https://www.instagram.com/p/BcFPflZA5kB/
In a new intimate interview with the New York Times’ T Magazine‘s executive editor Dean Baquet, Jay-Z opened up about wife Beyoncé’s “Lemonade” album, their marriage, therapy, and debate over race in today’s political climate.
Their one-on-one conversation took place in September, at the executive office at The Times, and Director Nick Bentgen and Director of Photography Sam Wootton were there to capture the exchange and produce the 35-minute video that reveals a new side of the famed rapper.
Adorama Rental Company — which supplied the equipment for the shoot — recently spoke with Bentgen and Wootton on their experience during the project.
https://www.instagram.com/p/BcFUPxbgq8A/
Adorama: How did you conceptualize the interview setup and style?
Bentgen: T Magazine asked us to document an intimate conversation between Jay-Z and the New York Times Executive Editor Dean Baquet, and we all wanted the piece to feel like you’re there in the room with these two people. We designed our approach to support that tone, keeping our filmmaking natural, adaptable, and in the moment.
https://www.instagram.com/p/BcFXvEmAq6I/
Adorama: Which tools and products from Adorama did you use in the interview?
Bentgen: Sam Wootton put together a terrific camera package at Adorama, and we were very well taken care of by Rich Joneleit and the folks there. We shot three cameras, (two Alexa Minis and one Alexa XT), with Cooke S4s and a pair of 30-76mm Angenieux Optimo zooms. Our three cameras, operated by Sam, Greta Zozula, Zach Stoltzfus, and myself, were on Easy Rigs, with remote focus units pulled by Erik Kandefur, Kyle Sather, and Max Batchelder. Sam and our gaffer Dan Debrey collaborated with Adorama’s lighting department to create a beautiful overhead soft source with three Litemat 4s, that Dan hung from the ceiling to be unobtrusive and out of shot.
Wootton: We used a combination of internal NDs in the Alexa Mini and 4×5.65 ND filters provided by Adorama on the cameras to set the exposure. We monitored the cameras with FSI 17″ monitors. We chose the Litemat 4 units for their even, daylight-balanced output, especially given their weight. This contributed to the ease of rigging the lights to the ceiling.
https://www.instagram.com/p/BcFb6yDgctn/
Adorama: What was your experience like with Adorama, and the new Brooklyn space?
Bentgen: What a great location! It’s got more than enough space to work on your gear. Finally there’s a place to build and test camera packages closer to where filmmakers can afford to live.
Wootton: We did our check-out at Adorama’s new Brooklyn location. It was a great space for a 3-camera checkout, and gave Erik, Kyle, and Max the space they needed. The staff was very helpful with sourcing or swapping the bits and bits and bobs to make a cohesive and efficient camera package.
Adorama: What was your favorite part of the shoot and interview?
Bentgen: When all three cameras were rolling, we could all finally be in the moment and listen to two incredible people talk.
Wootton: The best part of a day like that is halfway through the shoot, when everything is working smoothly and you can almost forget about the camera in your hands.
For more information on the equipment used, check them out at Adorama Rentals:
2 Alexa Minis, Alexa XT
Cooke S4 primes
30-76mm Angenieux Optimo zooms
Teradek 2000 systems
Arri WCU-4
Easyrig Vario 5
