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A film showcasing the construction of the Saucony Shadow 5000.
“Having the characteristics of anamorphic glass, combined with our aspect ratio and ability to shoot macro got me really excited. And i'm so pleased with the results. We shot entirely on the 65mm, with all our monitoring set up to display for 4:3. It really felt effortless at times, the fall off is just beautiful.”Samuel White DOP
Lens/Camera Information
Lens series: Anamorphic/i S35
Focus lengths: 65mm Macro
Camera: RED Komodo
Format: Digital
Director of Photography: Samuel White, https://www.samuelwhitemedia.com
Instagram: https://www.instagram.com/sam____white/
Production Information
Production: Saucony Shadow 5000
Colourist: Sebastian Ziabka
DOP Samuel White on the lens of his choice:
Around the time this project came to me, I had been watching and enjoying a NYT doc series titled “Almost Famous” (I would encourage anyone to go and check it out) The interviews in the series are all shot anamorphic, but framed for 4:3 and then delivered in 4:3 – creating these beautiful intimate frames. It was a technique that really peaked my attention and I knew I would like to explore it more myself.
So when this brief came through I begun to explore reference material and assess what we wanted to achieve. In the early production meetings, the themes of “artisan”, “hand made” and “authenticity” kept being championed. I am a big fan of 4:3 in general, and felt this could contribute to this artisan feeling. With that in mind, I then begun to consider my lens choices, and immediately thought this could be an interesting one to shoot anamorphic but for a 4:3 aspect ratio.
The film was all about showcasing the craftsmanship of the shoe, so we knew a large proportion of our shots would be CU & ECU of the fabric, thread & stitching. Macro shots were obviously on the agenda, but I was very keen to avoid a probe lens approach – to me that didn’t feel artisan and would detract from the craftsmanship. What I wanted was a very subtle, unique look – that’s when I started to really hone in on Cooke’s 65mm 2x Anamorphic Macro.
Having the characteristics of anamorphic glass, combined with our aspect ratio and ability to shoot macro got me really excited. And i’m so pleased with the results. We shot entirely on the 65mm, with all our monitoring set up to display for 4:3. It really felt effortless at times, the fall off is just beautiful.
We had a really compact camera package in general, shooting on the tiny RED Komodo with just the 65mm and a 4ft slider. The factory was still in production, and what you see in the film is the genuine construction of 1 pair of shoes form start to finish. No doubles or back ups.
