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Bullet For My Valentine "No More Tears To Cry" Music Video
“We decided on the Cooke S8/i’s as I knew these would offer us a beautiful full frame look, and still have that iconic ‘Cooke Look’ I grew up watching and had always researched about online over the years - You start to notice a commonality in films, especially how Cooke lenses were behind some of my favourite films growing up.”Rick Joaquim, SASC DOP
Lens/Camera Information
Lens series: S8/i FF
Focus lengths: 25, 32, 40, 50
Other lenses: Lensbaby Muse Effect Lens 35mm
Camera: Sony Venice 6k
Format: Digital
Rental company: One Stop Films https://www.onestopfilms.co.uk/
Director of Photography: Rick Joaquim, SASC https://www.rickjoaquim.com/
Agent: Independent Talent https://www.independenttalent.com/below-the-line/rick-joaquim-sasc/
Instagram: https://www.instagram.com/rickjoaquim/?hl=en
Vimeo: https://vimeo.com/rickjoaquim
LinkedIn: https://www.linkedin.com/in/rickjoaquim/?originalSubdomain=uk
Production Information
Production: Bullet For My Valentine “No More Tears To Cry”
Director: Harry Lindley
Producer: Fiona Garden
Colourist: Alex Gregory
Production Company: Wanderland Films, London https://www.wanderlandfilms.com/
DOP Rick Joaquim, SASC on the lens of his choice:
“We knew this music video had quite a few Visual Effect shots in it, so we felt 6K resolution on the Sony Venice would help us out with the VFX elements. Since we were shooting 6k 3:2 mode but then framing for 2:39 we could always stabilize or reframe if need be.
I had previously shot on the S7/i’s and absolutely loved working with them so when I had the opportunity to test out and use the S8/i’s at One Stop Films in London I jumped at the opportunity.
We decided on the Cooke S8/i’s as I knew these would offer us a beautiful full frame look, and still have that iconic ‘Cooke Look’ I grew up watching and had always researched about online over the years – You start to notice a commonality in films, especially how Cooke lenses were behind some of my fav films growing up.
We wanted to make this music video feel ‘film-like’ but still maintain a level of sharpness for the VFX to match within it too – The S8/i’s were perfect for this. The 32mm and 40mm were our two go to focal lengths and I absolutely love a 40mm on a full frame sensor like the Sony Venice
The lenses all have T1.4 apertures across the board – So you have the extra stop if you need to open up, but then also have this this beautiful fall off that feels extremely organic and has lovely round and smooth bokeh – On a large format sensor it almost feels painterly.
These lenses for us felt like the perfect pairing of modern and organic – And added so much to the project.”
