Equipment
The Sony Alpha 58
This year the cameras we are using for filming are the Sony Alpha 58 (A58). The A58 is a DSLR camera which allows us to manually focus shots resulting in our work looking as professional as possible. DSLR stands for Digital Single-Lens Reflex Camera which combines the optics and the mechanisms of a single-lens reflex camera with a digital imaging sensor, unlike traditional photographic film.
The A58 specifically has a Advanced Video Coding High Definition (AVCHD) which records at 1920X1080 (approximately 25fps).
The camera progressively stores recorded frames at half the stated field rate. Unlike it's predecessor, the Sony Alpha 57, the Alpha 58 does not offer 50p/60p video modes. Also unlike previous generation SLT (Single-Lens Translucent) cameras including the A57, A65, and A77, the A58 does not crop the sensor width when video Steady Shot is turned off.
The A58 specifically has a Advanced Video Coding High Definition (AVCHD) which records at 1920X1080 (approximately 25fps).
The camera progressively stores recorded frames at half the stated field rate. Unlike it's predecessor, the Sony Alpha 57, the Alpha 58 does not offer 50p/60p video modes. Also unlike previous generation SLT (Single-Lens Translucent) cameras including the A57, A65, and A77, the A58 does not crop the sensor width when video Steady Shot is turned off.
160 ED Stand Video Lights
We used lights to create atmosphere when recording our dancing scenes. Using a red filter on the light signifies blood death and lust and using the blue filter softened the features of the dancer; this is to help create a feeling of mystery and horror in each shot. The lighting is incredibly important in horror, as it creates the surrounding atmosphere, and also within our horror, we had the added usage of lights combined with light filters to try and make a stage one of two of the colours we use throughout (Blue and Red).
Showtec LED Par 56 Short Eco Black
Along with the 160 ED Stand Video Lights, we also had the great fortune of having access to the production stage lights. These gave us a different effect than the other lights, as with these lights, we had a control panel and so could brighten and lower the light intensity. We could also flicker the lights, or make quick changes to the lighting on camera, as we wouldst have to physically move the light or possibly disrupt the shot to turn it off. We also had filters on these lights, which when on a lower light intensity, could give an underlying background colour, without tainting the entire shot. These lights were essential when it came to filming our dance shots as they are often used on stages and the ability to have one solid spotlight gave us the authenticity of many of our shots.