I was invited by Patrick Jarlestram to shoot an interview with him and his fellow composer Carla Dobbie on a recent game they’ve spent the last year and a bit working on called “Deliver at all costs”.

Setup in the studio space they created all their work in, we were able to setup a two camera interview and be in and out within 2 hours. I didn’t know this at the time but when the project came out I was stoked to see that the videos came under the Konami umbrella. I have to say childhood me would be in Awe!

To get into the actual shoot itself, the space we had to work with was very tight so I was limited with the amount of gear I could utilise whilst battling reflections, working with minimal kit and keeping the lighting consistent across the frame. This kept me constantly engaged in setting up everything as perfect as we could.

my Little cheat on the day was the two practical lights in the background that were brought in to motivate the backlighting, which just a little pup light cast across both talent . With the key light being a single source lamp with a light dome to get that soft consistency I then just had to tweak little movements to get it all just right.

For camera gear it was a very straight forward two camera setup. With a 35mm Prime on the main camera and a 28-70mm Zoom on the B-cam grabbing tights. I had to judge the timing of their answers and pan back and forth between to the two to grab reactions and statements for production to cut between in post.

At the time the Canon C80 was hot off the press and I found it was a great opportunity to use the camera in a realistic environment by stress testing a long record time and utilising auto focus and new colour profiles. My B-CAM was a Canon C70 rolling at the same time, Which was a camera I was very familiar with and could use to compare the C80 to.

The Sensor size was enough to give me the width I needed in my frame whilst remaining on a tighter lens, and the colour alone was exceptional and incredibly different to the C70 in a very noticeable way. Despite this I was able to bring it back and make both cameras match which I was glad I could showcase before sending the footage off to production.

Theres nothing worse in an interview setting than a black TV or monitor screen, luckily we were able to get the Solid Studios logo up on the main monitors but the TV in the background still somewhat bothers me to this day.

any other additional notes and final thoughts