Filming a Filmmaker: My Perspective on Zhao Liang


NOTE FROM JONAH: This post was originally written for Dan Chung’s DSLR News shooter blog.

On a recent assignment for the New York Times I was tasked with filming a filmmaker.

I’d taken portraits of photographers before, but I had never filmed a filmmaker. Its hard not to have a little bit of anxiety when you know the person you are filming not only knows what you are doing, but has their own opinion on how to do it.

The idea was to create a behind-the-scenes video that describes how Chinese filmmaker Zhao Liang makes his films.

The first step was getting my hands on his films, which wasn’t the easiest thing, given his films are not available in China. Your first question might be — why aren’t Zhao’s films available in China? If you get your hands on one of them the reasons for their unavailability will become pretty clear. For the most part, the content of Zhao’s films is not exactly the type of material the Chinese government wants you to see.

I have discussed previously that I am not necessarily a documentarian, but as a visual journalist working with cinematic storytelling the two fields are certainly not too far off. Regardless of how you work with video, I believe Zhao’s films can teach us all something.

On my first screenings, I though Zhao’s films didn’t necessarily have “beautiful photography”. Even from the samples of the films I used for my video, you can tell most of his films are not multi-million dollar productions or maybe not even multi-thousand dollar productions. These are truly grassroots-style productions that often use gorilla-style photographic techniques.

While the photography isn’t necessarily beautiful, it is in fact extremely powerful, which in itself, I would consider beautiful.

As an image maker, I spend so much of my time trying to compose beautiful images that I had to spend some time thinking about why I felt these images were so powerful. I think the answer comes in the relationship between your content and your images.

Zhao’s films show a truthful view of China, rarely seen. The raw video footage makes the truths and injustices he reveals even more real. Let’s say that Zhao was about to use jibs, dollies or even regular tripod use while filming — the visuals would feel way more contrived. There is some tripod use, but a large majority of this footage is handheld and there’s quite a bit of shakiness to it.

These things are a bit counter-intuitive to a lot of us who spend half our day thinking about gear; however, the effect is one that should be applauded. Not only does Zhao let the footage speak for itself in a digital age, the raw nature of the images actually reaffirm the stories he is telling.

I would describe Zhao’s films as having a “slower pace.” He’s not in a rush to tell his stories. You can tell this — even by the mere fact he spent 12 years filming his movie “Petition.” However, I believe the slow pace matches that of his characters’ realities. This pace creates the opportunity for the audience to actually experience the reality of his subjects.

To visualize this Zhao has left in some less-than-exciting images and scenes. However, these images are real. There are seemingly very few contrived scenes which many other filmmakers set up to help tell their story.

Videos with an interesting story, but that have boring or disconnected images are clearly not good. Videos with amazing imagery, but broken storylines are also not good. In video journalism and documentary film making, the relationship between our images and stories is what separates great productions from the pack. Whether this means holding back on production level like Zhao has or going the opposite direction — when our images and stories work together, our videos become infinitely more powerful.

And in a world where gear means so much its refreshing to see Zhao showing us that you don’t need a million dollars to make a film with a million dollar impact.

The New York Times, Ai Weiwei and Zhao Liang

While my portion of this project was a “behing the scenes” look of Zhao Liang’s productions, New York Times reporter Ed Wong’s lengthy profile shows a much different side of making films in China. Wong reveals how many believe Zhao has now “switched sides” in order to continue to make films in China. While Zhao is still very respected, his cooperation with the Chinese government on his recent film Together as well as a decision to pull out his film Petition from the Melbourne film festival has cost him friends, including the controversial artist Ai Weiwei, who only recently was released from prison.

The Times included a video from Ai Weiwei along with mine as part of the Ed’s story as well as photography by Beijing based photographers Chi Yinsim and Shiho Fukada.

For journalists, cinephiles, videographers, photographers and documentarians — the piece is very interesting and I encourage all to check it out.

– To read New York Times reporter Ed Wong’s story on Chinese filmmaker Zhao Liang click here.
– To find Zhao Liang’s movie check out dGenerate films web site here.
– To read a follow up to Ed’s story, check out New Yorker writer Richard Brody story “CHINA’S CULTURAL EVOLUTION” here.

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Read more.. Wednesday, August 17th, 2011

Kessel on Kessler Crane


NOTE FROM JONAH: This post was originally written for Dan Chung’s DSLR News shooter blog.


Frequently I’ve been doing more and more solo shoots.

No assistants or colleagues to help setup shoots, sound, light or mitigate the weight of my kit. The problem is, creating cinematic journalism requires some kit. So for me – when it comes to solo video production, its all about “bang for your buck.” Or in DSLR terms, how to create the greatest visual impact, with the smallest amount of kit.

For news videos I want to mix some type of mechanical movement, with natural movement, with stationary shots. This means I need a tripod, a shoulder rig and one more device for mechanical movement. After a recent assignment, someone in an email wrote to me:

“Really nice shooting on the piece. Did you lay down track for those slow dolly shots, use a jib, or use some new toy I don’t know about?”

And thus lies my answer to achieving mechanical movement for the solo shooter — the Kessler Pocket Dolly v2.0, Traveller size. What people are doing with this product is truly amazing. There are countless examples of beautiful work with this dolly; however, on a run-and-gun shoot that doesn’t allow much possibility for planning, this tool is excellent. In a matter of 30 seconds you can be setup and ready to shoot in any environment.

Here’s Kessler’s Pocket Dolly v2.0 Traveler Size a week earlier during a shoot in the deserts of Inner Mongolia. This product is simply amazing. The length of this slider (26.5″) fits perfectly on the side of my F-Stop Gear Satori bag (or inside of the bag if you need to).

The slider itself weights 5 lbs. and balances quite nicely with a Manfrotto 190Cx Carbon Fibre Q90 4-section Tripod (weighing in at 3 lbs.) – which is the smallest/lightest tripod I can find that will support the weight of the Kessler’s slider and a Canon 5D Mark II with a Canon 70-200 f/2.8 lens on it.

Kessler Pocket Dolly, Manfrotto Tripod, and F-Stop Satori Bag

When you have the slider and tripod on the side of the bag the weight balances out well and you can continue to shoot stills if you need. Here I am a couple months ago shooting stills in India with both tools on the side my F-Stop bag. So … its portable, useful — and guess what, you can even break it.

Ok, so you don’t want to ever break a piece of gear, but in case you do, this might be the product to break – because it was designed for people like me who might shoot in some less than controlled environments.

I just finished a film for the Asia Society called At the Desert’s Edge. The short film documents the trials and tentative successes of a collaborative effort between locals, governmental initiatives and NGOs fighting to combat China’s growing deserts by planting vast barriers of trees.

However, while shooting and traveling my slider got a couple nicks in the rails. Shooting in sand storms, traveling in less than comfortable conditions and constantly moving — things like this are bound to happen.

Nick in Kessler Crane Pocket Dolly

Although these nicks don’t look so bad they will effect your shots. The above photograph is taken with a Canon MP-E 65mm 1-5x Macro Lens at about 4x — so this nick is almost invisible to the naked eye. But Kessler’s dolly was made with insertable rails which in a recent email they told me, is: “one of the reasons we went to the insert, so dings like this could be repaired.”

Kessler’s labor costs are very reasonable, and for about $35 dollars my slider is being repaired. Other sliders I’ve seen would need to be completely replaced in the case of a dent or nick.

By no means – are Kessler’s products “breakable” or even easy to break. However, the reality of video journalism is that that you can’t control your environment, the people around you — or how airport security handles your kit. So beyond the beautiful movement you can achieve with the slider, the versatility in build is a huge bonus.

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Read more.. Wednesday, August 10th, 2011

Short Suit Productions 短西服产业 Bi-Weekly Newsletter No.3 动态 半月刊 第三期

Short Suite Productions

Short Suit Productions Bi-Weekly China DSLR video list is here! Videographer Jim Fields has gathered some great links here. For more info on this, see this post.

Short Suit Productions has begun a biweekly roundup covering Chinese film, language and culture. This is a bi-weekly newsletter that aims to cover these topics at least marginally, providing relevant information for people living in China, China watchers, or perhaps just people with an interest in film (specifically, in DIY and DSLR film production).

Film 电影


Here’s a simple article about the sometimes confusing term – Depth of Field. Aimed at an amateur audience, but offers some hints for the beginners. I don’t agree with the guy’s statements about using shutter speed to control light intake if you have a set f-stop – most professionals would use ND filters in that situation – but this still offers a good basic rundown for most people.

现在有一篇关于有时叫人混乱的东西的文章—景深。以业余读者为目标,同时这篇文章也为好多初级者提供了不少有效提示。我不是特别认同一些读者关于利用快门速度去控制一组光圈光量的相关评论—大多数专业人士在这样的情况下可能都会采用ND滤镜—–但是通常文章所述的方法对大多数人而言其实是可行的。

180 Degree Shutter – Learn It, Live It, Love It
On that note, here’s a note about shutter speed on DSLRs and the 180 degree rule- this is slightly more technical… basically, the gist of it is, if you multiply your cameras frame rate by two, you should set your cameras shutter speed to be as close as possible to that number. This will ensure that the quality of your motion blur has a standard “film look”. Changing the shutter speed in either direction will result in either a staccato or a blurry look – both of which can be used if desired, but shouldn’t be approached blindly.

这篇帖子里提到了与单反快门速度以及180度规则相关的信息—这帖子稍微有些高科技……基本上,它的要点在于,如果你把相机帧频加快一倍,你同样需要把你的快门速度调整到相应的、可以匹配这种情况的标准。这样可以保障所得到的画面可以拥有标准“电影”一般的模糊地动态画面。不论怎样调整你的快门速度,你都会得到断章效果或者模糊动态画面—如果你想要二者之一,可以考虑采取相关的办法,但是不要盲目尝试。

Panasonic GF3 Hands-on Review
This is a review of the Panasonic GF3, which is a tiny, large-sensor DSLR camera that accepts any micro 4/3 lens – which basically means putting a lot of DSLR abilities into a very small, easy to use package. I often tell people that in China, being a filmmaker, you have issues if it APPEARS that you’re shooting with professional equipment – but if you’re just mucking around with a small DSLR, you’ll almost never have issues. However, these small cameras are able to shot high quality HD footage – which creates a situation where you can shoot run-and-gun, no permit stuff that looks good without invoking the ire of any local security people.

这是关于松下GF3的一个评述,GF3是一种机身轻巧、感光好、能够与任意一种微4/3镜头兼容的相机—这表示所有单反的功能都被融聚在这样一个小巧又便利的机器里。我经常告诉中国的朋友,作为一个电影人,如果你带着非常专业的设备出现在片场的话,你一定会有好多麻烦—但是如果只是拿着一个小机器到处转悠,你肯定不会有任何麻烦。当然,这些小照相机还能拍摄高清画质的镜头—这样你就能一边儿走一边拍,不需任何许可更不会惹怒任何地方的保安人员。

David Simon / Eric Holder Public Exchange
Eric Holder, the former US attorney general, made a plea for David Simon (the creator of the Wire) to make a sixth season the show. David Simon then responded: “The Attorney-General’s kind remarks are noted and appreciated. I’ve spoken to Ed Burns and we are prepared to go to work on season six of The Wire if the Department of Justice is equally ready to reconsider and address its continuing prosecution of our misguided, destructive and dehumanising drug prohibition.” Burn.

艾瑞克▪霍德尔,前美国总检察官,向大卫▪西蒙(电视剧“火线”的创造者)提出请他拍摄第六季电视剧的请求。随后大卫▪西蒙答复道:“非常感激艾瑞克总检察官的提议。我和我的同事爱德讨论了相关问题,如果司法部门准备重新考虑并撤销对于‘火线’误导大众、破坏社会和谐、非人性化的禁毒行为等的起诉,我们愿意继续第六季作品的筹备。”

Canon 44-250mm f/4-5.6 IS II Lens for Cropped Sensor DSLRs
Pretty versatile lens for Cropped Sensor DSLRs (like the Canon 60d, for instance). Seems like a good lens that Canon just released for prosumer DSLRs. Little slow for my taste, but cheap. Image stabilizer looks good too.

适用于可变感光器类单反相机(比如佳能60D)的多才多艺的镜头。看起来佳能是为了准专业单反而打造了这个镜头。对我个人而言这个镜头有些不够用,但是相当物美价廉,画面稳定性也算相当不错。

DSLR Solutions Announces a Simple, Inexpensive DSLR Follow Focus
DSLR Solutions has created a pretty cool, small, inexpensive system for setting focus points and switching between them without a bulky, rails-based follow focus system. Seems like you might be trading off a bit of ergonomics and stability, but regardless, seems like a cheap and effective tool for a lot of low-budget DSLR productions.

DSLR Solutions为了避免又大又复杂的跟焦器所带来的不便,于近期推出了一个非常酷、小巧又敏感的调整焦点的系统。这一系统可能会牺牲一些人体工程学的舒适性和稳定性,但是对很多经费有限的单反摄影师而言是个值得考虑的好东西。

Jag35 Monitor X
Jag35 Monitor X is a “great, affordable viewfinder” which basically works by magnifying the screen of your DSLR so you can more easily see what’s in focus in what’s not. It fits most 3″ screens, including 5D mk2, 7D, 60D, T2i, and the Nikon D7000. Just bought this to use with a 60D, pretty excited for it to arrive here in China.

Jag35监视器是一种“强大但大多数人买得起的监视器”。它可以通过放大单反的显示屏来轻而易举实现您对焦点的监控。它适用于所有3英寸显示屏,包括“无敌兔”,7D,60D和尼康D7000。本人刚刚买了一个Jag35就是为了配我的60D,非常期待他快点来到中国。(再次要强烈感谢乔纳▪凯塞尔给我介绍了这么好的产品)

VBAG Camera Support Concept
This is a great concept for a camera support that is a bag filled with tiny pellets, and a vacuum system that can suck all air out of the bag once you’ve set the camera in a desirable but difficult location (on top of a fire hydrant, hanging from a beam, etc etc). Can’t believe no one has done this yet- very cool. Definitely a pretty penny, but potentially worth it for medium budget productions.

这是对于相机支持的一个伟大构想:这个设备拥有一个真空系统,可以在你将相机放在一个异常理想但比较“艰苦”的位置(比如消火栓上面或者房梁上等等)时把相机内所有的小颗粒吸出来。尽管尚未有人真正把这个构想变为现实但是,这是个挺酷的想法。虽然这只是个小东西,但是对于中等预算的作品而言是个好帮手。

Canon EOS 3D Rumor
When will this camera be released? Noone knows. Speculation from Cinema5d.

这款相机什么时候才发售啊?不得而知。先从Cinema5D开始幻想一下吧。

I think there’s a filter on your filter on your …
This is an interesting piece on Gizmodo comparing cheap and expensive ND filters, through the bizarre test of stacking up to 50 filters atop one another. Interesting from a quality perspective, though it begs the question – if you only have one or two filters on your camera, what sort of compromise are you really making? Anyway, good food for thought and some pretty funny pictures of 50 filters stacked atop one another.

Gizmodo近日发布了针对便宜和昂贵的灰镜的对比评测文章—通过不断叠加多至50个滤镜的奇怪的测试,他们得到了一些结论。从质量角度而言非常有趣,但这个评测也引发了话题—如果你的电脑只配有一两个滤镜,在相关的需求面前你该何去何从呢?不管怎么样,这是一个有意思的评测文章,而且50个滤镜落在一起的图片看起来听有意思。

Dark Magic (Lytro) Camera That Let’s you Adjust Focus in Post
This is a STILL camera that ACCORDING TO MARKETING MATERIALS allows you to adjust the plane of focus in post-production. Apparently it works by using a “new type of sensor” that “gathers much more information about light coming into the camera than the sensors found on all types of digital cameras”…. naturally this evokes some skepticism from a lot of people. Can you adjust aperture size in post? What does wide or shallow depth of field mean for a Lytro camera? However, this is a newsletter about new video/photo developments, and this certainly counts as one – we’ll see if it stands up to the hype. One can salivate endlessly about the potential for video projects – being able to selectively pull focus during post would be a dream for DSLR shooters, if it is in fact a real feature.

这是一款根据市场需求应运而生的、让你在拍平面照片时刻调整焦点的静态相机。显然,这种相机是通过一种“将所有光源”集中起来的与大众型数码相机有区别的“全新感光器”来实现共做的。这自然引起了很多人的怀疑。比如你能不能在后期调整光圈,对于光场相机而言景深的深浅有何意义?当然,这只是一条关于视频/照片相关发展的一则新闻,我们要最后看到它是不是一项炒作,随后才能把它算在其中。一个人对视频制作会永远心潮澎湃—对于一个单反摄影师来说,能在后期剪辑师有选择性地调整焦点简直是个梦想,如果能在不远的将来成为现实就太牛了。

Zhang Ziyi’s favorite films
Sort of bridges the gap between film and Chinese news… here’s a list of Beijing-born Zhang Ziyi’s favorite films. Surprised to see “21 Grams” among her favorites.

来点儿介乎于专业与中国之间的新闻…..这里是生于北京的章子怡最喜欢的电影清单。能在她最喜欢的片子里看见“21克”的名字,有点儿让人吃惊。

China/Chinese 中国/中文

‘Plastered’: Beijing’s Original T-Shirt Brand
Article about Plastered, the popular clothing store here in Beijing (and apparently elsewhere). Say what you want about the store, but they have a pretty successful operation, and certainly seem to be a staple here in Beijing.

一篇关于创可贴,北京(也可能那儿都有)最有名的服装店的文章,你可以对于这个商店畅所欲言,但是他们的运营可谓相当成功,甚至可以算得上是北京的“特产”。

7 Words for Condom in Chinese
Here are seven words for condoms in Chinese. They all reveal something unique about Chinese perceptions of sexual health – with words like “insurance cover” and “hygiene cover” serving as terms for condom. Interesting when the language does so much to reflect a culture.

在中文里,避孕到有七种说法,它们都分别涉及到中国人对性健康的独到的观点—比如说会用‘安全套’、‘卫生套’来代表避孕套。能够从语言来体现文化是一个很有意思的现象。

John Huntsman Speaking Chinese Becomes Hindrance to Evangelical Republicans
We wrote last week about how John Huntsman has been (awkwardly) speaking Chinese on the campaign trail. However, as Newton’s third law states, every action has an equal and opposite reaction – which is this case, came in the form of invoking the “Manchurian Candidate” fears of a wide swath of evangelicals. Kind of fun to watch this play out.

上一次我们写到了约翰▪亨斯迈在宣传片里说中文(蹩脚的)。然而根据牛顿第三定律的阐述,每一个动作都会产生大小相等、方向相反的另一个动作—就像这个事儿,产生了“满洲候选人”恐惧一般的、充满大片色彩的效果。真希望快点儿看到这个事儿的结局。

崩溃 bēngkuì To crumble, collapse, to fall apart
This word is appearing EVERYWHERE. If you listen to any talk show on the local radio you’re guaranteed to hear this at least once or twice. Comparable to 给力 in its ubiquity (is that a word?). Here are some example cases:

bēngkuì To crumble, collapse, to fall apart 支离破碎,土崩瓦解。这个词儿貌似随处可闻。如果你收听当地广播节目,你最少能听见这个词一到两次。比起‘给力’,这个词(能算得上一个词么)更算得上是无处不在。先来点儿示例:

Accidental Chinese Hipsters
NOTE: I’m not endorsing what some might call the borderline racism of this site… however, I’m offering it for your consideration. Make your own decisions. This is a blog that documents something called “accidental Chinese hipsters,” primarily around SF. It is basically based on the phenomenon of the complete lack of attention certain Chinese immigrants in the bay area pay to Western conceptions of “fashion”… which sometimes coincides with the supposed “hipster” instinct to flout fashion conventions. Anyway, the humor of the site derives from the face that you have these staid Chinese immigrants wearing outfits that would absolutely seem appropriate on the average Urban Outfitters shopper. Check it out if you dare.

注:我并不认同有人称这个网站是个边缘种族歧视网站……我只是把这个网站给你们看看,然后你们自己做过判断。这个博客里有好多被称为“中国人意外地追时髦”的内容,可能大多数是在旧金山拍到的。大多数片子都是关于在旧金山海湾地区中国移民盲目追从西方“时尚”的现象拍摄的,这其中大多所谓的“时髦”人都没能本能地正视所谓的时尚惯例。不论如何,这个网站的幽默之处在于,那么多看起来稳重的中国移民穿着看起来更适合商店到够穿着的服装。如果你有胆量还是自己亲眼看看吧。

You are a CANNIBAL and you didn’t even know it …
(To be read in the voice of Dwight Schrute): FACT: If you read the ingredients of a loaf, of bread, you’ll often see an ingredient called L-cysteine. FACT: This amino acid is contained in most commercials breads, pizza dough and pastries. FACT: This amino acid is harvested from hair that is gathered from the floors of barbershops and hair salons around China.

(请用德怀特▪施鲁特的声音阅读以下文字)事实:如果你查看面包的成分你会经常看到一种叫做L -半胱胺酸的成分。事实:这种成分在多数面包、披萨饼面团及糕点中都存在。事实:这种成分大多来自中国大部分的美发店或发廊的地板。

Chinese Works Build 1-meter Wooden Road on Vertical Cliff Face
Can someone PLEASE go make a short doc or video piece about these guys?

谁愿意给这些人拍个纪录片或者短片么?

Chinese Actors Play Muscle Role in Construction Gig
200 Out of work Chinese actors were recently picked up from the gates of the Beijing film studio and hired for 60 yuan to work a day as security in Fengtai, basically to fend off Fengtai locals angered about subway line construction in their suburb. 60 yuan per day isn’t a bad rate, though.

近期,200名无业中国籍演员聚集北京电影制片厂大门前,等着接受一天六十块钱薪酬、在丰台扮演保安的工作,他们并不是去表演,而是要去以真正保安的身份来平息丰台地区民众对于当地地铁建设的不满。不管怎么样,一天六十块钱其实还凑合。

Jobs/Gigs/Misc 工作/演出/其他

1) Short Suite Productions is looking for a 3D video artist /VFX specialist to do some work – specifically, someone who can animate 3d transformer models. If you provide the 3d rigged models, or if you already have them, that’s a big plus. Email shortsuitproductions@gmail.com with samples and typical rates for a 30-second piece for more information. Thanks! Hope to hear from you soon!

短西服产业现在正在寻找一位志同道合的3D专业技师/特效专业师完成相关合作工作-特别是能够完成3D变形金刚建模及后续工作的专业人才。如果您可以提供3D操纵模型,亦或您已拥有相关变形金刚的3D模型,那就更完美了。有意者烦请将您的作品样片、30秒相关水平制作报价及您的简介一并发送邮件至:shortsuitproductions@gmail.com 非常感谢!敬候佳音!

2) Short Suite Productions recently got contacted by a friend at a large (unnamed) tech company has a marketing position that just opened up locally in Beijing – they’re seeking candidates with a marketing/entrepreneurial background, who can communicate with 100% fluency in English and intermediate proficiency or better in Chinese. Local and foreign hires both acceptable. Working here in Beijing. Email shortsuitproductions@gmail.com (include your background and English/Chinese resumés) for more information.

近期,我的一位就职于庞大高科技公司(未涉及名称)的朋友正在全北京寻找可应聘市场相关职位的人才—他们需要有市场/企业相关背景、可以讲流利英语(中等水平也可以)也可以说中文的人才。不论是外籍人士还是中国人都可以应聘,工作地点在北京,有意者烦请邮件至shortsuitproductions@gmail.com(请附上您的中英语个人简历及个人简介)。

3) Short Suit Productions is looking for DSLR shooters to work on a wide range of projects. We’re seeking one-man-band operations where the person has a camera, a few lenses, audio equipment, and the tools to use them all as a one-person crew for a varety of corporate and events footage. Please send your reel and list of equipment and CV to shortsuitproductions@gmail.com.

短西服产业工作室现诚招单反摄影师来协作完成大量拍摄工作。我们急需“身兼数职”型的人才—希望您有自己的机器、多个镜头、录音设备以及所有相关拍摄设备以便您能独立以“个人团队”的形式协助或完成拍摄工作。有意者请发送您的个人简历、作品及设备清单至shortsuitproductions@gmail.com。

That’s all for now! Hope to hear from you soon!
以上全部!希望能够尽快得到您的回复!

Jim Fields
Short Suit Productions
短西服产业


Short Suit Productions | 短西服产业
Email / 电子邮箱: shortsuitproductions@gmail.com
2011 Reel/短西服产业2011影片集: YouKu Vimeo
Phone/手机: (English/英语: +86 139 1079 7627)
(Chinese/中文: +86 186 1005 2800)

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Read more.. Monday, June 27th, 2011

The Chinese Year of the Rabbit Explodes into Being



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NOTE FROM JONAH: This blog post was originally written as a guest post for Dan Chung’s DSLR News Shooter.

As 1.4 billion Chinese people celebrated the Lunar New Year yesterday — cameraman Paul Morris, journalist Kit Gillet and myself packed our bags to capture the remarkable pyro-chaos that welcomed the Year of the Rabbit.

According to ancient Chinese mythology, an evil spirit known as Nian (年) would terrorize villagers on the first day of the new year. To protect themselves, villagers would create loud noises to ward off the evil spirit. Millennia later, the Chinese still uphold this tradition by setting off fireworks continuously for a two week period.

Jonah with Slider and 5D

Unlike in the West, where firework safety is paramount, safety is far from people’s minds in China, where fireworks are set off within high-rise compounds, tossed on the floor, set off in narrow alleys, and even thrown at friends in the spirit of good humor.

7D in Firing Range

To capture the spirit of the Spring Festival, the three of us hit the alleys, streets and roofs of Beijing to capture the pyrotechnique display put on by the Chinese people. The truly remarkable aspect of the events that take place on New Year’s Eve is that all of the fireworks you see in the video are bought and set off by regular Beijingers – a perfect visual representation of the overwhelming size of China’s population. This creates a unique organized display of chaos which lights up the sky and echoes through the streets of China.

Jonah with slider

Our goal in filming the event was to show this organized chaos and grab some colorful frames. We were packing …

During hours of close-up filming, we were subjected to flying debris, ear-splitting explosions, and even the occasional stray firework that would ricochet off lenses, nearby cars and even my ass.

Paul with Rig

Technically shooting at night can be a bit tricky. Our ISOs ranged from 400-3200. We found with higher ISOs a lot of images came out with a cooler color temperatures or blue color casts. In the case of shooting fireworks, this isn’t such a bad thing. Most of our frames had a large variance in color anyway. With a few of the close-up shots involving rapid firework explosions the cameras had issues with the rolling shutter.

Sounds and music for this production were purchased from www.stockmusic.net.

Jonah M. Kessel is a Beijing-based freelance visual journalist and interactive art director specializing in photography, video, news and Web design.
Paul Morris is a Beijing-based freelance assistant producer and lighting cameraman.
Kit Gillet is a Beijing-based freelance journalist and documentary maker.

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Read more.. Friday, February 4th, 2011