Using Black Magic in Nollywood By Daring Filmmaker C.J. “Fiery” Obasi
Why I Shot My Horror Feature OJUJU on the Black Magic Cinema Camera
By C.J. “Fiery” Obasi
I shot about 50% of my upcoming feature film on the Black Magic Cinema Camera.
It is a brilliant camera.
Like many filmmakers and tech geeks I was waiting for an opportunity to use the BMCC, way before it was even released. Soon as I got the opportunity, I embraced it with both hands. Literally.
First, I was making a horror feature film OJUJU on a budget (mostly without a budget), and I had weighed first my pocket, obviously and the cons that come with shooting with a typical high-end digital camera such as a Red-Epic or an Arri Alexa without having access to world-class post-production equipment. In my experience, besides the fact that they can afford it (I couldn’t) most filmmakers in Nigeria shoot on a RED because they want crisp pictures, and that’s fine. For me though, I wanted to shoot on a RED because I wanted to project a finished project on 4k. Now, realistically speaking, most filmmakers I know end up projecting in full HD (1080p) anyway, even after shooting on 4k. Which makes me wonder – what’s the point? Why would I spend all that money (which I don’t have, need I remind you) hiring a RED 4k and above camera, shoot, and then only to have a finished film in 1080p. Not to mention the post-production hurdles that you’re going to face when you’re not equipped to handleits post-production demands. I would rather save my money (again, which I don’t have), shoot on a BMCC, light properly, get my film look, and end up with easily manageable rushes that I can edit on the go, even on my laptop, as I see fit. I can have the entire rushes saved in a 1Tb external hard drive. Get an extra one or two, just for back up. But ultimately edit on the go, from one external hard drive. I don’t need a super computer to achieve this. I wish I had one. But I’m making a film on a budget, and as much as I would loooooove to have some Paramount pictures level type of editing suite, we make do with what we got. We’re gonna make pictures. Thanks to the French New Wave, Dogme 95 and John Cassavettes we can conceive an idea, script it, and get on real locations making our dreams come alive, edit it and voila, we have us a picture. And thanks to the BMCC almost any filmmaker can get that film look, without worrying too much about what happens after principal photography.
DOP Tunji Akinsehinwa who has worked on celluloid, as well as with high-end 4k cameras on International projects enjoyed using the BMCC for the first time.
Romero’s (Gabriel Afolayan) neighbourhood is in trouble. People are suddenly manifesting symptoms of rabid river blindness . With his friends, Emmy (Kelechi Udegbe) and Peju (Omawunmi Dada) he struggles to understand how the neighbourhood’s sole source of water supply could have been infected. However, there’s no time to ponder because they all must survive and fight their way through to escape the infested neighbourhood.
Gabriel Afolayan, Omowunmi Dada, Kelechi Udegbe, Meg Otanwa, Chidozie Nzeribe, Brutus Richard, Jumoke Ayadi, Paul Utomi and introducing Kelechi Joseph. - See more at: http://www.nigeriansreport.com/2014/03/using-black-magic-in-nollywood-by.html#sthash.sdFGuYdA.dpuf
See more on http://www.nigeriansreport.com/2014/03/using-black-magic-in-nollywood-by.html.