Short promo video for band Looking For Alaska as they entered ‘battle of the bands 2014 Birmingham’.
Amazing live performance from songwriter musician Nikon Rakthanee at St Georges Bristol.
Shot using the Blackmagic Cinema Camera 2.5k in RAW (camera on Nikon). Supported by three C100s.
Shot & Directed by Corry Raymond.
Produced on 5th March 2014 when some amazing musicians were invited to record with a string quartet; to see more performances check out:
The Duval Project is a Nu Soul/Jazz and RnB excursion formed by Gary Alesbrook. Influenced by his time playing with artists such as Raphael Saadiq and Lynden David Hall, Gary has formed a quintet with the young trio of electric bassist Richie Blake, drummer Danny Cox and keyboard player Andy Nowak. Gary plays trumpet, flugelhorn and keyboard. A retro approach but with fresh sounds, they also feature the vocals of Marie Lister. Their current E.P was mixed by Grammy Award winning New York sound engineer Russell Elevado.
this live track also features the strings of:
John Pearce, Aaron Catlow and Alison Gillies
shot and edited by Corry Raymond
second camera op: Pete West
sound: Roshan “Tosh” Wigetunge
download the E.P@
For more info and live dates go to:
In light of the upcoming release of Philip Olivier’s Land of Smiles single on September 1st (shot & directed by myself), and Sarah Class’ Fire & Rain music video coming soon; here is my write up on my experience shooting both videos on the Blackmagic Cinema Camera.
I have been using the Cinema Camera since Blackmagic first began dispatching. At the time I was a 5D Mark iii owner and much as I loved using the camera I was looking for a step up.
At the same time I had made contact with a Canon representative who sent me a C100 for a week with which I shot two music videos.
The C100 is a great camera and I believed that this was going to be my principle camera, but as I had access to the Blackmagic I thought it was worth exploring it’s potential. Something that was quite shocking at first was that C100 felt essentially point-shoot-edit-export. But I strived for my work to look like high end film.
For the 5D I downloaded the technicolour film log. For the C100 I would spend hours trying to retrieve shadows and highlights, more dynamic range more colour.
But the Blackmagic was different; the film log mode didn’t look great straight off the camera. There was no auto white balance and I couldn’t afford to not know what I was shooting.
And it was a 16mm sensor, shots and lens choice were suddenly much harder decisions on set.
In my exploration of the camera I discovered the professional world of cinematography.
I purchased a light meter. I trained my eye to recognise colour temperature, understand light ratios. The shape of a lens and how it affects an image. How famous directors use these techniques, create signature looks. Discovering my own signatures.
Now a couple of years on I use the Blackmagic Camera for everything. I know exactly how to shoot on it and how to grade it’s film log. Grading has become one of the my favorite parts of the process; receiving a free copy of Davinci when you purchase a Blackmagic Camera.
When shooting ‘Land of Smiles’, the final scene to shoot on the first day was the campfire sequence, at night. Everyone kept asking me if I was getting the shot and if it was light enough. They revealed to me later that they could barely see themselves, but on the Blackmagic I captured everything. The beautiful natural colour of the campfire lighting their faces, and the bokeh town lights in the distance.
The cast were amazed when it was shown to them, they couldn’t believe the results.
At the moment I’m in the process of grading my new short Collide.
I’m using a lot of LUTs emulating film stock and really pushing the footage shot on the BMCC. (as you can see in the pic below)
My main influence for the look and feel of “Collide” is this 2010 music video: Say You Don’t Want It by One Night Only.
There are several sequences in “Collide” which have been shot in homage to my favorite music video:
Here is a shot - reverse shot from one of the sequences in the video compared to my own sequence-
Meanwhile with every sequence graded I make a new discovery which makes me want to go back and start again. I’m very happy with the results so far.
In sunny July, Wales, I was down in Neath Port Talbot Recycling to assist in the surveying of a pipe line fix feet under ground.
Working alongside BA Safety, I was recruited as the video expert, capturing the surveillance using a GoPro Hero 3.
Richie Blake, who works for Wessex Water, recruited me due to my expertise on shooting with the GoPro and my understanding of digital cinematography.
The pipe line was particularly dangerous and claustrophobic.