An Interview with Chris Turner - Filmmaker
On the official Fujifilm YouTube channel, a lot of people were asking about how the film was made and by whom.
So I did a quick Q&A with my friend and amazing Documentary Filmmaker, Chris Turner. A little change of direction today that I hope you will all find interesting.
This is the film that we recently created (more films at the bottom of this page):
Tell us a little about yourself. Where are you based? How did you become a professional filmmaker?
I’m a freelance filmmaker currently based in London. I specialise in cinematic, documentary-style films for brands, charities, and organisations.
My journey started at university, where I studied painting and printmaking. I was never quite sure where it was going to take me, but it was something that I was passionate about at the time.
One day, I started experimenting in the dark room with B&W photography. My photos were always a series or an unfolding event. As cheesy as it sounds, I found myself listening to music and visualising some moving imagery for it.
The next day, I borrowed a video camera, made some visuals, edited it all together… and I was hooked! I always found it hard to take a photo and let it stand on its own, but with video, I felt that once you were done editing, you had this thing that was all neatly packaged up.
I realised building a narrative around something in a visual way was the way my brain worked. I graduated my final year of university with a video art piece rather than anything to do with painting or printmaking and set out to learn everything I could to become a videographer.
When I first ‘started out’ I’d do anything as long as it was filming something. I got a few jobs filming bands for £50 cash in hand (I’m still waiting for the first one to pay me), and at the time, I thought that was amazing. Eventually, I got enough footage to make a showreel and bombarded enough production companies and ad agencies for one or two of them to give me regular work.
If you’re lucky enough, your name tends to get passed around, and for one reason or another, I got a call from a producer at WaterAid, and that led to my first job in the charity sector. This was quite a pivotal moment because it set me on the path of considering myself a documentary filmmaker.
When you’re in the field, you’re always thinking on your toes. You have to find and build on the story as you go. I loved it. I really enjoyed capturing these genuine and authentic moments, and I felt privileged when people would invite us into their homes and share their stories with us. I felt the pressure to tell their story in the right way, or as best as I felt I could, and I think this is what I found intriguing.
I’d say this was the second most pivotal moment in my career; I realised whatever I was to do going forward, I wanted it to have that documentary feel to it.
Chris fits a Smile Maker device to a Boom.
What hardware did you use for this shoot, and what were your decisions based on?
When it comes to the setup, being light and nimble was key.
Fujifilm tends to have a ‘kit bag’ that keeps up to date with all the latest video kits you might need when you work with them. Within that kit bag, we had a couple of Fujifilm X-H2Ss and a set of the Fujinon MK Cine Lenses.
For this shoot, I decided to go for a dual setup with one of the X-H2S’s permanently rigged up on a gimbal with the 18-55mm and the other rigged up in a way that I could comfortably shoot handheld.
I wanted to give the video an analogue feel, so I decided to rig the camera in a way that would make me feel like I was shooting with an old Super 8 camera. I did this by attaching a pistol grip to the bottom of the camera and a viewfinder loupe on the rear LCD.
It worked really well and meant that I could hold the camera up to my eye and really dial in the focus. Having both these setups meant that I could have the best of both worlds. One rig would provide me with dynamic moving shots and the other for those important details that you need when promoting a product.
The interview was a simple two-camera setup. I like to keep things simple lighting wise too, with one key light creating some contrast on the face.
Since we were shooting the interview at Kevin’s studio, there was plenty of kit at our disposal, so I decided to commandeer an LED panel and use it as a bit of a hair light. This also threw some light onto the table and wall beside Kevin, which evened out the frame nicely.
Regarding audio, I rarely place a lapel mic on someone. I know that sounds like bad practice as it’s usually a good safety, but I tend not to like the sound quality, and if you can see it pinned on someone’s shirt, it really takes the viewer out of the world that you are trying to create, so I simply boomed a directional mic in on a c-stand.
Your videos are always so creative, yet they meet the brief every time. How do you storyboard a film like this and what are some of the challenges?
With every project based around a product, I always try to find the connection between the product and the contributor. I often ask myself, what’s the emotional connection, and how will it resonate with the viewer? I often don’t like ‘big wow’ moments and prefer a slow burn. This seems counterintuitive to the way that we consume content these days, but I truly believe that if you can build an emotional connection with your viewer then you are able to have a much deeper and long lasting impact.
I knew when we were working with you that this would be easy. You’ve been using the X100 series since it’s inception so I couldn’t think of anyone more experienced to talk about the X100VI and how far the series has come along.
To paraphrase you in your interview, cameras are like companions. They come with us wherever we go and although we often talk about them as an extension of ourselves, I truly believe it’s a collaboration. A good camera works with you and you work with it to produce the best results to your ability. This is what I was trying to portray in the film.
When it comes to ‘the look’, I want my films to have the polish of a commercial, but it’s important they remain firmly rooted in the documentary world. At the end of the day, I’m dealing with real people and these are their genuine opinions and emotions, so the films should reflect that. Otherwise, I feel like it becomes too much of a hard sell.
When you mentioned that you want to do a little street photography alongside some family photography I thought that it was quite a contrast. My next thought was that this is great, we can really lean into how dynamic this camera is by showing the difference between the two environments. I wanted the street photography portion of the film to feel hectic and busy, while the family portrait session felt calm and slower in pace, almost like coming up for a breath.
Fujifilm tells me who we’re filming, where we’re filming, and what the key specs and selling points of the product are, and I create a storyboard and shot list around those elements. It might be that a particular scene or location will lend itself to a certain product spec best and so I know where this will sit in the edit, but if I’m completely honest, it can all change once I get into post-production. As long as I feel like we’ve got a beginning, middle, and end while we’re filming then I’m usually quite happy. The shot of you stepping in and sitting down at your desk is a great example of that, as soon as I saw that on camera I thought this is the perfect shot to either start or end the film.
As much as I like to storyboard a shoot, I’d say more often than not we’re teetering on the edge of going ‘off-piste’. I don’t mind this though because it’s often where we capture the most authentic and genuine moments. It’s these moments that I enjoy the most because I get that feeling that I first did in the field. I guess what I’m trying to say is that I like to remain reactive on a shoot. The storyboard should always guide you, but if you get too hung up on it, it can stifle my creative process if something I capture isn’t exactly how I expected it to be.
What is your preference for editing software?
I’m currently using Premiere but there’s no right or wrong - don’t shoot me! Use whatever you feel comfortable with.
The grading and editing were so creative for this particular film of me. How do you set about the edit and your thought process?
I’m always trying to achieve that analogue look, and I tested out a few different methods for trying to achieve it with this film.
I also wanted the London scenes to feel hectic and busy, much like the environment itself, so I employed these ‘crash cut’ shutter drag style transitions to help make the edit feel busy. I also wanted these parts to reflect the spontaneity of street photography.
When you film do you shoot in F-Log, F-Log2? Are there any challenges with this?
I always shoot in log, so it isn’t a new concept to me. I have a workflow with certain LUTs that work for me when it comes to grading the footage. When I’m out filming, I have those LUTs installed on my monitor so that I can see what the footage will look like in the edit.
The higher ISO might seem problematic, but it’s nothing a good ND filter can’t compensate for.
I’m also a big fan of the Eterna film simulation, so if you aren’t ready to start grading Log footage, you can get some really lovely tones straight out of the camera.
You've obviously used the Fujinon Cine lenses. How do they help you create films? Can you explain the difference between a Cine lens and a normal XF lens and the advantages of using them?
Aside from generally having better quality glass, for the most part cine lenses won’t have any motors inside like an XF lens might so you’ll have a much easier time with manual focus. The aperture rings are mostly always stop-less too, so you can easily close down or open up if the light changes.
Auto-focus is a bit of a dirty word when it comes to video, but I’m all about having a process in place that makes your life easier when filming. Shoots are hectic places, so if the kit you’re using is enabling you to produce the best available content for your client then I think you should use it to the best of your advantage. With this in mind I will use XF lenses and auto focus in addition to the Cine lenses if the shot requires me to do so.
The MK Cine lenses are so beautifully clean that I often carry with me a screw on 1/8 or 1/4 Tiffen Black Pro Mist filter. I’ll stack a variable ND on top of that to control the light and this combo works really well for me. The use of a Pro Mist filter will soften skin tones and give you some halation when lighting is in frame. I’ve always been a big fan of that halation because for me it makes everything seem a little more cinematic.
Filming on the Millenium Bridge, London.
In your time creating films for Fujifilm, have you seen the technology grow?
100%
When I first started working with Fujifilm, we were using X-T3’s, then it was the X-H1, next the highly anticipated X-T4, and now we’re using the X-H2S.
At every stage there has been a significant improvement in either the quality of the video or the functionality of the cameras, but this latest jump to the X-H2S has been a real eye opener for me.
I love the look and feel of the footage, it’s very true to life and you have plenty of dynamic range in post. It’s almost too clean for me sometimes so when I shoot documentary style projects I tend to add a little grain in post to give the footage some texture.
What's been your favourite location to shoot in for Fujifilm, and why?
There have been so many, but one of my favourite moments by far was filming wild horses running through marshland in the south of France. In the morning fog, I don’t think I’ve ever seen anything so cinematically beautiful. It’s a little bit of a cliche in the world of cinema, but for me it was a career highlight for sure and a moment I’ll never forget.
What would be your dream commission?
Anything that inspires me. I remember someone once telling me that every person passing by you on the street has something they can tell you that you can learn from. I think if a project makes me grow as a person and teaches me something I didn’t know before then I’m always keen to be involved.
Any tips for budding Fujifilm filmmakers out there?
Just get out there and film something. If it excites you, then keep doing it.
Find what inspires you the most and focus on that more. You don’t need much kit to make something amazing. It’s the idea behind it that counts most.
You can follow Chris on his Website, Instagram and Showreel.
More Films from Chris
Chris Turner Showreel:
I trusted Chris to film my forthcoming Wedding Photography & Business online course (coming soon).
Stills above shot by Amy.
