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The Art of Documentary Cinematography: Exploring 'MAJI' with DZOFILM Lenses

2024.12.19

  • Can you tell us more about yourself (career/major/hometown/hobby)? 

    My name is Richard Jephcote. I’m a cinematographer from Carnforth, a town in the north of England. At university, I studied a Bachelor’s in Theatre Studies followed by a Master’s in Filmmaking. Since 2013, I’ve worked in documentaries for TV and film, shooting projects for the BBC, Netflix, HBO, and National Geographic. I've had the privilege of collaborating with inspiring production companies and directors.




  • Could you share the idea/brief storyline of this film?

    “Maji” is a feature documentary directed by Charli Doherty that follows Leo Gripari, the founder of the conservation clothing brand That Gorilla Brand and marathon runner, as he attempts fundraising challenges in environments with extreme water conditions. The film links his journey to the global crises of water scarcity, pollution, and climate change. It was produced by Tom Neish and executive produced by Elliot Hickey at their company Biscuit Bunker, in association with West One Entertainment, and edited by Olly Cooper.

 

 

 

  • What is your position in this film? Could you talk about the inspiration for this film?

    I was the Director of Photography and Colourist for Maji. During pre-production, we frequently discussed the visual style of Baraka (1992), a stunning film with no conventional narrative, offering a portrait of humanity through beautiful, lingering shots. Although Maji couldn’t fully replicate Baraka's 70mm grandeur, we drew inspiration from its visual language. The central theme of Maji revolves around the state of the world’s natural resources and the urgent need to adopt sustainable living practices. The connection between characters and their environment is visually emphasized throughout the film. Each stunning location in Maji is under threat from human negligence.

 

 

 

  • How did you first learn about DZOFILM? In what situations did you get the chance to use DZOFILM cine lenses?

    I became a freelancer just as the Pictors were released, and they created a new category of affordable cinematic lenses at a time when I was looking to build my own kit. I needed something that would allow me to be self-sufficient while also crafting a unique look. I was initially looking for S35 lenses, and the Pictors were the obvious choice. On Maji, we took the Pictors into extreme environments like the Jordanian desert, the Himalayas, the Ugandan rainforest, an Icelandic glacier, and the Grand Canyon.

 

 

 

  • What DZOFILM cine lenses were used in this film? And why did you choose them?

    We used the DZOFILM Pictor 20-55mm and 50-125mm lenses for Maji. Halfway through filming, the production company (Biscuit Bunker) was so impressed with them that they purchased their own set for use on all future productions. The production had a small footprint, with just the producer, director, and myself, so we needed a compact kit that could still deliver cinematic imagery. The Pictors struck the right balance. I owned the Pictors, and Charli had been using his Linglung lenses for years, so he was already comfortable with the DZOFILM brand. 




  • How do you feel about the Pictors after using them? Which is your favorite focal length in the set? Why?

    The 20-55mm Pictor is a versatile focal length that works well when a scene is unfolding. It’s wide enough to capture an entire room yet long enough to frame a single subject. In some scenes, we shot with two cameras—Charli used the BMPCC 6K with the 50-125mm—and this setup provided excellent coverage of key moments with a range of shot types. With the recent addition of the 12-25mm lens (which wasn’t available during filming), the range of focal lengths now offers even more flexibility for scenes. 





  • How do you feel using DZOFILM cine lenses on a Blackmagic camera?

    Blackmagic supported the film by supplying an Ursa 12K and BMPCC 6K Pro. We shot at 4K on the 12K camera because documentaries often have high shooting ratios, so we opted for lower resolution and higher compression to save on storage. Despite this, we were very pleased with the footage. I find that DZOFILM cine lenses and Blackmagic cameras complement each other well. Both are in a similar space in the market, and the combination yields beautiful, pleasing imagery. The ergonomics of the setup also felt well-balanced.





  • Based on your on-set experience, what innovative features would you like to see in DZOFILM's future products?

    On one of our Iceland shoots, we experienced internal fogging on the front lens element due to moving between a warm car and a freezing outdoor location. While I understand that weatherproofing could drive up the cost of lenses, any innovations aimed at improving durability in extreme environments would be helpful. On a separate note, I’d love to shoot with the Pavo Anamorphics sometime. 






  • Do you have any ongoing projects? Have you used any other DZOFILM lenses in these shoots?

    Last year, I shot interviews with the Vespids for a Channel 5 documentary and recently used them again for a series of interviews in a documentary currently in post-production. I often use the Pictors to elevate shoots that might otherwise have a standard stills-lens look, helping to give them more style and character. I’m also researching a documentary that I plan to self-shoot, and I’ll likely use the Pictors for that project as well. 




    Official Trailer:

    https://www.youtube.com/watch?v=6oyjoLIofa8