We are here in L.A. outside of David LaChapelle's studio. We are preparing for a pretty big
and interesting shoot.
My name is John Schoenfeld. I'm David LaChapelle's digital tech.
I love working at the studio because strange things can sometimes happen.
We are finishing up on a few weeks of set building and set design for a still and video shoot.
The song is very sort of futuristic. It is called The Evening in Space.
This is the first stage set.
A sort of Egyptian revival, art-deco look. And then she goes into her dressing
room over here.
And then this transforms into the interior of a rocket ship.
Through this window we see this beautifully painted backdrop.
Even though I'm using digital I still think and my process is very analog.
That's why this isn't done on green screen.
We show the miniature going through space on a wire
and then we wind up with a space ship here.
This is the bottom of the alien's castle. So she goes inside,
kind of like Hansel and Gretel going inside the candy house.
I'm going to take a look at the kit and see what we have. We have two bodies.
We almost always use two bodies and that can be for either reasons
of having one focal length lense on one of the bodies and a different focal length on
the other or literally, we have to be shooting two scenarios at the same time.
Both have the IQ180 on them.
Basically, what I am going to do right now, is just to go through the kit
and make sure it is organised and make sure we have all the gear that we need.
I think we most likely are going to stick on the wider sets. Maybe the 55mm and 45mm.
Sometimes there is an opportunity to get on the 28mm which is really an amazing lens.
With David's sets we can really start to see everything
and push in quite close and we are not losing too much to distortion
because of the quality of the lenses.
As you see in the studio, there is a lot going on,
so we don't have these big open spaces to get back on a longer lens
and so we will use the shorter lens for this.
You think you will want to shoot at all on this one?
Yeah baby! Haha!
So you will walk down slowly to the mic for the intro and the song.
Roll sound!
I always push people to the point of near death and exhaustion.
It is never comfortable being on one of my photo shoots
but you look comfortable in the end and that is what counts.
Then you forget all the pain and suffering that went into it.
We are all on our feet, we are all working really hard. It is not just the person
in front of the camera. In the end you have this beautiful thing that you all created together.
Arms out!
It inspires people, it moves them, they like it, and that feels good.
Yaaaay!
Okay, guys, let's go! Brett, Mara, let's go!
We are going to integrate a lot of stills into this,
so we will do a wide shot and then do some tight stuff while
the film crew takes lunch, and I got to sneak in and try to get my shot.
So John, the first we will do is a whole stage kind of thing.
And then we will keep moving in. Closer and closer.
Where is that 55mm?
Guys, go to your marks. We are doing stills.
Every lens has its place and as you explore,
you might try the 110mm, then you try the 55mm, then the 45mm.
Then when you land on a lens, everything is working right, it feels right in the image.
And that is a nice thing to go through with David as well, finding that final lens.
We usually end up on that lens and shoot the whole set or shot on one lens.
Then we will bring this one in all the way to the Sphynx.
Wow, Daphne, beautiful! Don't move.
Arms out, Daph! Beautiful.
Arms to the side down. Eyes on me. Right there.
Good. Hands down a little bit. Chin down.
Eyes on me. Cool. Perfect.
Let's get a vertical.
We are on a slightly wide angle. Do you to go to an 80mm?
No, I like the wide.
Daph. Good. Eyes on me. Chin down. Good.
We have just done two shots today, but everything I've seen though Capture,
looking at the previews in the software, looks amazing.
They are going to make spectacular final images.
Okay, it's a wrap, guys, go get lunch.