Director and cinematographer Joseph Eriksson discusses his top settings on Fujifilm cameras for advanced filmmaking
Joseph Eriksson is a cinematographer and director working in the commercial sphere, who got his start making videos in the fashion industry, and now creates work for globally recognised clients.
As a Fujifilm user, Joseph has been benefitting from the improved functionality offered by X Series and GFX System cameras. Recognising the growing importance of video in the current media landscape, the latest Fujifilm models come with a slew of advanced filmmaking features, empowering creators at all levels to make incredible-looking videos.
In this interview, Joseph talks us through the settings he frequently comes back to when working with Fujifilm cameras.
Focus modes for filmmaking
Joseph has previously explained that he aspires to create films with a classically cinematic look. Unfortunately for independent filmmakers, the best way to do this is with a large crew – and an even larger budget. However, modern camera settings can offer simple workarounds to achieve high-end results.
“If I wanted to do a big focus pull, or if the film was based around a lot of foreground and background movements, I would want to make sure I had a first assistant camera and filmed with a follow focus,” begins Joseph. “But this isn’t always an option.”
Last year, Joseph worked on a short for Fujifilm using the FUJIFILM X-H2S called Out of Stock. The project was completed with a small crew and relatively simple set-up.
“For Out of Stock, we used autofocus for the whole film,” he recalls. “It worked well on the static stuff, but we also did some moves on the gimbal, tracking with continuous AF.”
With the X-Processor 5 imaging engine enabling subject detection powered by deep-learning AI technology, the latest Fujifilm cameras offer next-level autofocus tracking and detection for human faces – alongside a variety of other subjects.
“I’ve done the same thing for a few films made with GF Lenses too, when we couldn’t get a focus puller. The FUJIFILM GFX100 II’s AF is also great – it really sticks on.”
On setting up a camera for this kind of production, Joseph recommends getting everything at the tips of your fingers ahead of time by customising the function buttons. “I will have it so I can quickly toggle between different Face and Eye Detection settings,” he advises. “Then I can disable those quickly, and manually move the focus point around instead.”
Using stabilisation settings
Despite his preference for cinematic set-ups, as a commercial filmmaker, Joseph will work in a variety of styles from job to job. The budgets and requirements of certain clients will push him towards using a more stripped-back selection of equipment – though this doesn’t consign him to creating inferior work.
When working with a handheld set-up, Joseph is a strong advocate for the in-body image stabilisation (IBIS) options offered by select Fujifilm cameras. “Most of the time, it really helps with a take – saves it, even,” he remarks. “Having IBIS is great; for Fujifilm cameras, I use it all the time.”
A recent documentary-style production Joseph worked on required him to film with telephoto lenses – and the expanded stabilisation options on offer helped him keep his equipment as mobile as possible.
“For the longer lenses, these settings are extremely beneficial – especially when you can use Optical Image Stabilisation (OIS) too,” Joseph notes. “For a recent project with long lenses, I was planning to use a monopod so I could move fast but get extra stability. After trying everything out, I found I could get superb stabilisation just with a neck strap.
“Because I’m so used to working handheld, that was a much better option. I decided to leave the monopod at home,” he adds. “That’s a good sign for the stabilisation settings.”
Advanced video settings
Always keen to curate a unique look, Joseph is no stranger to the world of anamorphic lenses. The FUJIFILM GFX100 II offers the option to film in the optimal format for anamorphic optics, with internal de-squeeze options for viewing purposes.
“It’s nice to have of course,” Joseph affirms. “Whenever you’re filming with anamorphic lenses, it’s hard to get a feeling of the image if you can’t de-squeeze it. I tend to use an external monitor, as I always want the biggest screen possible – but this isn’t always an option.
“For an upcoming trip, I will probably use the EVF quite a lot, with the tilt adapter,” he continues. “Since it will be bright and sunny on location, it’s great to have an EVF to look through. Even though monitors nowadays have decent brightness, the viewfinder is much better with reflections. If I were to use an anamorphic lens for this project, the internal de-squeeze would be crucial.”
An absolute must for professional projects is filming in either RAW or a log profile to provide the utmost versatility in post-processing.
“I haven’t recorded in RAW with these cameras,” admits Joseph. “For me, there’s not much point. It’s only bigger files, and ProRes 422 works for my needs. It really is brilliant – it’s 10-bit, has lots of flexibility in post and runs nice and smooth on my computer.”
As a keen colourist, though, Joseph always films in either F-Log or F-Log2. “My go-to is F-Log2,” he explains. “It has a better dynamic range, but also feels like a good standard profile compared to the rest of the industry. In terms of contrast, it looks beautiful. And the base of it is super flexible, so you can use a lot of LUTs that weren’t designed specifically for it – and they work well as a starting point.
“I also use the F-Log View Assist, so the in-camera preview looks like Rec. 709. If the scene looks good in that, I know I have a bit of extra depth in both the highlights and shadows, giving me the ability to switch it up in post.”
What Joseph values most, as an artist who masterminds most of his projects from pre- to post-production, is the ability to record footage with as much freedom for adjustment as possible.
“As a cinematographer, I’ll normally have a look in mind while I’m filming,” he adds. “I love the way you can tweak everything, the styles you can reach for and what colour does to a project. It’s a big way of showing who you are as a creative.”
