While it’s true that there’s nothing worse than a sharp image of a fuzzy concept, it’s equally the case that a great story can be marred by suboptimal image quality. Today more than ever, the visual acuity of a film is an important determiner in the emotional appeal a film has, to set a high standard for the visual language.
At StoryLark we’re committed to upholding the levels of image quality to the fine benchmarks of storytelling, to produce films that are holistically excellent, supportive of the best display devices used for content consumption, and ready for the future.
RED Digital Cinema Camera
with GEMINI 5K S35 Sensor
Viewing that’s almost better than even being there.
Our main camera is the sparkling-new RED with the wondrous little GEMINI® 5K S35 sensor. This marvellous piece of digital technology leverages dual sensitivity modes to provide greater flexibility for a wide range of shooting environments, most notably low-light conditions common in wildlife scenarios, with a Low Light Mode designed specifically for the dark times, which ensures low noise and great shadow detail. It is thus that the RED EPIC-W 5K S35 delivers incredible dynamic range and cinema-quality images in virtually any light.
Built on the compact DSMC2 form factor, the RED EPIC-W 5K camera and sensor combination captures 5K full-format motion at up to 96 fps and 4K up to 120 fps, allowing the recording of sublime slow-motion shots. Like all cameras in the DSMC2 line up, EPIC-W 5K is able to shoot simultaneous REDCODE RAW and Apple ProRes or Avid DNxHD/HR recording, allowing for supreme flexibility in processing and colour-grading sequences exactly to our taste.
Canon 50-1000mm Lens
There and back again in one free twist.
Sachtler EFP 2 CF Tripod
Steady shoulders to shoot off.
The needs of a wildlife cinematography tripod are inherently contradictory: owing to the lack of control on the subjects, you need extreme stability, and owing to the need for long telephoto lenses, the ability to support large weights. The EFP 2 achieves both. Using a carbon fibre construction, it weighs a mere 4.1 kg, which allows us to take it anywhere we want to shoot, even a mountain peak. And it supports an astonishing 95 kg without any loss of stability, while the double extension affords a working height of 63 in.
All this versatility is aided further by the quick clamping system that locks the legs in position in seconds, ensuring we never miss a shot on account of a slow tripod. And finally, the lack of corrosive metal in its construction means that it will last in any environment, for virtually any length of time.
Oconnor 2575D Fluid Head
Headed in the right direction, smoothly.
Sit up, for this one’s a headline-grabber. Supporting over 40 kilos of weight, this head has become the standard for film production. Employing the patented sinusoidal counterbalance system for accurate and predictable balance at any point in the tilt range, this OConnor affords a seamless, ultra-smooth pan, while the tilt fluid drag is well-nigh perfectly weighted. In sum, it completes what the tripod starts – the ultimate control and stability for filming virtually anywhere.
Sachtler Cine 2000 Short Tripod
Making short work of heavy lifting.
