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Kendy Ty has a new camera!


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Guest d5f8611fa423d0e628c016f9d5c93b47

He must have read Andrew's article and decided to upgrade!

 

He shot this one on a 5DIII (h264 it looks like) with a Zeiss 25mm f2:

 

 

It's my favourite of his so far I think. And yes - the better camera does improve his filmmaking!

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The guy has so much style.  And it's all about framing, and his use of natural lighting is crazy good.  Goes to show that you don't need 30 primes or zooms, just one prime, one camera, all the story is in his head.  Amazing.

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I met this guy years ago, he was making a film part of a show I was working on, called Concrete Circus for Channel 4 in Britain.

 

He was a cool guy from what I remember, from Paris, and his film was my favourite one that came out of the lot. Danny Macaskill was on it as well. I think I even have some of the rushes from that show saved on a hard drive somewhere at home.

 

Actually just realised I'm still friends with him on Facebook all these years later…

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I met this guy years ago, he was making a film part of a show I was working on, called Concrete Circus for Channel 4 in Britain.

 

He was a cool guy from what I remember, from Paris, and his film was my favourite one that came out of the lot. Danny Macaskill was on it as well. I think I even have some of the rushes from that show saved on a hard drive somewhere at home.

 

Actually just realised I'm still friends with him on Facebook all these years later…

I remember that, so which short did you shoot or where you on the production team?

Here's the one Kendy did & it was the most stylised of the films - the skateboard one was nice too:

 

 

You can find the others here:

http://www.redbull.co.uk/cs/Satellite/en_UK/Article/Concrete-Circus-Videos-021243068366531

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I was DIT'ing/Data Wrangling for the production team. I was only on it for a few of the shoots. Was just starting out really, had only been working in the business for a year at that point. But the director Mike and the Line Producer Rach are super cool people.

 

Although the production coordinator I worked on that show with is still one of my best mates to this day, and I'm going to the pub with him for his birthday tomorrow!

 

Just checked and I'm still friends with that Keelan Phillips on Facebook as well. Maybe I should have a Facebook clear out.

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Guest d5f8611fa423d0e628c016f9d5c93b47

The better camera doesnt improve his filmaking. His filmaking ability was always there. It just enables him to get even nicer shots :)

 

Dear god! :angry: I'm the one who introduced Kendy to this forum in the first place, as an example of how talent is more important than gear!!! I just meant that personally I think the 5D look added a lot to the film (which would no doubt have been great too if shot on his 550D). You can't polarise these things. As Andrew always says, it all matters: story, composition, lighting, directing ... and camera.  :P

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Guest d5f8611fa423d0e628c016f9d5c93b47

I don't see that much of a difference between the 5D and his older stuff, but that's probably because I get completely lost in the story.  Which, to me, is the point of good cinema.  (heresy?   :D)  

 

But that "story" is made up of images, and those images came from a 5D. Just because you weren't pixel peeping it doesn't mean the image "quality" wasn't affecting you and your response to the film. If this magically separate thing called "story" is the point of good cinema, then why don't we just read books instead of watching films? Would this film be as good if shot on a Barbie-cam (because it's this magical separate "story" thing, which has nothing to do with the image, that matters right)? It's mission impossible to separate the elements of a film like that. It's art, not science Kendy is giving us.  :P

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