Cinematographer Joseph Eriksson describes how he selects camera accessories for his video productions
Beginning his creative journey with a more stripped-back style of filmmaking, cinematographer and director Joseph Eriksson has long targeted the slick aesthetic developed on the silver screen.
“I strive for a cinematic look,” he explains. “It’s an overused word, but to me it just means proper filmmaking. The classic Hollywood look has made its mark in my life – it’s definitely influenced me in the long term.”
The range of footage that can be created using the same camera body is practically unlimited. By varying his choice of attachments and accessories, Joseph has created diverse styles in his output to date.
Rigging a Camera
His preference for the cinematic aside, Joseph is a commercial filmmaker first and foremost. That means he is commissioned to create video with a variety of aesthetics – such as a recent run-and-gun-style production.
“Just last week, I used a cage for the FUJIFILM X-H2S and a small, V-Mount back-plate adapter to get a bit of weight in it,” he recalls. “I was doing a lot of handheld movements, so I wanted some mass on the camera. That helps it flow much better – the whole set-up moves more smoothly. Even though I use IBIS, having that weight still helps with motion.”
On a separate job, Joseph opted for a reduced rig. “I was using the FUJIFILM GFX100 II on a project that was more hybrid – making stills and recording film. For that, I stripped it down, only using a five-inch monitor and an ND filter on the front. This let me switch between creating photos and recording video fast. It was easy and smooth, and the end result was brilliant.”
This minimalist system stands in stark contrast with the way Joseph set up the same camera for a more classically cinematic aesthetic on a recent Fujifilm project.
“When we made The Blank, we used anamorphic lenses – and they are huge and weigh a lot, so we needed a big cage to support everything. There are a lot of choices for mounting points and cages with the GFX100 II, and we ended up with a rig that worked great for that kind of production.”
Connecting to Accessories
Built with considerations for the needs of filmmakers, cameras like the X-H2S and GFX100 II include full-size HDMI connections, allowing for easy use of external monitors – a must, in Joseph’s eyes.
“Even though the GFX100 II has a big screen, I always want it to be bigger. I don’t like using any focus assistance – I want to just rack back and forth until I find the sweet spot. So if it looks good to me on a big monitor, I know it will look good in post. I trust my own eyes.”
Making it easy to connect up to these essential accessories is a massive quality-of-life improvement, explains Joseph. “It’s so nice to have because there’s always an extra HDMI lead laying around – it’s easy to get your hands on. In filmmaking, you always end up problem solving, so accessible equipment helps.
“I remember the days of the micro-HDMI. If those were to break while you were travelling, you’d have a serious problem. I try to overthink and bring everything myself, with a few extra of everything that can break – but it’s nice to have easier options.”
Another common item in the modern filmmaker’s toolkit is the gimbal. Despite Joseph’s early misgivings about this piece of equipment, it’s now a mainstay in his kitbag.
“For a long time, I disliked gimbals. I thought they looked too artificial and robotic. But I’ve started implementing them in scenes that I’ve prepared or storyboarded to look that way. Whenever I use a gimbal, it’s quite strict, like I’m doing this scene for this reason. In those specific cases it works brilliantly.
“In my experience, gimbals work well with Fujifilm bodies. Simply slide the camera on and it balances super quick. Then I’ll use the autofocus on the XF and GF Lenses, so I don’t need to rig out focus motors or anything like that.”
Curating a Look
While all camera accessories bring something to the table, the main element that affects the aesthetic of your footage is lens choice. “Lenses create a look,” remarks Joseph.
“The effect of the lens is one thing that you really can’t change or manipulate in post. It’s something that stems from the choices you make during production.”
GFX System cameras enable the use of third-party cinema lenses. Using a PL mount adapter, Joseph has been working his way through the lineup.
“I’ve used anamorphic cine lenses – and made extensive use of the native GF glass. I’ve also tried a set of vintage lenses with a lot of character that work flawlessly alongside the camera. They do vignette quite a bit when I record in GF mode, but I can either crop in a tiny bit to eliminate that, or just use the full-frame setting.
“You can get extremely unique, cinematic looks just using this small camera, if you have the right glass. I’m excited to try renting other vintage lenses and using those on the GFX System’s sensor. These looks would have been super inaccessible before.”
The ability to create cinematic looks isn’t limited to GFX System cameras. Joseph recently paired the X-H2S with the FUJINON MKX18-55mmT2.9 and MKX50-135mmT2.9 cinema lenses.
“I love the MKX lenses; I think they’re brilliant. Having parfocal lenses is super nice. And the focal length range – I have both, 18-55mm and 50-135mm – that’s all you need. They are lightweight, have a good look and are easy to work with.
“Because the X-H2S has a smaller sensor, the lenses are smaller, more lightweight and easier to carry. I can bring everything I need in one flight case – plus a lot of XF Lenses, for their autofocus capabilities in a gimbal.
“For a recent job, I think I had six lenses in total – two MKX zooms, then the FUJINON XF8mmF3.5 R WR, XF18mmF1.4 R LM WR, XF23mmF1.4 R LM WR and XF33mmF1.4 R LM WR. That’s a full set of optics, and they didn’t take up much space or weight at all.
“It’s so nice to not have to limit yourself. That production was in Malmö, so I had to travel by train. I was travelling alone and didn’t want to overpack, but didn’t need to limit my lens selection because these are all small, lightweight and look great.”
Without a good selection of lenses to work with, Joseph says, the job of a cinematographer becomes much harder.
“You can change your footage a lot by trying to make it look more analogue or using filters, but the quality and character of the lens is something you need to do right,” he concludes. “That’s why it’s so important to put your favourite glass up to the sensor of the camera.”
