Vol.04 What is the music video realized in a total of 20 FX6/FX3?[CINEMA LINE Now, a large format world]

DIR/DOP: Ryonori Okamura, shooting and appearing: 20 camera gangs

20台のカメラで撮影するアイデアはどこからやってきた？FX6とFX3、計20台がカメラギャング用に揃えられた――岡村撮影監督にとって"初監督"となるMV「スペシャル」ですが、撮影やカメラを知り尽くした者でないと考えつかない内容ですね。やはりカメラありきで着想を得たのでしょうか？

Okamura: I can say that.This MV show is an expression of a bullet time that is realized with a handheld camera.The Barrett Time itself was a hot topic in the method used in the movie "Matrix" (released in 1999), and I saw it in various places at the time.I thought that if the bullet time could be realized with a hand -held camera, it would be a more live feeling.About 20 years ago when I was still an assistant, I came up with this idea, but at that time it was a very difficult way for equipment.I think it was realized thanks to Cinema LINE's camera.

――20年の時を経て、監督として実現したのは感慨深いですね。

Okamura: I usually work as a movie photographer beside the directors. There are various types of directors, but everyone is really wonderful and a word of respect. The style that the photographer also served as the director was also a boom, but I decided that I wouldn't do the director because of respect. However, when the MV production request came in from Mr. Shibuya, an acquaintance, SUPER BEAVER vocals, the idea of ​​Barrett Time was revived 20 years ago. This time, I had an intuition that it did not match the songs of "Special". So I answer Shibuya, "If you draw a storyboard and like it, you will be a director and photographer. If the direction is different, recommend the director and turn the camera." I did it. After that, I liked the project, and the director decided to do it.

――ステージ上でのSUPER BEAVERによるパフォーマンスのライブ感と、カメラマン達のライブ感で制作された思い切りの良さにロックを感じます。撮影現場はまさにロック！FX6やFX3が縦横無尽にステージを駆け巡る

Okamura: SUPER BEAVER's character is a live band.I am one of them who was fascinated by their live heat.This time, the top priority was to put their character in front.The answer was a chaos feeling taken with 20 FX6/FX3, a gimmick on hand -held bullet time.

――このMVにはもう一つの特徴としてワンカット撮影も挙げられますね。

Okamura: Yes, the consistent theme in this shooting is one -cut shooting.One -cut is a shooting method with a tremendous rock and live feeling.I myself have a vocal experience in the band, so I intend to say that the rock is a word, so I made it with the feeling that "this is the rock I want!" (Laughs).

岡村監督、直筆の絵コンテソニーFX6とFX3だから実現できた「手持ちバレットタイム」手持ちバレットのフォーメンション。FX6とFX3を円陣で構える――スタッフクレジットにはCamera Gang（カメラギャング）として20名のカメラマンが名を連ねています。クレーン、ドリー、ステージ上を縦横無尽に駆け巡るカメラマンですが、担当や導線の設計について教えて下さい。カメラギャングだけでなく、現場にいるスタッフすべてが着用。「360°映り込むのでそうしたのですが、現場の一体感を高めるアイテムにもなったと思います」

Okamura: The photographers who have FX6/FX3, each with black masks, are also the shooting staff and performers.A total of 20 photographers have their own roles and arrangements, such as cranes and dolly on the stage.We made a formation plan in advance, with a 1-20 number, and specifying what to shoot according to the song and what to shoot.

基本フォーメーションは4名1チームで、ギター（Gt）、ベース（Ba）、ドラム（Dr）、ボーカル（Vo）の各バンドメンバーを担当する。1～6までがFX6。それ以降はFX3となる（岡村監督直筆）――冒頭、フレームインするカメラマンのカットに次々と変わっていく演出が面白いですね。

Okamura: The stage is projected in the drawing picture and the live starts. A crane photographer who should not be cut off on the dolly -in screen comes in. The moment you think, "I'm wearing vocals. I can't see it!" This time, the moment the handheld photographer comes into the picture and thinks, "I'm going to wear it again in front of the vocal," switches to the cut of the camera. Furthermore, at the back of the artist, the moment you think, "The photographer is cleared," switches to the vocals that the camera captures. At the beginning, the picture of the photographer that is blown up is a configuration that leads to the next cut. The scene where this cut relays is FX6. There was an aim to impress with a bigger camera than FX3. Why can I see FX6/FX3 and photographers? The reason is that cameras and photographers are art and performers.

FX6はソニーの映像制作用カメラ商品群Cinema Lineに属する製品。35mmフルサイズ裏面照射型イメージセンサー搭載のコンパクトなレンズ交換式カメラ。2020年12月11日発売――今回の機材選びについてお聞かせください。

Okamura: The players in the realization of this MV plan are still FX6 and FX3.There are two points.First, the high -precision auto focus (AF) function.And the other was a compact size that can be shot even with intense movements.I usually use VENICE in my usual shooting, but this MV project is really difficult with VENICE.And this time, the number of cameras to be prepared is too large, so we decided to prepare 20 units in the "Cinema Line" series depending on the model.There are 8 FX6 and 12 FX3.Both were recorded in S-Log3/S-GAMUT3 at 4: 2: 2 10bit.Even if the standards of the record format were different, such as FX6 and FX3, the looks were quite unified, so that part was secure.The lens is a zoom lens SEL1635GM (FE 16-35mm F2.8 GM) was used. G Master was the best in the compatibility of the body and lens, but the AF sensitivity was the best. First of all, the accuracy is amazing. For example, when shooting a scene where a person walks forward from the back of the screen in a long ball and a shallow depth, focusplas (focus professionals) are required to focus on focusing. increase. If it is an AF of FX6/FX3, you can easily catch the subject. I heard rumors from a photographer friend, but when I tested this MV, I felt, "It's really excellent!" It is wonderful that AF works in all directions. I think this result is to analyze the wide area of ​​the screen at a fast hybrid AF at a high density. In addition, the real -time tracking function will continue to chase the subject with high accuracy. It is surprising that it keeps detecting faces and eyes in real time, captures the face of the subject accurately, and keeps focusing even in cases where the angle of the face changes violently like a band. In addition, you can set the focus movement speed finely. This time, the AF transition speed is set at the fastest. Without this function, I think it would have been impossible for all 20 photographers to focus perfectly while moving the camera quickly.

ソニー、Cinema Lineシリーズ最小最軽量のフルサイズセンサー搭載カメラFX3。2021年3月発売。筐体サイズはミラーレス一眼カメラ同等だが、動画撮影がしやすい操作性と冷却ファンを内蔵し長時間の収録をサポート――バレットタイムを撮影するときの狙い、フォーメーションやルールを教えて下さい。

Mr. Okamura: In normal bullet time, it takes a day just to prepare for the setting, such as accurately matching all the cameras on the circumference to the subject, but it is instantaneous in the live. It is a rock idea to do. Nobody would have seen Barrett Time with a dynamic and dynamic. It's a photographer -like method. In the actual shooting, the subject is surrounded by 16 cameras. The design on the stage floor is also a photographer bamily, and it is placed on the circle according to it. At the same time as the camera gang is in the position, the zoom lens is set to 35mm all at once, and the height and angle of the camera are adjusted. This series of movements has been rehearsed the day before, but when it comes to production, it doesn't work. As the lowest line, I was protected to have only the number of millimeters of the lens. The artist told only the minimum necessary to get the center point of the circle, and then performed it as much as possible. If the subject shifts from the center, the bullet time will not be established.

バンドメンバーをカメラギャングが取り囲み、手持ちバレットタイムが実行される――本作品に限らず、撮影内容によってカメラを選ばれると思いますが、お気に入りのカメラはありますか？

Okamura: Every time, the selection of the camera depends on the planning, but as a result, I chose Sony's VENICE (MPC-3610).It's hard to explain in words, but the tone is comfortable.I like the usability.This time, I chose FX6/FX3 that matches the planning configuration.Despite the difference between RAW and S-LOG, I felt something common, such as the obedience when touched with color grading and the cinema-like tone.Cinema Line can be used with confidence when shooting with multiple cameras with different models.

カメラマンが考えた全撮影スタッフのための現場撮影は、まさにライブ！！20人のカメラマンがその現場雰囲気を切り取る――ワンカット撮影でしたが、本番撮影は何テイク実施したのですか？

Okamura: I always take care of the atmosphere of the site for a long time. The atmosphere of the site is reflected on the camera firmly. The photographer will shoot with the amount of heat there, and the expression of the subject will clearly change. In order to make such heat, I decided to finish shooting with only 5 takes for 3 and a half minutes with one cut. The first and second times are practice because neither artists nor photographers know each other's movement. I took the first take as a production in the third time. After that, we had a break and was provisionally edited on site for verification verification. As expected, the ballet time was expressed firmly, and I felt a response. In the last fifth take, everyone's voltage is also at its peak. After all, this last take was the best, everyone's energy was full, and I was able to shoot one cut of the soul.

――ライブそのものですね！楽しんで撮影をしている現場の雰囲気がすごく伝わります。

Okamura: There are a lot of lovable photographers and staff, and I wanted to make an overwhelming mass video recorded with 20 cinema cameras. Cooperation with the groove created by everyone, it is combined with the band's lock groove, increasing the heat of the site. As a back theme, I wanted 20 photographers and each staff to experience the work of shooting and reconfirmed the site. I'm doing this job because shooting is originally fun. 2022 is just a 10 -year milestone as I declared independence as a photographer. This MV is for SUPER BEAVER, but it was also a site for friends related to all the shooting. In my experience, experiencing a fun site makes you like shooting more, and even if it happens, it can help you. Above all, the fact that everyone participated in the fun is in the lyrics, but it is a human being. I can only thank SUPER BEAVER and the leading FX6/FX3 for realizing a lot of thoughts and realizing the project.

▶Sony Cinema Lineの詳細◀Vol.03 [Cinema Line～今、広がる大判の世界] Vol.05(近日公開)▶

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