Blackmagic Design announced today that URSA Mini Pro, Pocket Cinema Camera and Video Assist were used for “LOUDER! Can’t Hear What You’re Singin’, Wimp!,” a new film by hugely popular Japanese director Satoshi Miki.
“LOUDER! Can’t Hear What You’re Singin‘, Wimp!” is a comedy film by Satoshi Miki, who has directed and written a number of prominent works of films, TV dramas and comedy programs. It tells the story of an encounter between Shin, a charismatic rock star with a powerful singing voice and Fuuka, a budding musician with a weak voice. The film features well known and unique actors including Sadao Abe and Riho Yoshioka. It is set to be released October 12th nationwide in Japan.
The director of photography is Daisuke Souma, who has worked on a number of Japanese blockbuster movies such as ‘Helter Skelter,’ ‘Tokyo Tribe’ and ‘Prophecy,’ and is considered one of the leading cinematographers in Japanese films.
“LOUDER! Can’t Hear What You’re Singin’, Wimp!” was shot with URSA Mini Pro 4.6K and Pocket Cinema Camera. Video Assist was used as a monitor and recorder for URSA Mini Pro 4.6K.
“We used three different cameras in this film, including URSA Mini Pro 4.6K and Pocket Cinema Camera. Under usual circumstances you often prioritize cameras like the A camera for important scenes and B camera for less important scenes, but we decided not to choose a main camera in this film and tried to use the camera that was best for each scene. We chose not to match the looks of scenes, hoping to retain the quality and characters of each camera,” said Daisuke Souma, director of photography.
He continued: “I was looking for a camera that was suitable for anamorphic lenses. I feel like anamorphic lenses are similar to 70mm film, because you can squeeze the distance between objects and actors more than when you shoot with 35mm lenses. On the contrary to Miki’s previous comedies with sarcastic humor and vacant looks, this film centers around intimacy between Shin and Fuuka, so I went for squeezed looks with anamorphic lenses. I also used 16mm lenses, which are good to describe the nuances of distance and detachment. I wanted to change the lenses depending on scenes to imply the ever changing relationships among characters. That is why I looked for compact and light cameras that support anamorphic lens and can shoot RAW. URSA Mini Pro 4.6K was the only option available to satisfy these conditions.”
“URSA Mini Pro 4.6K was especially valuable on small sets with little space, due to its compactness and flexibility. The set of Fuuka’s house was so small that it would have been impossible to shoot if not for URSA Mini Pro 4.6K. It was not only compact but also lightweight, so I could even put it on a gimbal with wires. There was no situation you couldn’t shoot with URSA Mini Pro 4.6K. In daylight scenes we always used the internal ND filters. It was very helpful to have the ND filters inside the camera body. We also had a relatively small staff for the film so these small things meant a lot to us. URSA Mini Pro 4.6K looks cool but that is not the whole story. I gradually grew aware that this camera is built with careful attention to tiny details,” he said.
Pocket Cinema Camera was used for concert scenes with Shin and Fuuka.
“Pocket Cinema Camera is literally pocket-sized so you can carry it around anywhere. In music concert scenes, a camera operator went into the crowded audience. Normal sized cameras would have drawn their attention to the cameras to the detriment of reality, but with Pocket Cinema Camera the audience remained oblivious to the camera and we succeeded in capturing the real excitement of the concert,” he concluded.