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 We are very proud to announce that Red Epic cameras supplied by Panavision Australia are the first Epics to be used to shoot not one, but two Australian feature films, Mental and Drift.
Mental is P.J. Hogan's Queensland-based semi-autobiographical film starring Toni Collette and Rebecca Gibney and was shot by Don McAlpine ACS, ASC. It's a tale of how a charismatic yet somewhat crazy nanny is randomly employed to be the carer for five teenage girls when their mother is hospitalised.
In an excerpt from an interview he gave us recently (the full version will be published in the next few weeks) Don told us why he chose the Epic and Panavision for Mental.
Don said, "Mental is a script by P.J. Hogan that I read six years ago and decided I must shoot. It was finally set up as a small budget film. PJ's development of performance on camera indicated that a low-budget digital camera might mitigate the high cost of stock. At the time I was also privy to Bob Prime's brilliant assessment of all single chip cameras potentially suited to cinema production. The Red 1MX's capacity to record on a 4K chip and its ability to take its place in the top selection impressed me. Using my long-term relationship with Panavision, I was able to secure two of the newer Red Epic cameras for this production. The Epic, now with a 5K chip, also enables me to use a 2.4 anamorphic crop similar to using a Super 35 crop on film."
Don used his two Red Epic cameras as A and B cameras on Mental with the majority of the shooting done on location and some scenes shot at the Gold Coast Studios.
Commenting on the reliability of the cameras and his relationship with Panavision Don said, "The cameras have performed very well. We were very lucky that Panavision, with their extensive global reach and local inventory, were able to supply me with two cameras at very short notice and thus help a production with an extremely limited budget get made. Panavision were able to bring all the elements together and integrate the technology into their existing infrastructure without a hitch – in large part due to their two excellent and very experienced Queensland-based engineers. They also helped me with my request to use Panavision Primo Zooms and Primes that I have used so successfully many times before. As I mentioned, I have a long and successful history of working with Panavision and I find that they always over deliver and do whatever it takes to help make a production happen. I also find that during a shoot their support and after sales service is second to none."
Panavision MD Martin Cayzer said, "We are very proud that Red Epic cameras supplied by Panavision Australia are the first Epics to shoot Australian feature productions - Mental and Drift. The cameras we supplied Don on Mental came directly from international commitments around the world that had only wrapped days before and are very much in keeping with our aim of bringing the latest technology to our shores as soon as it is available. After a 50 film relationship between Don and Panavision we are also delighted to be working again with such a consummate professional."
Tech Box
Cameras: Red Epics
Lenses: Panavision Primo Primes and Zooms
Geoff Hall ACS used a mixture of ALEXAs and Epics from Panavision on Drift, Morgan O'Neill's surfing action film featuring Sam Worthington set in the wine and surf haven of Margaret River, Western Australia. O'Neill's script, set in 1972 is based on a true story and deals with two passionate surfers who aim at starting a surf-based industry.
Geoff, used the ALEXAs for all his land-based shots and the Epics for the numerous water shots said, "I needed to work with a company who could supply very specific kit for this project as it is a film that has a large surf component requiring the latest cameras, in order to get the results I was after. I got everything I wanted from Panavision on time without compromise. It was a very tight 32-day shoot and we were shooting day scenes every day. The ALEXA gave me another half hour shooting time over film - I loved it and the Epics gave me surf footage shot at frame rates that I couldn't get with any other camera. We didn't have a single problem. I have known all of the people that I have been dealing with at Panavision since I started in the business, too many years ago and they are always a big help in making a production happen, whatever the requirements are. Paul Jackson in particular has been of great support to me."
Tech Box
Cameras: ARRI Alexas and Red Epics
Lenses: Cooke and Zeiss Primes, Optimo Zooms
All at Panavision are extremely excited to be taking these first Epic steps with such acclaimed talent and as part of our ongoing commitment to the local Australian film industry. Look out for full stories on Mental and Drift and more on the use of our cameras on other Australian productions in the near future.
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