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ALEXA LF拍摄澳洲Target广告片
“后来ALEXA LF和Signature Prime的出现把我们的视觉效果提升到了另一个层次。这台惊人的摄影机有着顶级的自然色彩，还有这套成像平滑柔和的镜头，是这种现代风格广告片的完美之选。”
—— 摄影指导 斯特凡•达西奥
澳大利亚第一支使用ALEXA LF和Signature Prime镜头摄制的电视广告已经出炉。由知名摄影指导斯特凡•达西奥（Stefan Duscio）搭档两位导演杰西•欧菲尔德（Jessie Oldfield）和亚当•墨菲（Adam Murfet）深入拜伦夏尔地区的雨林中为澳大利亚Target拍摄。
达西奥在谈到对机身和镜头的选择时说：“我在网络上看到ALEXA LF搭配ARRI Signature Prime拍摄的样片时就觉得它们太适合用来拍时尚和美妆的项目了，我个人爱用中画幅相机，那种惊艳的立体感，只有依靠ALEXA LF和ALEXA 65这种大影像传感器机型才捕捉得到。”
这一次给达西奥提供技术支持的是澳大利亚本土的租赁公司Cinoptix，他回忆说：“多亏Cinoptix，他们非常积极也足够幸运，能够第一时间拿到全球首批出货的ALEXA LF系统。杰西•欧菲尔德和亚当•墨菲两位导演一直都是ALEXA的忠实用户，能用上最新款的ARRI摄影机，他们跟我一样兴奋。ALEXA影像传感器的自然风格和Signature Prime镜头的柔润成像结合在一起，让人一眼就爱上，最终效果令我们惊喜万分。”
尽管ALEXA LF有一个不同以往的大画幅影像传感器，但不光是达西奥和两位导演觉得新机型手感熟悉，连周边工作人员操作起来也得心应手。
达西奥说：“我们的摄影组立刻就上手了，它的外形规格和工作方式跟ALEXA SXT机身差不多。而且我很幸运，这一次有我长期合作的斯坦尼康摄影师贾斯丁•贝瑟（Justin Besser），在高低起伏的山坡、丛林和小溪边，他驾驭得四平八稳。”
Target广告片的斯坦尼康摄影师贾斯丁•贝瑟
让达西奥、导演还有很多团队成员满意的不只是ALEXA LF的工作流程和过去的常规模式无异，无缝衔接，还有Signature Prime镜头起到的画龙点睛的作用。
他说：“我们都喜欢47mm这支Signature Prime，不管是拍景还是拍人，它的成像非常真实，人像特别漂亮。而且，它带来的浅景深是Super 35机身用更长的镜头才能拍到的，但现在我们获得同样景深，又保有47mm的宽视角。我们大胆尝试戏剧化的运镜，还有转场过渡，要欢快灵动，人物角色从一个场景轻快穿梭到另一个场景，ALEXA LF和Signature Prime应付我们这样的拍摄工作完全没有问题。”
Target广告片的摄影大助西蒙•威廉姆斯
摄影团队走遍新南威尔士和昆士兰地区，到处勘察农场、溪流、海滩和森林场景，最后才选定拜伦夏尔。在这里，ALEXA LF和Signature Prime依然默默发挥着自己的优势。
达西奥最后总结：“在广告界，冬季就要启动次年春夏的宣传准备工作，所以反季拍摄是常常会遇到的问题。这次我们专门在澳大利亚找了一个温暖明媚、绿意盎然的地方拍摄。亚当、杰西，还有制片人凯特•孟席斯（Kate Menzies）考虑周全，他们很早就邀我加入勘景工作，给广告片的视觉风格定下基调。后来ALEXA LF和Signature Prime的出现把我们的视觉效果提升到了另一个层次。这台惊人的摄影机有着顶级的自然色彩，还有这套成像平滑柔和的镜头，是这种现代风格广告片的完美之选。”
照片版权：
Stefan Duscio
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ARRI ALEXA LF shoots for Target in Australia
The first Australian television commercial captured with an ALEXA LF with new Signature Prime lenses has been shot in the rainforests of Byron Shire by popular DP Stefan Duscio and directed by Jessie Oldfield and Adam Murfet for Target Australia.
Explaining his choice of camera and lenses Duscio said, “I'd seen test images online of the ALEXA LF matched with the ARRI Signature Primes and believed it would be a perfect fit for fashion and beauty work. I think the introduction of larger sensor cameras like the ALEXA LF and ALEXA 65 go some way to achieving that beautiful three-dimensional rendering of medium format stills cameras that I also love to shoot on.”
Duscio’s technology partner on the Target TVC shoot was Australian rental house, Cinoptix. He continued, “Thankfully Cinoptix were fortunate and progressive enough to have one of the first ALEXA LF and Signature Prime packages in the world. Co-directors Adam Murfet and Jessie Oldfield regularly shoot on the ALEXA and were as excited as me to try out the latest addition to the ARRI family. The naturalism of the ALEXA sensor combined with the smoothness of the Signature Primes were an easy sell and we were all thrilled with the results.”
It wasn’t just Duscio and the directors who welcomed the familiar feel of working an ARRI ALEXA, albeit one with a larger sensor, the wider crew also took to the new camera with great ease.
He continued, “The size and handling fit into our camera department seamlessly as it felt very similar to working with an ALEXA SXT body. I was also lucky enough to work with a regular collaborator and extremely fit Steadicam operator, Justin Besser, as he guided the camera relentlessly through uneven hillsides, forests, and creek sides.”
Steadicam Operator on the Target TVC, Justin Besser
Duscio, the directors, and many crew members commented on not just how seamlessly the ALEXA LF fit into their regular production methods, but also how the Signature Primes provided the very high quality icing on the cake.
He said, “We adored the 47mm Signature Prime as it rendered the world and our cast very realistically and beautifully for portraiture work. It also afforded us the depth of field of a longer lens, though with a much wider field of view than you'd come to expect on a length such as a 47mm. We tried to move the camera dynamically whenever possible. We also wanted our transitions to be playful and clever, transporting our talent from location to location. The ALEXA LF and Signature Primes handled all of this flawlessly.”
