Panasonic Professional Video Products - Applications: HD Quanda

Just wrapping up production, the full-length documentary “REVOLUCION: Cuban Photography Since the Revolution,” shot with the Panasonic VariCam, tells the story of post-revolutionary Cuba as experienced by four distinct generations of still photographers. The photographic image was Fidel Castro’s indispensable tool for capturing the hearts and minds of the Cuban people. On the eve of the revolution, Cuba was largely illiterate. Castro hand-picked a group of of photographers and declared, “We’ll tell the story of the revolution in pictures.”

Award-winning documentary filmmaker Nicole Cattell is the producer/director of “Revolucion,” shot on location in Cuba, Mexico, Miami and Los Angeles. Her director of photography is Chuy Chavez, one of Mexico’s premier cinematographers.

Chavez recently shot one of the most successful features in Mexico’s history, “Zurdo.” He also shot Miguel Areta’s digital video hit, “Chuck and Buck,” which was at Sundance in 1999. His additional feature credits are numerous and include “Star Maps,” “Tortilla Heaven,” “Hearsay,” “Gringuito” and “Buenvenido Welcome.” Chavez has also shot numerous commercials for international clients including Mitsubishi, Sears and Office Max. Experienced in shooting HD, Chavez discusses the “Revolucion” shoot, his first with VariCam.

Question: What interested you in being the Director of Photography for this project?

Chuy Chavez: My own father Gregorio’s background is in still photography, so perhaps it was in my blood to like the project. Some of my most influential teachers are the same age as the photographers we profiled. Nicole is a great director. And I was very excited about shooting a full-length project in HD.

Question: Having decided to shoot in HD, why did you select the VariCam vs. alternative cameras?

Chuy Chavez: Nicole was interested in shooting the project on high-definition because of the format’s stunning image quality. She’d been exposed to HD while producing her last documentary, and had wanted to do a feature in HD ever since. Nicole was disposed to using the VariCam, and I was very eager to explore the camera’s capabilities. I had some experience with the CineAlta camera, having served as an assistant DP to my dad on a recent project, and could immediately appreciate that the VariCam was lighter and afforded more freedom of movement.

Question: How did the camera perform on location in Cuba?

Chuy Chavez: The camera performed beautifully. Operationally, it was so easy to use that I didn’t have to devote any time or thought to technical matters--I could think creatively. Worrying about depth of field or film stock isn’t an artistic approach. Because such concerns were removed, all my concentration was on creative matters, which was essential in terms of creating a strong narrative that would engage the audience’s empathy.

The portability of the camera was a huge asset. I was able to spend a lot of time with the photographers--our subjects-- and take advantage of their spontaneity and impromptu moments. I don’t think I would have been as successful or nimble had we shot 35mm film.

Question: Did location challenges--heat, humidity, difficult terrain, etc.--present themselves?

Chuy Chavez: Last summer, we shot for 15 days in Cuba, and it was hot and humid each of those days. I encountered no problems with the camera’s performance. I have seen other HD cameras shut down by humidity, but not the VariCam.

Question: Please give us your opinion on the camera's dynamic range? Color rendition?

Chuy Chavez: In terms of skin tones, I was presented with a whole palette of blacks. In short, I often needed to make less contrast. I found it a simple matter to adjust contrast on the camera, and whether I had people of color in the foreground or in shadow, the detail was excellent. I loved how the camera handled color. You can really bring the colors out, and they’re not so sharp, they’re desirably grainy. In no regard do the images look “fake” or “video-like.” I worked to really bring out all the tropical colors I saw, knowing that I could cool things down in color correction if I chose.

Question: How much off-speed shooting did you do?

Chuy Chavez: We shot several different frame rates for a dream sequence. And we also shot a night scene, a cloud shot with the shutter wide open, no light at all. And we could see all the details of the cloud in the darkness.

Question: Beside shooting in Cuba last July, what other shoots are you doing to complete the movie?

Chuy Chavez: We just finished shooting two of the photographers in Miami and Mexico, and hope to do one more shoot in Los Angeles.

Question: Are plans in place for editing and distribution?

Chuy Chavez: The award-winning filmmaker Natalia Almada is our editor. The off-line edit will be done in Final Cut Pro, and we have secured all HD online services at GTN in Detroit. Nicole will introduce “Revolucion” to the market at film festivals, and hopes to have a limited theatrical release. She’ll also seek international (and domestic) television distribution, and home video and educational video distribution.

Question: What would you say to fellow cinematographers re the VariCam?

Chuy Chavez: You don’t need a specific pencil or frame to make art. I envision the VariCam as another tool, another option with which to create. It’s a way to find a better shot, a better performance. We cinematographers need to play with new tools, and this was my chance with VariCam. I love the camera--it will be important in the future of filmmaking!