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ALFA London showreel from ARRI Rental on Vimeo.

Test images shot on London's South Bank with ARRI Rental's exclusive new large-format anamorphic lens series - ALFA.

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Transforming Brand Identity With Industry Leading Companies

There is no stronger method of transforming brand identity than through video and animation. We worked with ACL through their rebrand to develop and produce content that represents the new company direction and look.

This case study will show how brands and organizations can monopolize on visual media to drive their brand forward in marketing, advertising, communication and presence.

Client: Alarm Communications Limited

Industries: Hospitality, Stadia, Healthcare, Heritage, Education, Commercial

Brief: To create an engaging showcase reel that visually demonstrates ACL’s dominance as industry leader, while introducing the new branding through animation and visual style.

We had previously worked with ACL under their old branding, so it was refreshing to see the approach that the marketing team took with the design agency to develop the look books and identity.

Our role from there was to develop the looks further by producing a range of animated branding examples for the company directors to choose from. We provided a look book of logo animations that varied in style and speed.

How Does The New Brand Style Reflect The Footage?

Much of our previous footage included hints of the old ACL branding; van livery, uniform, lanyards, so this footage needed to be re-shot. We took advantage of this opportunity to hone in on the new sleek image guidelines.

Our research for the animation styles included inspirations from Apple and Kane Group, both of which employ organic and very smooth movement. By analysing the core ACL messaging, legacy and industry dominance, typographic animations were designed to further reinforce the new branding.

We also spent time with the new ACL branded fleet to capture photographs of them on location, these are used internally and across the ACL website and social channels.

Presenting ACL engineers in the new uniform was a key part of this new media, in which we visited a number of locations where ACL operates to capture team members at work. This included Northwick Park Hospital, where ACL manages the security systems across the hospital.

The Evolution of the Brand

ACL works in a number of sectors across the UK, providing fire& life safety systems, security systems and building energy management systems to hundreds of locations. Part of the new brand identity looked at differentiating these services as clients can use one, all or a customization of the offerings.

The create differentiation between the services, we worked with the updated ACL logo and colour palette to design the animations.

Bringing Everything Together

Once we had captured all of the new footage and animated the new graphics, this was all combined in the edit suite and cut together into the new branding reel. After some timing tweaks with the animated overlays and client revisions, we presented the directors and marketing team of ACL with their new video.

The response was fantastic, and the company as a whole were very impressed with the new look and style of the brand. The video reflects the professionalism and industry standing that ACL has worked towards for the last 35 years.

The video has been used across the ACL website, LinkedIn, in tender and proposal presentations and for internal use too.

We are really pleased about the positive response to a long term project like this. Our way of working directly with the marketing team ensured smooth, straight forward communication of ideas throughout the development and production process.

Culture and Community

Visual identity, brand promotion and marketing doesn’t stop there. Our collaborative role with ACL also led us to capture a range of images at their corporate event held at Mercedes Benz World. This kind of imagery reinforces the positive culture of the team members, a great attribute for recruitment and careers.

Why You Should Use Video & Animation To Transform Your Brand Identity

The answer to that is simple. Think first impressions.

Your brand should be wowing new customers, new recruits or even your existing audience base. If it doesn’t give a bold first impression, how can your audiences remember who you are and what you do?

This leads into the story that you create. It should be concise and representative of your brands image and style. Whether that is promoting a service, showcasing a product, training or recruitment materials.

Lastly, is it fit for purpose? Your content should work for you across all platforms and mediums. We take extra care to understand exactly what clients need. Whether that is video for website banners, social media (and all of the associated formats), a range of images for print, animation for training. The list goes on, but all have one thing in common; they are all part of the brand identity.

Working With Us To Begin Your Transformation Is Easy. Simply use the contact form below to send us some information about what you might need

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Dastaan Proof of Concept from Adam Plowden on Vimeo.

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Dastaan Proof of Concept from Adam Plowden on Vimeo.

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Filming In 5.7K Blackmagic RAW With The Panasonic EVA-1

With 14 Stops of Dynamic Range and The Ability To Output 5.7K RAW Video, Let’s Look At The Benefits of Filming In Such A High Resolution On The Panasonic EVA-1 Cinema Camera

Looking back at one of my most popular blog posts dating back to 2015 ‘Out Filming With The Sony a7S and Atomos Shogun in 4K’, I thought that it was about time to put together a new review looking at a nifty high resolution setup, with the addition of Blackmagic RAW.

I have been filming with the Panasonic EVA-1 for a number of years. As an all-round cinema camera capable of internal 10-bit 4K, super slow motion and exceptional colour science. The additional feature of external RAW recording in 4K and up to 5.7K in BRAW was why I chose the camera over the Sony FS7, which is of course a fantastic camera in it’s own right. Please do keep reading, there is some essential information and links later in this article.

5.7K Blackmagic RAW Footage From The Panasonic EVA-1

Before we look deeper, let’s first check out some sample footage from the EVA-1 and VA 12G setup. When the camera sends the RAW signal to the VA, it is always in V-LOG.

For the best viewing experience, click the cog and watch in 4K.

The Land Where The Belties Roam Free

The footage in the video above was shot in Constant Quality Q5 RAW compression with a mix of 5.7K, 4K DCI and 2K DCI (upscaled).

The VLOG linear correction LUT was first applied to bring back the contrast in the image. Minor corrections to the exposure, highlights, shadows and white balance were then made to aid in matching the contrast and colour. Lastly, a creative LUT was then applied to make the rich heathy colours or the bracken and evergreens pop.

There is some noticeable noise in the up-scaled 2K 200fps footage as you would expect, but I thought that it would be beneficial to include it in this example.

Why The Blackmagic Video Assist 12G Over The Atomos Shogun Recorders?

For ease of writing, I’ll be referring to the Blackmagic Design Video Assist 12G 5-inch (such a mouthful) when I mention the ‘video assist’ or VA 12G for the rest of this piece.

First off, I’m writing this just after the Atomos Ninja V Pro Kit update which enables up to 5.7K ProRes RAW recording via the SDI module. That overall package costs £990.00 (inc VAT) if you want the whole package. For existing Ninja V users, the Atomos SDI module is just over an additional £190.00. To compare, the VA is around £700.00 plus the cable.

Both the Video Assist and the Atomos Shogun 7 (now Ninja V Pro Kit) can record up to 5.7K from the EVA-1. I decided to use the Blackmagic VA 12G 5-inch model purely because of it’s size. I find 7-inch monitors too large and heavy on smaller cameras, and puts it off balance somewhat. The Video Assist 5-inch is a superb external monitor (considerably better than the EVA-1 viewfinder), with all of the regular features such as scopes, frame guides and LUT overlays. As you can see in the photos, rigging or handholding the EVA-1 and VA 12G 5-inch is a comfortable setup size in hand, and not as heavy as a 7-inch monitor would be.

The key differences between the VA and Atomos recorders are:

Recording format: BRAW/ProRes and DNx on the VA.

Recording format: ProRes RAW/ProRes and DNx on Atomos.

Recording media: SD card or external drive on the VA.

Recording media: On board, removable SSD on Atomos.

One NPF type battery on the Atomos Ninja V Pro.

Two NPS type batteries on the VA and Atomos Shogun 7.

Filming in RAW and in VLOG

To make it much easier to switch between system settings, I highly recommend setting up shortcuts that are stored on an SD card in the camera. This tip was given to me by Jonathan Warner. I set user button 3 to a settings memory which recalled the 7 common RAW/HDMI system settings saved. That way it is much easier and considerably faster to navigate between 5.7K, 4K, 2K 200fps etc while shooting.

Two Stops Over for VLOG? Not Quite.

Unlike Slog which often requires the exposure to be raised two stops over 0 to increase detail in the shadows, VLOG is a bit more sensitive. When I have previously shot in VLOG I have made this mistake and often over exposed the highlights in the process. Depending on the composition, I used the full screen waveform monitor to set the highlights to between 50% and 70%. This retained detail in the highlights while providing enough information to increase detail in the shadows. As you can see from the images below, and the belted Galloway cattle with their white and black coats, this was a good example of retaining said detail.

I would of course recommend testing and trying it out for yourself, but of course be mindful of what you are filming. For scenarios with a wide dynamic range, yes use VLOG, but remember that RAW will only be recorded in VLOG externally; no internal proxies to a REC.709 colour profile.

The footage is really nice to work with, and I did come up with a few alternative looks for the video that showed how flexible it is. The brown bracken and trees with no leaves lended itself to a warmer, autumnal feeling. It could also be a colder scene with a bleach bypass look. I would be curious to know what version you prefer.

Any Secrets?

I used two lenses for this; the Sigma 18-35 F/1.8 and 70-200 F/2.8. Despite the pleasing bokeh, I never shot wide open to retain better image sharpness and depth of field control. The wider shots on the 18-35 were mainly at F/2.8 and F/4, while the telephoto shots on the 70-200 were also at F/4 and F/8 for the shots with much more depth.

Aren’t RAW Data Rates Huge?

Yes, they can me huge, but even RAW is going through some kind of compression. The Video Assist has a number of Blackmagic RAW flavours to choose from in Constant Quality and Constant Bitrate settings. Both have varying levels of compression and therefore varying file sizes too. For this video I chose to use the Constant Quality Q5 setting to make the resulting file size manageable. I had no need for huge files, and truth be told I haven’t the storage for it either! Please check out the table below for a breakdown of common RAW formats and the resulting amount of footage that can be captured on a 128GB V90 SD card and a Samsung T5 1TB SSD drive.

Working With Blackmagic RAW Footage In Premiere Pro

First off make sure that you have the sidecar file installed, which allows Premiere Pro to work with the BRAW file format. They are not recorded as common ProRes files which can be opened in VLC or without converting.

When imported, the clips have a sub menu allowing the editor to adjust the Master file. Depending on camera metadata or clip setting selected, the white balance, colour spaces, exposure, colour temp and tint can be adjusted. Your primary adjustments can be made here.

In the Colour workspace and Lumetri, you can then apply the linear curve, further adjustments, creative looks and secondary corrections. This is particularly useful for matching clips.

When it comes to playback and rendering, it is comparatively faster than internal camera files which are encoded in .MOV or .MP4 formats (much more compressed). This did make the post process more enjoyable and less time consuming.

How Far Can You Push and Pull The Blackmagic RAW Footage?

First off this depends on whether you have sufficient information across the image; in the shadows, mid tones and highlights. If that information hasn’t been recorded due to incorrect exposure setting, it won’t be possible to ‘recover’ it. To give you an example of this, I have selected a clip which has sufficient detail across the image with no crushing or blowing out. It should give you an idea of noise in the image when the exposure is adjusted.

Again, make sure that you set to watch the video in HD.

IMPORTANT NOTE

You must choose the correct SDI to micro-SDI cable for the VA 12G 5-inch model, as it is DIFFERENT to the original 3G cable.

You will need THIS type of cable - Micro BNC to Male Full Size BNC. Not THIS type of cable - Male BNC for Blackmagic Video Assist. So be very careful that you purchase the correct one.

What About Other Formats and Resolutions?

The different sensor readouts and whether you are outputting via SDI or HDMI will determine the range of formats the EVA-1 can send to the VA 12G to record. I have done my best to list them all below.

So, What Are The Benefits of Shooting in RAW and 5.7K?

As the title question poses, what are the benefits?

First and foremost is the full sensor readout in a higher resolution. Yes the camera can record a down-sampled 4K image internally but at a considerably lower data rate. You can take the full resolution of the EVA-1 and pair it with a manageable RAW file for post. That goes for the other resolutions available too, albeit a small crop in 4K DCI and 2K DCI.

There is also the 14 stops of dynamic range to make use of too, which if exposed correctly can be fully taken advantage of.

If you don’t really need RAW, you can always output HDMI from the EVA-1 to the VA and record in ProRes 4K/25, 4K/50 et al (no crop). That is a solution that I used I have employed in the past.

But I get 6K from the Blackmagic Pocket Cinema Camera 6K, with RAW internally?! Yes! But you also don’t have internal ND’s, professional audio and a form factor that suits multi-use filming scenarios.

Final Thoughts

I will be selective when choosing to shoot in BRAW. Extensive post workflow, yes. Wider dynamic range situations, yes. Productions that don’t necessarily warrant the storage or colour work, probably not. That being said, if you are being selective with your shots or are in a controlled environment, you will have more time to compose the lighting, movement and talent. That will result it a more efficient flow of image capture, where the amount of data handled can be reduced.

As I use BRAW more, I will make sure to update this post and our social channels. Keep up to date by giving us a like or follow. You can also ask any questions, or leave comments at the bottom of the article too.

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Snow Day from Adam Plowden on Vimeo.

What did you do?

Shot on Panasonic EVA-1 and Sony a7III.

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Fast Turnaround Video Production For Local Government

Epsom and Ewell Borough Council chose APVideo to produce a professional quality instructional video for businesses, with an extremely fast turnaround.

How fast? 5 days from filming to delivery.

Client: Epsom and Ewell Borough Council, Environmental Health

Production: APVideo

Location: Unparalleled Hair and Bourne Hall

Production Brief: Informative, conside and delivery of a clear message.

With many businesses such as hairdressers, barbers, nail bars and tattoo studios continuing to operate during the tiered lockdowns, it is extremely important for the Environmental Health team to ensure these businesses are operating safely.

It was our task to produce a video that the Environmental Health team can send to busineses and host on websites. This needed to be completed within a very short timeframe to ensure the content has maximum reach and impact.

Production Location & Setup

We were very lucky to have access to an empty hair salon which served as our filming location for the mostpart. Unparalleled Hair was spacious and provided lots of natural light. We ensured that minimal disturbance was caused to the salon, while cleaning down touch points and furniture upon wrapping.

To ensure a balanced exposure and colour temperature, we used the PiXAPRO LED200B as a soft key light, while the Manfrotto LYKOS LED panels provided additional fill and rim lighting.

The footage was captured in 4K on the Panasonic EVA-1 and Sony a7III to allow for down-scaling and cropping in post-production. This provided 10-bit 4:2:2 internal colour sampling in the EVA, which is wonferful for filming both people and details.

On the audio side of things, the Sennheiser AVX MKE-2 system was deployed for crystal clear audio both for the on location footage and the voice over recording.

Production and Voice Over Recording

The pre-production planning included clear shot lists while ensured that the filming would be fluid and efficient with regards to time and movement. Scene by scene we worked through the shots, starting with the main dialogue to camera as this required the most space.

We continued through the shot list capturing the required content; demonstrating the correct practices that businesses should be practicing to keep everyone safe. This invoved being strategic with camera positions to keep social distancing.

The voice over recorded was conducted separately at Bourne Hall with a member of the Environmental Health team. The script was followed to allow for any additional voice over to be used, while recording with multiple microphones for the best quality.

Post-Production

Time was of the essence, so post-production begun immediately after the filming. This started with syncing the two cameras used for the dialogue and demonstrations, and then mastering the voice over audio which had been recorded separately.

Our detailed pre-production and production planning aided in the editing speed, as each shot and scene had a specific place in the timeline. We also captured some b-roll of the local area that was used during the introductory part of the video.

By filming in 4K and down-scaling to HD, we retained a fantastic image quality that can be seen throughout the video. Minimal colour correction and grading was required; colour adjustment to match both cameras, some contrast enhancement to enrich the details and dynamic range.

Social distancing is one of the best ways to reduce the risk of spreading COVID-19, so to illustrate this, along with core information, we also created animated graphics.

Delivery and Reception

We were able to complete and deliver the production within 5 days for Epsom and Ewell Borough Council. A timescale that allows the client to distribute the video across businesses and media channels before closing for Christmas. This was a key factor in choosing APVideo, as our background is turning around extremely high quality video content in a very short space of time.

The video was very positively received by the Environmental Health team and other members of the Council, which we are extremely pleased about.

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Felsted Online Introduction from Adam Plowden on Vimeo.

The third series of online learning courses for Felsted School launched this week! We are extremely proud to have worked closely with Daniel Emmerson and Kirsty Fraser to assist in the remote filming and production of the animated Global Studies and English Language lessons.

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Wilsons Social Teaser from Adam Plowden on Vimeo.

Wilsons are the largest independent vehicle sales and service company in the UK.

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Wilsons Social Teaser from Adam Plowden on Vimeo.

Wilsons are the largest independent vehicle sales and service company in the UK.

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Bluebell Label Luxury Face Mask Campaign: Behind The Scenes

Take a look behind the scenes of our latest branded video production for Bluebell Label, luxury face masks.

Client: Bluebell Label

Production: APVideo

Location: Kings Head Members Club

Production Brief - Style and Aesthetics.

We were tasked with capturing a mixed bag of styles for the campaign which included a classic faded look, a high contrast look and a casually stylized look. These would match each face mask design and pair with the individual location too.

With those aesthetics taken into consideration, we came armed with a hazer and creative lighting effects.

The content was to be produced for online viewing and promoted advertising on Instagram. This lead to us capturing and recording the footage in Prores 4K to enable multiple format delivery in both 16:9 and 9:16.

The Location - Kings Head Members Club, London.

What a unique place to have access to. A location recce was undertaken to assess logistics, further enhance the narrative concepts and compositions.

The Kings Head Members Club is separated into rooms, each with their own unique decor, style and colour scheme. We planned the specific product shots and styles for each room respectively.

The Production Day

Rigging began from 12 noon, with the Panasonic EVA-1 and Blackmagic Design Video Assist 12G paired together. The support and grip gear was by Manfrotto, and lighting by a pair of Astera Titans and the PiXAPRO LED200B III. We begun the filming in the saloon bar with models Natalia and Ella.

We created a hazy effect that complimented the warm lighting and subtle tones. Practical lighting was used in the background to create a blooming effect.

The Butterfly Room

The Butterfly Room was a really interesting location to shoot, limited in size but with lots of detail. We wanted to find a way of incorporating the hundreds of butterflies encased in glass, while using the leaks of natural light through the window shutters. The choice of face mask colour and costume was complimented by a violet colour from the Titan lights.

High Contrast In The Polar Bear Room

Attitude X Style was literally on the table in the polar bear room. Nearing the end of the shooting day, this setup was simple. Create a high brightness and high contrast look which was achieved by using the PiXAPRO LED200B III. We made use of the main feature of the room; a huge taxidermy polar bear that loomed over the models table. Something very unique.

Post-Production & Look Creation

All of the rushes were recorded in VLOG for the widest dynamic range, particularly beneficial for the dimly lit scenes of the saloon bar and the high contrast of the polar bear room. Using Lumetri and LUTs created for the Varicam, we were able to pull back the detail across the image and apply specific effects to each scene.

Delivery and Reception

The deliverable media was formatted in both 16:9 (landscape) for playback on the Bluebell Label website and social platforms, while the 9:16 (portrait) versions were re-framed for use on Instagram Stories; a core part of the Bluebell Label advertising campaign.

For the brand website we also delivered a selection of 4K images from the footage, maximizing on the content available for Bluebell Label to use across their marketing.

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Bluebell Label Looks from Adam Plowden on Vimeo.

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Bluebell Label Looks from Adam Plowden on Vimeo.

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Bluebell Label B X HYPEBEAST Teaser from Adam Plowden on Vimeo.

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Bluebell Label Teaser from Adam Plowden on Vimeo.

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Bluebell Label Classic Trailer from Adam Plowden on Vimeo.

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Bluebell Label Teaser from Adam Plowden on Vimeo.