brindabellas has been the main ongoing silver dory near-infrared landscape film production in recent times – with over 18 months in the field filming and more than two years in production. From May 28 the complete 150 minute version will be released online in five parts – summer, autumn, winter, spring and summer (return).
brindabellas – part 2 | autumn is now available to rent or buy through Vimeo on Demand.
brindabellas – part 1 | summer is also available to rent or buy here.
brindabellas features the sky and landscapes of the Brindabella Ranges and surrounding region – particular the interplay of light, air and water as these elements are transformed across the seasons from clouds to mist, rain and snow – then frost and ice – and onto creeks and rivers. It explores both the wider vistas and more intimate details of the natural processes and flows that are created by these ranges and, in turn, shape the very landscapes they arise from.
brindabellas | trailer
Other brindabellas project components include:
1. brindabellas – elements: a limited edition monograph (444 only) featuring both images from the print series and a range of frames from the film | available now
2. brindabellas – prints: the collection of fine-art prints created while in the field shooting the film | available from July 2015
brindabellas | development
brindabellas evolved out of the short motion piece karst country (2013) which was produced to explore the possibilities of creating near-infrared motion. As with karst country, brindabellas was developed and written with James van der Moezel – head of post production at silver dory. Production started in June 2013 with the aim of creating a feature-length near-infrared film featuring the cloud and landscapes of the Brindabella Ranges near Canberra, Australia | additional notes on location
In October 2013, the nature of this filming changed significantly with the arrival of a modified full-spectrum RED Epic-X Digital Cinema camera. This allowed the capture of near-infrared motion at both normal and high-speed frame-rates (in 5K resolution). Up to this point filming had been largely limited to time lapse footage of wider landscapes (as seen in karst country). With the addition of faster frame rates, the emphasis turned to filming the smaller elements – rain, running water, snow, frost and ice – that both shape and are shaped by the montane landscapes of the Brindabellas | examples
In early 2014, the National Film and Sound Archive (NFSA) in Canberra invited us to preview the project as it then stood. For this we prepared a 38 minute 4K version featuring a range of early footage, which was shown to a full house at the NFSA’s 4K Arc Cinema on May 30 in a one-off preview screening | more details
From May 28, 2015 the complete 150 minute version of brindabellas will be released online in five 30 minute parts – summer, autumn, winter, spring and summer (return) – with an original soundtrack by Canberra musicians Marcus Hooper and Andy Heaney.
brindabellas | film details
Concept: developed and written by Glen Ryan and James van der Moezel.
Producer: Glen Ryan | silver dory productions
Cinematographer: Glen Ryan
Camera Operator & First Assistant Camera: James van der Moezel
Editor, Post Production Supervisor & Colourist: James van der Moezel
Original Soundtrack: Marcus Hooper and Andy Heaney
Sound design and recording: James van der Moezel and Glen Ryan
Preview: May 30, 2014 – Arc Cinema – National Film and Sound Archive, Canberra, Australia.
General release: from May 28, 2015 (initially online – Vimeo on Demand)
Runtime: 150 minutes – over 5 parts
Colour: black and white
Aspect Ratio: 2:1
Camera: Full-spectrum modified RED Epic-X and Red Epic-X – Nikkor lenses
Negative Format: Redcode RAW 5K
infrared v near-infrared
brindabellas was filmed and photographed using near-infra photographic techniques. In photography these are often defined as just infrared but near-infrared is a more accurate description as the wavelengths recorded fall within the near-infrared spectrum: 750 – 1400 nanometres (nm). By comparison, light that’s visible to the typical human eye lies between 390 and 700nm.
Longer wavelengths used for other infrared applications, like thermal imaging, are not recorded with these techniques. So the brindabellas images are not directly reflecting the temperature of the landscapes – they are simply created from light slightly beyond the range of the human eye.
Glen Ryan – silver dory productions