andy lee

thats why I got hired for the movie!!
  I come from a pop video background for 20 years ,I always shoot with gels on my lights , the Director wanted a very modern bold stylised use of colour , he came to me to design the whole look and style of the movie , so I have used different colors and contrasts of colours through out each section of the movie so each scene has a look to it , It was  a very small crew I was DOP and Gaffer ,so I lit the entiremovie myself as well as shooting it .I have big lighting package I brought to the movie of 25 Arri Fresnels , (1k pups , 650s , 300s 150s etc) and kinoflo tube lights 
yes I do use Lee gels all sorts of colours plus I shoot alot at 4000k for interiors the Panny looks better at 4000k than 3200k , just that bit warmer , I shoot day exteriors at 6500k and all my night exteriors at 2500k , yes I do try and use contempory colours there is modern colour palatte in the industry I have embraced alot , this movie has no day exteriors in the whole script , all the exteriors are night time so I got to play with the colours alot which was fun gelling all the Arri HMIs at night I used alot of Peacock Blue and 1/4 blue.
Lighting is a totally subjective subject , I like to treat it as a completely creative tool to help tell the story and a contast in light and dark is also complemented by a contrast of colour in the lighting , why limit your self to what I call boring plain 'white light' , you dont have to just use your lamps as is , gel them with colour and diffusion , most of my Fresnels have F1 diffusion on them all the time , (I rarely use undiffused lamps) ...along with a gel , if you want to play around with this then just get some full CTO and Full CTB gels and start with that , the possibilities are endless!! get creative......

I leave nr and sharpening at 0 because I like the look this profile gives when saturation and contrast are -5 , Panasonic have done an amazing job on the codec for this camera in 4k UHF its the best they have ever done in a small micro m4/3 camera yet, I personally don't believe in adding sharpening in post ever , I just don't do it never have never will , just get it right in camera first , all my tests against the red and Alexa where done on these settings and I like how the final image looks once graded , it works so I'm not going to start sharpening every cut I do in post when it looks great straight out the camera . I like pin sharp images I use the best aspheric lenses I can , the Nikon zooms ate insanely sharp and produce a great usable  image

thats why I got hired for the movie!!
  I come from a pop video background for 20 years ,I always shoot with gels on my lights , the Director wanted a very modern bold stylised use of colour , he came to me to design the whole look and style of the movie , so I have used different colors and contrasts of colours through out each section of the movie so each scene has a look to it , It was  a very small crew I was DOP and Gaffer ,so I lit the entiremovie myself as well as shooting it .I have big lighting package I brought to the movie of 25 Arri Fresnels , (1k pups , 650s , 300s 150s etc) and kinoflo tube lights 
yes I do use Lee gels all sorts of colours plus I shoot alot at 4000k for interiors the Panny looks better at 4000k than 3200k , just that bit warmer , I shoot day exteriors at 6500k and all my night exteriors at 2500k , yes I do try and use contempory colours there is modern colour palatte in the industry I have embraced alot , this movie has no day exteriors in the whole script , all the exteriors are night time so I got to play with the colours alot which was fun gelling all the Arri HMIs at night I used alot of Peacock Blue and 1/4 blue.
Lighting is a totally subjective subject , I like to treat it as a completely creative tool to help tell the story and a contast in light and dark is also complemented by a contrast of colour in the lighting , why limit your self to what I call boring plain 'white light' , you dont have to just use your lamps as is , gel them with colour and diffusion , most of my Fresnels have F1 diffusion on them all the time , (I rarely use undiffused lamps) ...along with a gel , if you want to play around with this then just get some full CTO and Full CTB gels and start with that , the possibilities are endless!! get creative......

thats why I got hired for the movie!!
  I come from a pop video background for 20 years ,I always shoot with gels on my lights , the Director wanted a very modern bold stylised use of colour , he came to me to design the whole look and style of the movie , so I have used different colors and contrasts of colours through out each section of the movie so each scene has a look to it , It was  a very small crew I was DOP and Gaffer ,so I lit the entiremovie myself as well as shooting it .I have big lighting package I brought to the movie of 25 Arri Fresnels , (1k pups , 650s , 300s 150s etc) and kinoflo tube lights 
yes I do use Lee gels all sorts of colours plus I shoot alot at 4000k for interiors the Panny looks better at 4000k than 3200k , just that bit warmer , I shoot day exteriors at 6500k and all my night exteriors at 2500k , yes I do try and use contempory colours there is modern colour palatte in the industry I have embraced alot , this movie has no day exteriors in the whole script , all the exteriors are night time so I got to play with the colours alot which was fun gelling all the Arri HMIs at night I used alot of Peacock Blue and 1/4 blue.
Lighting is a totally subjective subject , I like to treat it as a completely creative tool to help tell the story and a contast in light and dark is also complemented by a contrast of colour in the lighting , why limit your self to what I call boring plain 'white light' , you dont have to just use your lamps as is , gel them with colour and diffusion , most of my Fresnels have F1 diffusion on them all the time , (I rarely use undiffused lamps) ...along with a gel , if you want to play around with this then just get some full CTO and Full CTB gels and start with that , the possibilities are endless!! get creative......

Time ! thats why , shooting multi cam saves time and money and lets you get alot more setups done per day , I had 6 x G7's rigged up on Gini Rigs that I custom made ,
I had 2 rigs with Nikon 80-200mm lenses, 2 with Nikon 28-70mm lenses and one with a Nikon 20-35mm lens the sixth G7 was used on steady rigs and dolly tracks and sliders with various different lenses , all cameras had Metabones XL speedboosters on them to give me a Super 35mm field of view on the lenses , most set ups I would run 3 cameras , a close up, a mid and a wide , the actors loved it as we could do long takes 3 min passes at times and pick off head shots, mids and wides all in one performance .
Some set ups I did run 6 cameras at once as we had some complex special FX shots with prosthetic heads and blood and gore etc .
Multi cam is the way to go , we shot the movie in 44 days , and if we had done it traditionally with just 1 camera it would have taken maybe 60 days plus .
So multi cam saved us alot of time and money , the Panasonic G7s all performened amazing no issues at all and we shot 12 hr days every day , the rigs and camera and lenses got Battle Tested to the limit and all worked beyond my expectations , The G7 is an amazing camera its very very good in low light much better than the GH4 as it has a newer better sensor , I could not have shot this movie without the G7 it let me shoot 3 or 4 stops under for most of the movie , I like that low light Gordon Willis - "Prince of Darkness" look so the G7 let me push that to the limit with no noise and fizz at all in the blacks , its very very good!!

If Willis was the "Prince Of Darkness," you (and your gaffer) are the "Prince Of Party Gel!"
 
Seriously, the stylized color in your narrative project is fascinating.  I really want to see this film!  Some of the images that you posted are impressive, textbook examples on how to peg the saturation and on the use of glints of complementary hues.  Please post the main gels you used (I would guess that you used Lee, being from the UK).
 
For those that missed Andy's earlier posts on the project, here are more screencaps.
 
I am very curious to see how daytime exteriors will be handled.

Time ! thats why , shooting multi cam saves time and money and lets you get alot more setups done per day , I had 6 x G7's rigged up on Gini Rigs that I custom made ,
I had 2 rigs with Nikon 80-200mm lenses, 2 with Nikon 28-70mm lenses and one with a Nikon 20-35mm lens the sixth G7 was used on steady rigs and dolly tracks and sliders with various different lenses , all cameras had Metabones XL speedboosters on them to give me a Super 35mm field of view on the lenses , most set ups I would run 3 cameras , a close up, a mid and a wide , the actors loved it as we could do long takes 3 min passes at times and pick off head shots, mids and wides all in one performance .
Some set ups I did run 6 cameras at once as we had some complex special FX shots with prosthetic heads and blood and gore etc .
Multi cam is the way to go , we shot the movie in 44 days , and if we had done it traditionally with just 1 camera it would have taken maybe 60 days plus .
So multi cam saved us alot of time and money , the Panasonic G7s all performened amazing no issues at all and we shot 12 hr days every day , the rigs and camera and lenses got Battle Tested to the limit and all worked beyond my expectations , The G7 is an amazing camera its very very good in low light much better than the GH4 as it has a newer better sensor , I could not have shot this movie without the G7 it let me shoot 3 or 4 stops under for most of the movie , I like that low light Gordon Willis - "Prince of Darkness" look so the G7 let me push that to the limit with no noise and fizz at all in the blacks , its very very good!!

Time ! thats why , shooting multi cam saves time and money and lets you get alot more setups done per day , I had 6 x G7's rigged up on Gini Rigs that I custom made ,
I had 2 rigs with Nikon 80-200mm lenses, 2 with Nikon 28-70mm lenses and one with a Nikon 20-35mm lens the sixth G7 was used on steady rigs and dolly tracks and sliders with various different lenses , all cameras had Metabones XL speedboosters on them to give me a Super 35mm field of view on the lenses , most set ups I would run 3 cameras , a close up, a mid and a wide , the actors loved it as we could do long takes 3 min passes at times and pick off head shots, mids and wides all in one performance .
Some set ups I did run 6 cameras at once as we had some complex special FX shots with prosthetic heads and blood and gore etc .
Multi cam is the way to go , we shot the movie in 44 days , and if we had done it traditionally with just 1 camera it would have taken maybe 60 days plus .
So multi cam saved us alot of time and money , the Panasonic G7s all performened amazing no issues at all and we shot 12 hr days every day , the rigs and camera and lenses got Battle Tested to the limit and all worked beyond my expectations , The G7 is an amazing camera its very very good in low light much better than the GH4 as it has a newer better sensor , I could not have shot this movie without the G7 it let me shoot 3 or 4 stops under for most of the movie , I like that low light Gordon Willis - "Prince of Darkness" look so the G7 let me push that to the limit with no noise and fizz at all in the blacks , its very very good!!

no you cant do both at once , its either or !!  I have brought this up at meetings with Panasonic as we all would like this feature , the G7 will not do this, I just shot a feature film with 6 x Panasonic G7 cameras , its a great camera !

The OP was asking about the G7, however the GX8 manual also states that you cannot use LIve view at the same time as recording to an external recorder via HDMI, however I was surprised to find that LV does in fact work when recording out through the HDMI. There is no simultaneous recording internally though.
Maybe this is a beneficial bug so don't tell Panasonic!
I was also suprised to find that the Atomos recorder recorded the manual focus assist screen so if you magnify the image in the LV to focus accurately by double clicking the MF PIP box, the Atomos records the magnified image too. This is fantastic as you can zoom in and out just by enabling/disabling MF assist (by tapping) on the live view screen - instant close ups.

no you cant do both at once , its either or !!  I have brought this up at meetings with Panasonic as we all would like this feature , the G7 will not do this, I just shot a feature film with 6 x Panasonic G7 cameras , its a great camera !

no you cant do both at once , its either or !!  I have brought this up at meetings with Panasonic as we all would like this feature , the G7 will not do this, I just shot a feature film with 6 x Panasonic G7 cameras , its a great camera !

some more pics of Metabones XL speedbooster on Panasonic G7s on the set of the Movie Pandora I'm DOP on .  Rigs are by Gini Rigs , Lenses are all Nikon 2.8 zooms
note calbe ties holding lenses front onto lens supprt so follow focus can work without any lens movement . Metabones are very snug tight fitting to G7 and Nikons lenses os no twist movement off follow focus at all . Follow focus is Gini Rigs filpped upside down to solve Nikon reverse focus issue ...this work really well !!







 
ps: this is a set.... thats not sunlight its a whole bunch of Arri 1K Pups behind the windows .

some more pics of Metabones XL speedbooster on Panasonic G7s on the set of the Movie Pandora I'm DOP on .  Rigs are by Gini Rigs , Lenses are all Nikon 2.8 zooms
note calbe ties holding lenses front onto lens supprt so follow focus can work without any lens movement . Metabones are very snug tight fitting to G7 and Nikons lenses os no twist movement off follow focus at all . Follow focus is Gini Rigs filpped upside down to solve Nikon reverse focus issue ...this work really well !!







 
ps: this is a set.... thats not sunlight its a whole bunch of Arri 1K Pups behind the windows .

some more pics of Metabones XL speedbooster on Panasonic G7s on the set of the Movie Pandora I'm DOP on .  Rigs are by Gini Rigs , Lenses are all Nikon 2.8 zooms
note calbe ties holding lenses front onto lens supprt so follow focus can work without any lens movement . Metabones are very snug tight fitting to G7 and Nikons lenses os no twist movement off follow focus at all . Follow focus is Gini Rigs filpped upside down to solve Nikon reverse focus issue ...this work really well !!







 
ps: this is a set.... thats not sunlight its a whole bunch of Arri 1K Pups behind the windows .

some more pics of Metabones XL speedbooster on Panasonic G7s on the set of the Movie Pandora I'm DOP on .  Rigs are by Gini Rigs , Lenses are all Nikon 2.8 zooms
note calbe ties holding lenses front onto lens supprt so follow focus can work without any lens movement . Metabones are very snug tight fitting to G7 and Nikons lenses os no twist movement off follow focus at all . Follow focus is Gini Rigs filpped upside down to solve Nikon reverse focus issue ...this work really well !!







 
ps: this is a set.... thats not sunlight its a whole bunch of Arri 1K Pups behind the windows .

some more pics of Metabones XL speedbooster on Panasonic G7s on the set of the Movie Pandora I'm DOP on .  Rigs are by Gini Rigs , Lenses are all Nikon 2.8 zooms
note calbe ties holding lenses front onto lens supprt so follow focus can work without any lens movement . Metabones are very snug tight fitting to G7 and Nikons lenses os no twist movement off follow focus at all . Follow focus is Gini Rigs filpped upside down to solve Nikon reverse focus issue ...this work really well !!







 
ps: this is a set.... thats not sunlight its a whole bunch of Arri 1K Pups behind the windows .

yes the camera sits on a quick release plate and the lens is cable tied to the lens support to its rock solid for the follow focus , the whole camera lens unit can be quickly taken out the rig if needed with minimal effort .
those are Gini Rigs CANON MK111 cages they are great on the G7 as you have lots of room around the camera for easy access , like the record button ! - doh !

not tied any of them - but I should do as the sigma 30mm f1.4 is very good - I do use it alot of night time exteriors shoots -  alot of the night stuff on Pandora Movie was the Sigma - its is very very good on a Metabones XL speedbooster in EF mount - micro 4/3

the Nikon AIS 28MM f2.8 is one of the best 28mms ever made optically no distortion edge to edge - it is Nikons finest hour! not much comes even close to it - plus long throw for follow focus ,these Nikon AIS lenses (the glass out of them )were used as the base spherical elements in Panavision E series Anamorphics - they are that good!! 
ps - if you are shooting micro 4/3s just stick your 28mm  on a Metabones speedbooster that gives you x0.7 on the back of the lens - saves adding a front wide adaptor which are optically inferior
also consider the killer SIGMA 30MM F1.4 - its APSC only so wont work on a FF camera but is stellar on APSC and Micro 4/3 I use it on a Metabones XL alot
 

Pansonic have just made me one of their Ambassadors this week ! I am working very closely with them now .

not tied any of them - but I should do as the sigma 30mm f1.4 is very good - I do use it alot of night time exteriors shoots -  alot of the night stuff on Pandora Movie was the Sigma - its is very very good on a Metabones XL speedbooster in EF mount - micro 4/3

the Nikon AIS 28MM f2.8 is one of the best 28mms ever made optically no distortion edge to edge - it is Nikons finest hour! not much comes even close to it - plus long throw for follow focus ,these Nikon AIS lenses (the glass out of them )were used as the base spherical elements in Panavision E series Anamorphics - they are that good!! 
ps - if you are shooting micro 4/3s just stick your 28mm  on a Metabones speedbooster that gives you x0.7 on the back of the lens - saves adding a front wide adaptor which are optically inferior
also consider the killer SIGMA 30MM F1.4 - its APSC only so wont work on a FF camera but is stellar on APSC and Micro 4/3 I use it on a Metabones XL alot
 

I've bought the same after I saw your! Which ND filters do you use with it? 

Thank you Andy!