IR Shooting made possible with the EVA1
IR filming has been around since the film era; it’s not a new concept. If you simply load infrared film in a camera, you could shoot.
However, it would be necessary to revamp film cameras for today’s digital shoots because there is an internal IR Cut filter in front of the camera’s sensor. This is one reason why digital IR shoots haven’t been possible until now.
In “palette”, a fantasy piece currently in production, I use the Panasonic AU-EVA1, and the main reason for this is “the menu allows the IR Cut filter to be turned on/off at the push of a button.” It is the only camera with this feature.
“palette” tells the story of a woman who was born with a sense of color that is different from everyone around her. During those moments where she reminisces about her childhood, we mostly used IR-shot scenes. In order to express the distinctive color of the world that only the protagonist can see, it was necessary to shoot in IR. You can switch quickly between IR and regular filming at the touch of a button in the menu, eliminating the need for an IR-ready camera in addition to a regular camera, and this facilitated things on set. It made the shoot more budget-friendly as well.
As expected, the amount of infrared light from the sun had a huge impact on each one of our exterior IR shoots.
On days when we were shooting, we had to deal with inconveniences caused by the weather or time of day, so it was a big plus schedule-wise that we could toggle between shooting IR and regular scenes.
IR Shooting On “palette”
“Shooting in IR” doesn’t automatically create a cinematic mood or look. Shooting in IR was never the goal; the goal was to convey emotions and tell a visual story via images.
When attempting to conform to this idea while using IR, it becomes incredibly challenging. In other words, it is “creating work that is worthwhile.”
With “palette” the major question was how to come close to achieving the image we envisioned. We conducted various tests over and over – tests of the materials for the shoot, of the time of day, and balancing regular and IR lighting.
IR lights are around on the Japanese market, but currently the only IR lights available were those made for use in small security cameras. Of course it is possible to conduct an IR shoot without IR lighting, but as much as possible, I wanted to achieve my vision, so our film team developed our own IR lights to try to achieve this. We wanted to avoid images lacking a sense of perspective typically seen in IR images.
There were so many things we had to keep in mind on set, but foremost was the need to rid ourselves of any pre-existing conceptions. You can’t rely on your eyes or on a light meter to gage light and dark because it just doesn’t translate. There’s no predicting what color will be reflected on screen. Creatives hoping to shoot IR from now on need to start from scratch and embrace curiosity, experiment, discover, and run tests. Concerning sequential art images, an important consideration was how to connect images that were shot on days with such different conditions and make them all work together.
The arrival of an IR-ready movie camera has broadened the range of visual expression that has never been seen before.
Naturally, it is well suited for music videos and experimental imagery, but it will also create interest when used in TV dramas, raising the question “How did they shoot that?”
Because IR shooting is “manipulating light which the eye cannot see to create a visual world.”
Yuji NUKUI “palette” Director ＆ DP
Production：CINEMA 41 is
Director / Director of Photography
& IR Cinematography Supervisor：Yuji NUKUI
EVA1 Camera Operator & DIT：Yusuke TAMURA
Production Designer / Visual Effects：Kenichi TAKAHASHI（beyonDesign）
Location Support／Decoration：Kiyoshi TAKANASHI
Sound Design & composer：Masaaki ENATSU（marimoRECORDS）
Make up Artist ：kico
Assistant Director：Saki MATSUMOTO
Behind the Scene Videographer ：Hideaki TSUBAKI、Shogo IDOGAWA（Grid）
Drone & Camera Tech. / IR Lamp Productor：Toshihiro TSUBAKI（Grid）
Still Photographer：Mika INOMATA（Grid）
Production Assistant / ▶︎HOTSHOT Designer： Akira ASUKA
Film Editor：Shintaro HORI
Casting： Sadayuki MIZUSHIMA
Best Boy：Emi SAKURAI
Key Grip / Electrician：Akiyoshi CHO, Toshiki NAKAMATSU, Takaoki MISHIRO
Equipment Operator： Eiji SUZUKI（KUROSAWA Film Studio）
Generator Operator：Yuusuke SASAKI（Apache）
Translator： Emi OTSUBO, Hiroyuki HAGA
Special Supporter：Yuwa TAMURA, Mari TAKAHASHI
Special Thanks :
KUROSAWA Film Studio
Senkakuwan Ageshima Kanko
rendez-vous de brocante
Cover Photo： Yuji NUKUI（CINEMAFORCE）
PRODUCED by ▶HOTSHOT