HoverlorD shoots with Sony HD

Belgium production facility HoverlorD has been working with top-end Sony HD cameras, including the F23 and F35 digital cinema cameras, on a wide a variety of productions.

“We have a film we shot in France with the F23, called La Meute, and another film shooting with the F23 in Canada, called Black Box,” says Louis-Philippe Capelle, director of photography and managing director of HoverlorD. “We have finished shooting a tele-film for RTBF and FR2, shot with a HDW-F900R and DigiPrimes, and another starting for FR2 in the Spring, again with the HDW-F900R. We have also just finished a feature for Cannes shot on the HDW-F900R, called Sans Rancune. And we have just completed post and the film transfer of the first film shot (with Band Pro’s support) with the F35 and Hawk anamorphic lenses.”

HoverlorD is also setting up a 50:50 joint venture with Athalys supplying cameras to the TV and film community. The new company, La Camera, opens this spring.

HDW-F900R feature

Sans Rancune is directed by Belgian director Yves Hanchar and stars Thierry Lhermitte. The film is set in the mid 50s, after the war, and is the story of teenage boy and his relationship with his teachers. The director of photography is Rémon Fromont.

“We supplied the HDW-F900R and did the whole post production on HDCAM SR,” Capelle says. “Fromont has already shot several films with our equipment and is very happy with the F900R.”

Hawk anamorphic lenses

The F35 film is directed by Charlotte Joulia and is the first shoot with the F35 and new Hawk anamorphic lenses. “She originally thought about shooting with the F900R but she really didn’t have any money. Fortunately, I did a masterclass with Band Pro and Gerhard Baier, Band Pro’s managing director, agreed to supply her with the F35, and we managed to get the lenses from Hawk.”

With the anamorphic lens, you don’t get have a regular image in the viewfinder. “This made it a little bit difficult for framing,” Capelle says. “It’s a different way of framing and focus because the field is curved. So even when you pan, you have to adapt the surface, even on a flat field. But the quality of focus is absolutely fantastic.”

Hawks use the available film format as effectively as possible. In fact, the exposed film area is 52 per cent larger than in Super 35. Instead of traditional round lenses, Hawks rely on glasses with a cylindrical shape, resulting in a much wider image.

“The anamorphic lens is another step forward. The Hawk anamorphic has got less depth of field than regular 35mm lenses. Even if you’re on film, it looks great.”

Comparing the F23 and F35

Capelle is also really impressed with the F35 camera. “At this moment, I think the F35 has the best picture I have seen coming from a video camera,” he says. “The quality in the recorder is amazing. The contrast is beautiful.”

Capelle compares the F35 and F23. “When I used the F35, I immediately made the comparison with F23, because I probably made the first film with the F23. Both cameras give the same texture, the same reaction on skin tones. But, for me, the F23 has a slightly better depth of field."