Here’s another intriguing and inspiring project based on the one/single-take/shot strategy. This time it’s a music video featuring Grammy Winner Macy Gray. Directed by Guido Fabris and shot by Lucas Preti on the Sony Alpha 7sIII with Ronin S and ARRI Skypanels. Read on his tips and tricks on how to execute your next music video with one single take.
One-take music video
It seems that the one/single-take/shot is currently the hot filmmaking trend. Last week we wrote about the one-take 6 -minutes film shot with the ARRI Mini LF and FUJINON Premista 19-45mm lens. This time, we’re writing about much more affordable equipment utilized to shoot single-take music video featuring Grammy Winner Macy Gray. The video was directed by Guido Fabris and shot by DP Lucas Preti using the Sony Alpha 7sIII with Ronin-S and ARRI SkyPanels.
I shot this as a long one single take using prosumer gear (Sony Alpha 7sIII and DJI Ronin) instead of industry-standard due to the fact that I had to do it myself with autofocus.
The biggest challenge for me wasn’t the camera movement, but avoid casting shadows against the talent and on the floor
“Behind the scenes” vibe
Y.M.Cinema Magazine: What made you choose the one-long take strategy for a 4 minutes long music video?
DP Lucas Preti: The director, Guido Fabris, had this idea of shooting the entire music video one long single take, an “Oner”. He wanted to deliver a “Behind the scenes” vibe and let the audience see the stage, lights, and crew. It was also interesting how the idea was breaking the 4th wall but in a very subtle fashion.
Always do the “Ninja walk” with the ronin
Prosumer gear
Y.M.Cinema Magazine: Why did you pick this specific equipment?
DP Lucas Preti: From this concept, I decided to go with a small setup, something that would almost look like someone holding a phone and walking around the artist while they were performing. In order to do so, I had to pick a smaller camera, with a sensor that gave us a “digital feel” but still maintaining good color retention. The camera would then had to be mounted on a gimbal and operated following the specific inputs from the director and adapting in real-time to the artist’s movements that were not always exactly the same take after take. To make the process more streamlined, I decided to operate myself, this approach also helped to reduce the communication lag with the director’s inputs. Another very important aspect of the camera choice was the autofocus features: We needed something nimble, light, and capable of getting the best autofocus system. We opted for the Sony Alpha 7sIII. The Eye-tracking AF is really formidable and it never “searches” or breathes looking for something to focus on, it’s a very organic autofocus feel. For the gimbal, we used my trusted Ronin S, amazing battery life and strong enough to hold the camera with the Wireless transmitter on top. Apart from the camera, what made the difference was the use of several ARRI S60 Skypanels, with the RBG controlled through DMX, we were able to change the mood of the scene in the different parts of the song.
Sony Autofocus rocks, ARRI Skypanels quality/RBG feature always surprises me and sometimes a smaller camera is simply a better solution then a full scale digital film camera
Rehearsing for the single-take (10-12 takes)
Y.M.Cinema Magazine: How many rehearsals did you make on before the actual shooting?
DP Lucas Preti: We started working on the dynamics of the camera moves days before the shoot but we couldn’t really rehearse until the day of the shoot when the artist would have been available on set. We set up and tested all day and by the evening we had an understanding of where to place the camera during the different parts of the song. Then, during the actual recording, we probably did 10-12 takes. The biggest challenge for me wasn’t the camera movement, but avoid casting shadows against the talent and on the floor.
Then, during the actual recording, we probably did 10-12 takes
Tips and tricks
Y.M.Cinema Magazine: Please elaborate on tips and tricks for a long-single take regarding music videos.
DP Lucas Preti: What makes this video special (and tricky at the same time) for me is actually that the light changes seamlessly throughout the song. That element was a big part of the entire choreography and I think add a lot to this “dreamy” effect the music video delivers. What I learned from this project is: Sony Autofocus rocks, ARRI Skypanels quality/RBG feature always surprises me and sometimes a smaller camera is simply a better solution then a full scale digital film camera. The only real tip I can share is: Make sure to listed and understand the director’s vision and always do the “Ninja walk” with the ronin, lol. A Big thank you to Noah Berlow from Immortal Cinema for taking me onboard of this project and to Macy and the California Jet Club for the patience take over take!
Watch the single-shot music video below:
Product list
Here’re the products mentioned in the article, and the links to purchase them from authorized dealers.
- Sony Alpha a7 III Mirrorless Digital Camera (Body Only)
- DJI Ronin-S
- ARRI SkyPanel S60-C LED Softlight with Manual Yoke
