Thanks so much!! That’s exactly the look we were going for 😃 the moodboard for the ballerina’s look in the beginning was inspired by 1960’s Hollywood, especially Michelle Phillips from the band The Mamas and the Papas, and we were so lucky to find that “hippie van” which I think really completed the vibe!

Heck yeah, UTAH!!! Such a gorgeous state 🙌🏼😍 thanks for watching!

Hi Adelina! That sounds great, thank you for your interest and your support - we love your lenses and would love to have you share our film :) In fact, we liked these anamorphic lenses so much while using them for this project, that we used them on our next project, a narrative short/music video which I wrote and directed and which was also shot by Brian Durkee. In case you’re interested in checking that one out, too, here’s the link: kzfaq.info/get/bejne/jMuRdq1_y7jHY2Q.html Thanks again! Sarena

@@SarenaFishman Dear Sarena, Thank you for your support. Cheers, Adelina

Thank you, so glad you liked it!! 😁

Thanks so much! Utah is indeed a beautiful place ☺️

Thank you!! ☺️

Thanks, so glad you enjoyed it!!

Thanks so much!!! This was almost all shot handheld, with a few shots on the EasyRig Minimax.

Thank you so much!! It was such a fun project to shoot, and very cathartic to see the story come to life. It’s been a hard couple years for everyone, and especially for all these beautiful young dancers that had their lives and careers put on hold, with no idea if they would ever dance again. I really wanted to put out a message of hope for them all 😊 Now to actually answer your QUESTION (🤣)…if remember correctly, it was shot in 4K DCI with the image desqueezed on the SmallHD monitor. This was shot by an incredible DP and colourist in Utah, Brian Durkee, so if you message him on here or Instagram (all his links are in the video description), he can answer your Q’s on how he shot it more accurately than I could. Thanks for watching! :)

I wrote it as a project to collaborate on with Brian Durkee, the cinematographer, whom I had just met after moving to Salt Lake City. It was fall 2020, so things were still pretty locked down, and we didn’t have access to a lot of locations or crew, but we both really wanted to shoot something together. So I came up with a concept that would involve just one actor, one car, an outdoor location…and a pair of boots :P We had originally intended to shoot the dancing part in the historic Capitol Theatre in downtown Salt Lake City, which was how I envisioned the “climax”-intercutting between the shots outdoors in Moab, UT, and the shots on stage. Unfortunately, even after talking to four different theatres in the city, no venue was willing to accommodate us for less than $1,000. So we used a local dance studio instead, and kept the budget at around $200 (gas to get to and from the location, the lens rental, and a $25 studio rental fee), which was a number I was much happier with :)

best camera you can get for the money nowadays, along with with the fact that you can get a great MFT cine lens set for less than 2000. Short internal battery life, lack of internal NDs, and the non tiltable screen are the few things that annoy me about it occasionally. the prores codec is still better than whatever you get on most cameras 4x the price.

Couldn’t agree more with what Oleg said! I think you could also argue that the BMPCC6k would be a better investment for the following reasons: better shadow detail and DR, less grain, less IR pollution, better highlight roll off, EF mount which is arguably more versatile (but lenses are pricier!), and costs the same as getting a BMPCC4k plus a Metabones speedbooster to convert the MFT to an EF mount. For me, as primarily a writer and budding director, whose primary income is through voice acting and not cinematography, it just doesn’t make sense to upgrade my camera body and current lenses. It doesn’t make enough of a difference in what I shoot to warrant the cost of switching. Another consideration: I see a lot of people wrestling with the best way to use the pocket 4K and 6k on gimbals, and I personally don’t think it’s that practical. EasyRig (what we used for this film) and Steadicam, definitely. But I don’t think these cameras fully rigged out are good for gimbal use (lots of back and elbow pain, especially for women or smaller men). Better off with a lighter, hybrid camera like the Sony A7rIV. Then again, that camera is about 3x the price of the BMPCC4k, which goes back to what Oleg said about the pocket being best for the price. The lack of autofocus also makes it challenging for when you are a one-man-band and have no 1st AC/focus puller to help. Hence why so many people stick with the Sony or Canon systems. However, I don’t think you get anything anywhere NEAR the image quality of the pocket 4K or 6K in any other camera system in this price range. You just have to put more time into familiarising yourself with the camera, designing the best rig for your work, and practising skills like focus pulling on the fly. So, I would say, it depends on what you’re going to use your camera for. If you’re a one-man-film-crew and need lots of stabilised shots on a gimbal which you’re using as an all-in-one cheap solution to replace a dolly, a crane, a Steadicam, and a slider, then I think you’re better off going for a lighter “hybrid” camera (Sony, Canon, Fuji XT4). If you’re less into commercial and more into shooting narrative or documentary, and are looking for truly cinematic imagery, the best colours, and the most classic, almost filmic image, and don’t care about the extra time needed to build out your rig and the extra weight and hassle, then you can’t do better than the pocket 4K or 6K. One last (and probably inconsequential to most people) advantage of the 4K over the 6K is that MFT sensors are great for shooting miniatures because it’s a smaller sensor. So if you need a cheap camera for shooting practical VFX, I think this is a great option. Anyway, probably a lot more info than anybody wanted or needed, but those are my two cents on it after two years of use :) Oh, and thanks for watching!! 😁

We used the Sennheiser MKE 600 shotgun mic recording straight into camera! Since we only had a couple lines of dialogue and they were all inside the van, we weren’t too worried about using lavaliers or a boom or anything :) and hey, nice work on your shorts, man, keep making stuff!! 😁

1.33x cine lenses!

@@SarenaFishmanWhat’s your thought about the SLR magic Anamorphot adapter?

@@elieh.studio I haven’t used it, just their anamorphic cine lenses! From the tests I’ve watched on YT it looks like it would be fun to play with though :)

Thanks for watching, glad you liked the film! No, unfortunately, this would not be acceptable. Please do not use any part of our film for your music video.