Alexa拍片，3D麦克风配合，Philip Bloom独挑大梁

2011-06-03 12:44

 #设备体验# #大画幅可换镜头#

Philip Bloom用Alexa一个人完成了一个有声电影短片，而且还使用了我们网站之前有提到过的那个奇怪的3D麦克风。之前提到它时是作为单反外接麦克风的一个解决方案，更多可点击：3D mic pro

今天这篇文章则是看看Philip Bloom是怎么使用Alexa与那个怪物麦克的绝佳配合，貌似评价很高哟。

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阿莱超好地提供了Alexa给Philip Bloom使用一星期，Philip Bloom则安排了一个极好的项目。他不想浪费机会，所以想自己做个简单的拍摄完成自己“世界末日”的挑战。只是一个概念，没有演员，只有他自己...这是一个与Alexa接触并习惯的机会。他决定做一些室内lit场景(lit with practicals and 1 Litepanel 1×1 bi colour)和一些高对比度的户外场景。

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\"\"Philip Bloom觉得Alexa好用得出奇。有直观、简单、容易操作的菜单，这是他之前从未见过的。然后这也是一个机会，使用3D mic pro，他试图从Mitra接出。这是个长相相当怪异的话筒，能够拾取360°的立体环绕声，当你通过耳机监听就能感受到(他建议do with the piece)。虽然它不便宜，大约要1600美元左右...他承认他一开始对这个麦克的时候并不抱什么期待。它那么大，看上去那么可笑，还要装可怕的9V电池连接器。直到他听到3D mic pro录制的周围的风声时，听上去简直是身临其境，他惊叹了。下图为3D mic pro加上防风罩等部件后的样子，和之前那个塑料感话筒还是有点差别哈。

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拍片工作流程
Alexa是一个数字电影摄像机。这就它被设计时的方向，和它所擅长的。它有14档的可调范围，这在数字摄像机中是非常少见的。大多数电影摄像机最少也需要一个团队来实现操作。但Alexa不，Philip Bloom认为只需要他自己一个人，所有的东西都在他的房子里。他貌似用了一个小型滑轨什么的移动装置，在Kessler Crane Oracle控制器控制下。那玩意儿可以承受一个单反的重量，一台Alexa似乎也没有问题...他说Alexa是一个“重量级”的摄像机！（这句奇怪的专有名词太多，抱歉啊T.T）

简单的程序控制Oracle的移动。彻底的一个人的一个电影团队...随着Alexa的移动，他甚至不接触摄像机...他做了一些灵活的设置USTREAM，可以在下图看到。

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他拍摄都是Pro Res HQ，储存于SxS卡，和他使用F3和EX3时是相同的。他也有拍些拍Log C. A superflat图像看起来有点像佳能Cinestyle的影像风格，他们有在使用。你可以在电子取景器上监看，也可以在REC 709显示器上监看，后者看起来更好些。

他选择了一些镜头，Tokina 11-16mm，35，50和85mm的蔡司Cp.2，RED的18-50 T3的镜头。还使用了阿莱MMB1遮光罩，4×4 Fader NDS……

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现在的挑战是如何造成一种痛苦的感觉，最终要通过图像和声音来做到。他认为如果他不能通过图像告诉你他想表达的故事，那他就是白做了。
这件事仅仅是告诉你使用Alexa是多么容易的一件事。即便是第一次用它。所有都靠自己操作吧！远程摄像移动多亏了Cineslider。关于他吸烟的镜头，他是把焦点直接对在另一只手上！
关于他这次拍片的视频，在他博客就有……但应该要爬出去。http://philipbloom.net/2011/06/02/alexa/

他还刻意交代如果有观众担心那只鱼。那是一个渔夫抓到的，他只是简单地拍了它。见到它的时候它已经死了，只是还会神经抽搐...

英文全文：

Terminus: Short film on Arri Alexa with sound using 3D mic Pro
By Philip Bloom
My first ever UK DSLR workshop! London 30th July. Brussels two day class on 17/18th September
The plan was grand. High concept. Great location. Great actor. But as seems to happen a lot these days things went pear shaped the day before.
Arri were kind enough to let me borrow their wonderful camera the Alexa for a weekend and I had lined up a superb project to shoot it on but as I said above, it was not to be. Well I wasn’t going to waste my first time with the camera so I decided to simply shoot a little entry for my own “End of the world” challenge. Low concept, no actors, just me…but a chance to simply get used to the camera as it was my first time hands on with it. I decided to do some indoor lit scenes (lit with practicals and 1 Litepanel 1×1 bi colour) and some high contrast outdoor scenes.
It’s actually a really beautifully easy to camera to use. Incredibly intuitive with one of the simplest and easily accessible camera menus I have ever seen. It was also a chance to use the 3D mic pro that I am trying out from Mitra. It’s an utterly bizarre looking mic that pics up sound 360 around you and when listening through headphone (which I recommend you do with the piece) is is remarkably effective! It’s not cheap though. Around $1600 or so…I have to admit I was expecting very little from the mic. It’s big, funny looking, has horrible 9V battery connectors. But as soon as I heard it on location with the wind and sound around us I was wowed. The sound is incredibly immersive. Very impressed.
Video streaming by Ustream
The Alexa is a cinema camera. That is what it is designed for and that is what it excels at. It produces 14 stops of latitude which is just exceptional for a video camera. Most cinema camera simply need a team to operate them. Not the Alexa. I shot most of this on my own. All the stuff inside my house was all just me. All the dolly moves here done programmed on the Kessler Crane Oracle controller and the dolly used was the 3ft Cineslider which can take the weight of a DSLR and a fully loaded Alexa and let me  tell you…that Alexa is one HEAVY camera!
I simply programmed the move on the Oracle. Then it played it back when I was in position. Complete one man band filming…with an ALEXA and a dolly move and not even touching the camera…I did a little live USTREAM whilst I was doing it which you can see above.
I shot everything at Pro Res HQ using SxS cards, the same ones I use with my F3 and EX3! I also shot it Log C. A superflat looking image a bit like the Cinestyle on the Canons we are using right now but even more extreme. It looks awful when recording but you can monitor on the EVF and monitor in REC 709 which makes it look much nicer. Above is a shot of Log C and a graded version of the shot.
Lenses wise I use the Duclos Tokina 11-16mm, 35, 50 and 85mm Cp.2, and a Red 18-50 T3 lens. I also used an Arri MMB1 matte box, some Tiffen filters including grads and the excellent Lightcraft workshops 4×4 Fader NDS which work a treat. Put A filter in the back, B filter in the rotating tray and it works just like the screw on ones!
Anyway…enjoy the little film. As I say it’s not much. Just me getting used to the camera. Arri have been kind enough to let me borrow it again. Next time I won’t let my big plans get screwed up!
The challenge was to create a sense of misery and finality through the images and sound design. If I can’t tell a story through my images then I am not doing my job!
This piece shows you just how bloody easy it is to use an Alexa. My first time with it. No crew apart from down on the beach. All self operated and in it! Remote camera moves thanks to the Cineslider. In the shot of me smoking the cigar, I even pulled focus with my spare hand!
For me that camera is my Aston Martin. I shed a tear when I gave it back earlier. One day…
Big thanks to James Miller and Greg Richters who helped me lug the gear around on Dungeness beach!!
Terminus from Philip Bloom on Vimeo.
If you are worried about the fish. A fisherman had just caught it and I simply shot it where it lay. It was already dead. Just nerves twitching…
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