Two men, two chairs, two drinks, a fire and a pack of cigarettes.
Jack Borsodi and Eric Kessler.
For me this is a touching and very real glimpse into a very real and honest friendship. One that I hope all of us can feel an affinity to in some way within our own lives and relationships.
Shot during my initial filming for my epic Kessler Crane documentary I have been working on for far too long, after we filmed this I knew it really should be something that could stand alone on it's own.
Part of it will feature in the soon to be finished documentary.
Eric Kessler is one of the closest people in my life and I think within these 9 minutes (yes 9 sorry!) you really get a glimpse into just how wonderful a person he is. Not part of the brief for the films I was hired for. Just what naturally came about of course. Eric has give me total creative control over what I am making. Foolish of course!:)
What interests me, no matter what it is I am filming, be it a corporate, fiction, music video or as my previous Vimeo video, a beauty piece of an Island, is that oh so important human element. For it's this which is at the core of everything and is something I strive to find and connect to in my work.
TECH: Shot on so many different cameras. Not a clue on what glass for the older stuff. Newer stuff on Canon 1DC and Sony F55 were the usual culprits. Sigma 18-35mm F1.8, Tamron 24-70mm F2.8 and loads more!
Fireside cameras were the Sony F3 and Panasonic AF101. The AF101 moved from front on to dirty two shots on either side. F3 changed from 2 shot to front singles. I believe two primes were used.
Additional fireside camera for fire slow motion was the RED Epic
Eric Kessler's interview camera was the Sony F55
B-Roll of Kessler factory shot mostly on the Canon 1DC and Sony F55. Older factory shots and Jack going to work shot on the Panasonic AF101.
Here is a challenge. Can you name what shot was on each camera?! :)
Graded with a Fuji Velvia Super 16mm stock in FilmConvert. 10% off with code bloom at gopb.co/filmconvert
Super 16mm stock was used as it softens the image and adds larger grain. The Panasonic struggled enormously with the fireside filming and couldn't really get exposure. It also didn't have a profile to even touch the Sony F3's S-Log. I did have a low light profile in there I believe but it cost dynamic range and detail.
I had to bring down the quality of the F3 shots to make them closer to the AF101. FIlmConvert was my total saviour though as it put this gorgeous super 16mm grain and curve over it. Lovely!
The final doc is coming very soon. Again it was shot on the cameras listed above. The majority on the Sony F55 and Canon 1DC
Audio was two Sony UWP radio mice with Rode Lavs. Eric Kessler interview was a Sanker COS11. All recorded in their respective cameras.
Music courtesy of the super talented Niklas Aman. A composer you simply MUST check out. www.niklasaman.com
I have used him before, most notably on "Portrait of a boxer" and on my next film "The Magician's Apprentice". Do check him out. You won't regret it!
Philip Bloom is a world-renowned filmmaker who, for the past 10 years of his 30-year career has specialized in creating incredible cinematic images no matter what the camera. Some of his most iconic work was created with Canon DSLRs.