pocas lentes y para filmar utilizamos una 24, una 35 y una 50mm fijas junto con el sigma 18-35 F1.8 , revela Sebastian.

Muchos de los planos del horizonte londinense se filmaron desde el London Eye con la Pocket Cinema Camera y el 12-35 F2.8 de Panasonic, al igual que las im genes iniciales de los chicos japoneses. Lo que m s me gusta de la Pocket es su tama o compacto. Una c mara peque a que pasa desapercibida pero que ofrece unas im genes finales con una calidad a la altura de su hermana mayor , asegura el realizador.

Sebastian cree que la vinculaci n de los gr ficos por ordenador con el material grabado fue sumamente f cil gracias a la posibilidad de generar archivos RAW. No ten amos una apariencia predefinida y por lo tanto pudimos hacer coincidir los elementos 3D con el material grabado y luego determinar la mejor tonalidad para los planos compuestos. La cantidad de detalles en los archivos 2,5K tambi n facilit el seguimiento en 3D y le permiti ahorrar mucho tiempo a Jos Jacas, nuestro especialista en VFX .

Mi primer trabajo con la Blackmagic Cinema Camera ha supuesto un antes y un despu s. Actualmente es la c mara con la que ruedo la mayor a de las producciones. La posibilidad de grabar archivos en RAW a 2,5K en la propia c mara en discos SSD sumado a
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