What the thread found

• Multiple productions in this series used Canon 5D cameras paired with a Panasonic AF100, typically with five cameras total shooting performance footage with two passes each from multiple angles.
• The AF100 was positioned on a jib with proper cinema lenses and geared focus systems, while 5D cameras were equipped with Canon L-series or Zeiss prime lenses with follow focus gear.
• Steadicam operators were often intentionally visible in shots as part of the visual style, and the production company later applied heavy film grain and weave effects during post-production editing.
• Production teams encouraged camera operators to work independently and creatively rather than following a live line cut, with all creative shaping handled in post-production.
• The Steadicam and jib operators were treated as primary visual elements alongside the performers, with directors communicating loosely over headsets rather than providing strict shot-by-shot direction.
• ISO was increased on Steadicam cameras compared to other cameras to achieve extra depth of field when using wide focal lengths.
• Some productions used smaller camera setups (5D and 7D bodies) that required extensive post-production time to sync and edit due to the lack of timecode integration across all cameras.

Depends on

• Specific production company and director choices about camera selection are not fully documented, though budget constraints appeared to influence decisions.
• The editing choices including artificial film weave and distressed look were applied in post-production and were not universally appreciated by all crew members.
• Some editing errors were noted such as showing musicians before they actually began playing their instruments.
• The experience of individual operators varied depending on which specific production crew they worked with.

Gear in this thread

Zephyrcatalog

Parts

Follow Focus

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