– Nikon Z6
– Nikon D850

I used only two (2) cameras for both actual filming and behind the scenes footage, and I have to say that Nikon Z6 amazed me in every aspect and especially in terms of video*.
*Please note that filming took place before Nikon released the Pro Res Raw video update for the Z6/Z7.
The produced video is of highest quality and when the camera is attached to a high optical quality lens like the new Tokina Opera and Firin series, it can create amazing footage.
The reason that I prefered to use Nikon Z 6 camera for video filming instead of some other camera, is purely personal as I prefer Nikon color palette best for my work.
One note at this point, to be able to use Tokina Firin E-Mount lenses (20mm & 100mm) I used the Techart TZE-01 adapter and I only have the best things to say about this small adapter.
Both lenses performed exceptionally in every aspect on the Nikon Z6 and I’m really happy that I can use them in Z system.

For the Nikon D850 is needless to say anything, this camera is by far the best DLSR I have ever used. It is known for its outstanding image quality and performance, but it is also is a very capable video camera.

Every video and timelapse sequence, both in actual filming and Behind the Scenes, was filmed only with Tokina lenses (F and E Mounts) and I used the following:

Prime Lenses

– Tokina Firin 20mm F/2 AF FE
– Tokina Opera 50mm F/1.4
– Tokina Firin 100mm F/2.8 FE Macro

Zoom Lenses

– Tokina Opera 16-28mm F/2.8
– Tokina ATX Pro 17-35mm F/4
– Tokina ATX Pro 24-70mm F/2.8

I have stated many times, both in my reviews and in general, about the exceptional performance and high optical quality of the new Opera and Firin series lenses.
These lenses are amazing in both photography and video shooting and I strongly suggest them.
My personal favorites are by far the Tokina Opera 50mm F/1.4 (a perfect match for my Nikon D850) and the Tokina Firin 20mm F/2 AF (a perfect landscape/travel/walk-around combo with the Nikon Z6).

But, there are also the lenses of the previous series, the ATX-Pro line, which are also very good in terms of optical quality and during the filming of this project I used them on many scenes with very good results.

– Slik CF-834
– Slik CF-833
Plus PBH-635AS Ballhead

Only two (2) tripods were used for the production, and my choice were the Professional Carbon 800 series from Slik, due to their low overall weight, heavy payload capability and sturdiness, but most importantly, for being able to be very close to the ground. They become almost flat after removing the bottom part of the center column.
Being more specific, they could hold the heavy payload of the motion control system plus camera and lens, in a steep angle very close to the ground, and remain very steady for real time video sequences.

– Slik ECH-630 Star Tracker (in Timelapse Mode)
– Cinetics Lynx 3-Axis Motion Control System
– Timelapse+ View Advanced Intervalometer
– DJI Ronin SC

For many of the scenes of the final release, as also in the majority of the footage I filmed in total for this project, my goal was to create slow but dynamic motion and to achieve this, I used two dedicated motion control devices.

It might seem strange, but on some occasions I used the Slik ECH-630 to create panning sequences and the results were really great!

Although its main use is to track the night sky, creating sharp long exposure images of Nebulas or the Milky Way Galaxy, this ultra compact device is very capable and can create one (1) axis motion sequences with ease.

The majority of the footage was filmed with the Cinetics Lynx 3-axis motion control system, a very capable, sturdy, durable, lightweight and portable motion control system that can be used for both real time video and timelapse filming.

Although its main carbon slider is only 60cm, it can easily extend to 120cm with the included-in-the-case extension rods, and still maintain its portability and light weightness.

So far in both my professional and personal work I had the chance to use many different motion control systems, each of them with its own logic in terms of operation and setup, but I found the Lynx to be more portable and still capable in every aspect, as also to hold a relatively heavy setup compared to other 3-axis options.

The most important thing though was the ability to create dynamic 3-axis scenes with it, by using only one tripod.

Lastly, for my workflow it is important the motion control system to be able to connect to the Timelapse+ View Advanced Intervalometer and that was also a plus for the Lynx.

Timelapse+ View Advanced Intervalometer is a fantastic piece of gear for creating smooth day to night transitions in timelapse and I rely 100% on it even in constant light or simple scenes, as the device is capable to detect even the smallest changes in light, thus making the necessary adjustments on camera avoiding flickering issues.

In the opening scene with the fog, light was changing for the whole duration of the shooting, but still no flickering is visible thanks to View.

– Cokin Clearsky
– Hoya Starscape
– Hoya GradND10
– Cokin Nuances Extreme ND8
– Hoya Circular Polarizer
– Kenko PROND100

I love working with filters as they give me the ability to control or manipulate available light according to current project needs, and as a passionate landscape photographer I currently use Neutral Density and Graduated ND filters, as also Circular Polarizer filters.
I’m also using them in film-making as well, especially when the amount of light must be balanced in real time video scenes.
Being an “old”school type in photography and film-making, I prefer to use actual filters rather to apply heavy edits on post production.

Although in the official release version of the film there are no astro timelapse scenes, I have filmed four (4) of them, by using two of the best light pollution filters currently available in the market, the Hoya Starscape and the Cokin Clearsky.
Both filters are exceptional in blocking visible light pollution, while also they increase image total contrast and purple/magenta saturation, something very important for astrophotographers.

– Tascam DR-05X Sound Recorder
– Rode VideoMicro

In documentaries sound is also important as it has to be real and natural.
I used the relatively cheap but very capable Tascam DR-05x Sound Recorder to capture natural ambient sounds of the locations of filming.
I recorded nature sounds for more than twenty-four (24) consecutive hours in order to capture the reality of the location, and how the real natural sound at the moment of filming could be heard.

Forest of Tranquility Project was filmed in the mountains of Epirus, Greece and the filming took place on two different time periods, April and September 2019.

The location was chosen carefully due to its breathtaking beauty and most importantly, because it gave me the ability to be all alone in the forests for some days, hearing only natural sounds and nothing mechanical.

For more information on project, gear or technical stuff, please send me a message and I will be happy to answer you.

For Licensing or Project Inquiries, feel free to contact me directly at info@christopheanagno.com