  |  Afterglow Reel |
Afterglow has a strong relationship with producer Richard Harman having onlined his previous current affairs
show Agenda in the early days, as well as rebranding the show with new titles and onboard graphics in 2008.
So when Richard came to us with The Nation – a new TV3 news and current affairs show for
Saturday 11.00 repeating Sunday 8.00 – we knew the territory, knew Richards expectations and
had our own vision of how we would like to see it roll.
Gary Leano and post supervisor Craig Parkes had been following the technological achievements of
Canons 5D Mark II stills camera with video capability and were quick to suggest this as a viable acquisition format.
Leano relished the promise of being able to drop some decent glass in front of a 35mm chip for his titles
and achieve the sort of depth of field historically relegated to film shoots.
Combined with some fast glass, the Canon’s low light capabilities, its small form factor and some judicious
stabilization in post shots that were snuck in with all the impact of a tourist snap come to life without the hassle
of an expensive, disruptive shoot. When the list of places needing to be shot includes the beehive
– such factors really make a difference!
Our initial treatment allowed Richard to see what Leano had in mind followed up with some reference footage
of what other international jobs had previously been shot with the camera made it an easy sell.
In-house Producer/Director Andy McGrath was keen to see what all the noise was about and joined Leano in sharing
camera duties. The result – well see for yourself!
As you can see we keep a very close ear to the ground on the changing acquisition landscape, and see video DSLRs
as just one of an arsenal of tools recently made available to allow us to match the look to the show and the budget.
show Agenda in the early days, as well as rebranding the show with new titles and onboard graphics in 2008.
So when Richard came to us with The Nation – a new TV3 news and current affairs show for
Saturday 11.00 repeating Sunday 8.00 – we knew the territory, knew Richards expectations and
had our own vision of how we would like to see it roll.
Gary Leano and post supervisor Craig Parkes had been following the technological achievements of
Canons 5D Mark II stills camera with video capability and were quick to suggest this as a viable acquisition format.
Leano relished the promise of being able to drop some decent glass in front of a 35mm chip for his titles
and achieve the sort of depth of field historically relegated to film shoots.
Combined with some fast glass, the Canon’s low light capabilities, its small form factor and some judicious
stabilization in post shots that were snuck in with all the impact of a tourist snap come to life without the hassle
of an expensive, disruptive shoot. When the list of places needing to be shot includes the beehive
– such factors really make a difference!
Our initial treatment allowed Richard to see what Leano had in mind followed up with some reference footage
of what other international jobs had previously been shot with the camera made it an easy sell.
In-house Producer/Director Andy McGrath was keen to see what all the noise was about and joined Leano in sharing
camera duties. The result – well see for yourself!
As you can see we keep a very close ear to the ground on the changing acquisition landscape, and see video DSLRs
as just one of an arsenal of tools recently made available to allow us to match the look to the show and the budget.
Be it the 5D or 7D, a Red One (or their upcoming big and little brother Epic and Scarlet),
the popular Sony EX series cameras (with 35mm adapter or without), good old 35mm and 16mm film
or something even more esoteric, we’re in the know about what’s worked in the past, and what may well work in the future – the tried and true and the brand new
– we love them both at Afterglow.
the popular Sony EX series cameras (with 35mm adapter or without), good old 35mm and 16mm film
or something even more esoteric, we’re in the know about what’s worked in the past, and what may well work in the future – the tried and true and the brand new
– we love them both at Afterglow.
The Nation
