"A Verse Before Dying" - AF-100 Western Short

[Stephen Mick]

http://vimeo.com/18073096


http://www.dvxuser.com/V6/attachment.php?attachmentid=26402

"A Verse Before Dying"

Set in the 1850s Texas borderlands, the film tells the story of an orphaned boy, the Priest who looks after him, and the menacing stranger from the Preist's past who comes to town looking to settle an old score.

[Stephen Mick]

Our location for "Verse" will be Dripping Springs, Texas. Shooting will take place on the set built in 2003 for the filming of "The Alamo." Some parts of Ed Harris' western "Appaloosa" were also filmed there. Here are a select few photos from a recent scouting trip…


http://www.dvxuser.com/V6/attachment.php?attachmentid=26255


http://www.dvxuser.com/V6/attachment.php?attachmentid=26256


http://www.dvxuser.com/V6/attachment.php?attachmentid=26262


http://www.dvxuser.com/V6/attachment.php?attachmentid=26242




Special thanks to the Reimers family for sharing their beautiful property with us.

[Stephen Mick]

Here's our cast…

Acolíto - Emilio Gonzales
http://www.dvxuser.com/V6/attachment.php?attachmentid=26396

Priest - Robert Lambert
http://www.dvxuser.com/V6/attachment.php?attachmentid=26395

The Man - Ben Wolfe
http://www.dvxuser.com/V6/attachment.php?attachmentid=26392

Alma - Tori Jimenez
http://www.dvxuser.com/V6/attachment.php?attachmentid=26393

Bartender - Darwin Miller
http://www.dvxuser.com/V6/attachment.php?attachmentid=26394

[Stephen Mick]

CREW


Executive Producers: Barry Green and Stephen Mick
Writer/Director: Stephen Mick
Director of Photography: Timur Civan
Assistant Director: Luis Caffesse
Producer: Cliff Wildman
Gaffer: Marcel Rodriguez
Kicker of Ass: Matt Gottshalk
Key Grip: Brandon Boggs
Grip Extraordinaire: Louis Moncivias
Steadicam: Mikko Wilson
Production Sound: Matt Gettemeier
Script Supervisor: Drew Ott
Production Assistant: Cherdon Bedford
1st A.C.: Taylor Rudd
Wardrobe: Stephanie Fraide
Make-Up Effects: Chris Payne
Editor: Stephen Bohls
Colorist: Oscar Oboza
Music: 615 Music

[Stephen Mick]

Here's the trailer…


http://vimeo.com/17638057

[Stephen Mick]

BTS & Production Diary will go here.

[Brandon Rice]

Thumbs way up! :)

[Rodney V. Smith]

And ominous music (and wind) blows through the halls of DVXUser... the Mick (as in the Stephen Mick) has LANDED!

[Luis Caffesse]

Reserved for my comments about your reserved posts.

[TimurCivan]

God you're finally making something... i think your like a year late.

[Stephen Mick]

If you two weren't mods…

[TimurCivan]

If we werent mods..... what?

;)

[Mark Harris]

It's only a short?

[Stephen Mick]

For now. :D

[Stephen Mick]

Updated with location photos.

[mikkowilson]

That place looks spectacular! I assume you'll be posting some footage for us all to see?


- Mikko

[Stephen Mick]

There Will Be Footage

[Simon Höfer]

Updated with location photos.
I don't want to call you a liar, but I don't see any location pictures... :D

[Stephen Mick]

Really? They're showing up in my browser fine.

(Unless you meant location photos from the shoot, which hasn't happened yet. :D)

[Simon Höfer]

Hmm.. strange. No pictures showing up. I use firefox and I also checked Internet explorer. Where are the files located? Forum attachements, personal webspace, flickr or somewhere else?

[Erik Olson]

Back up in the first post.

[Stephen Mick]

And another note about the location/set…


They're tearing it down in February, which means we'll likely be the last folks who get to shoot there.

[Simon Höfer]

Back up in the first post.

Is this pointed at me? I still can't see the locations pictures. I see the poster in the first post, but the location pictures in the second don't show up.


And another note about the location/set…


They're tearing it down in February, which means we'll likely be the last folks who get to shoot there.

Sounds very cool. :D But I am definitely looking forward to this film. I'm sure this project is going to rock. Your projects (not narative) always look very nice.

[Barry_Green]

I've been pretty impressed with Stephen Mick's work before. I am very much looking forward to seeing how this project turns out!

[Stephen Mick]

Thanks for the kind words, guys! A whole lot of talented people are working very hard to make sure this project rocks, and I'll post a final crew list soon.

[Simon Höfer]

Stephen contacted me through facebook and showed me the pictures. Man, this location looks simply awesome! Really hope everything works out for you!

I still don't know what is causing the problems with the pictures here. I checked the source code and the links to the pictures are there.
Example:
http://www.dvxuser.com/V6/attachment.php?attachmentid=26255

But they don't show anything for me. Just a white/empty page.

[Stephen Mick]

Updated above post with cast pictures!

[Brandon Rice]

Cast and location looks fantastic!

[mikkowilson]

What camera are you shooting on Stephen?

- Mikko

[Stephen Mick]

Well, I can tell you that some of it will be shot on 16mm (Ultra16, actually), if we can get the logistics sorted out.

[mikkowilson]

16mm? Film? Sweet!


Wait.

Some of it?


- Mikko

[Stephen Mick]

Yeah, there's a really killer dream sequence in the film that we'll be shooting on 16mm. The rest of it, well…

[J Davis]

great to see you doing a narrative stephan mick
about the location pics - i don't see anything either
post number 2 (i assume this is where they suposed to be)
just shows text and blank spaces

[Barry_Green]

That's odd. I see four big lush old-west pictures in post #2.

[dre83]

16mm...just for one scene... naaah

Just stay with a "cheap" camera, invest also in good sound...and make a good movie...

Not something like "the 2546540340534345343th movie again about the same thing that every first filmmaker wants to make"...

And which at the end is actualy....as bad as hell....

[Stephen Mick]

Let's see…does flying in a dedicated sound guy, who worked on Barry and David's "Sound" DVD, satisfy the need to "invest in good sound?" I hope so, because that's who we've got.

[J Davis]

attached two screenshots, first is safari, 2nd is chrome
it shows like this whether you are logged in or not, checked on iMac w/snow leopard and macbook w/leopard
maybe glitch in the forum software? pics in post 1 and 3 show up fine

edit: see full size screengrabs here
http://jdmax.com/pickup/Archive.zip
hope u get glitch sorted out !

[ZazaCast]

They really do do it BIG in Texas, don't they!
Looking forward to reviewing this one.


(I said do-do...:happy:)

[mikkowilson]

Ooh, more information posted! Cool....


:)

- Mikko

[mcgeedigital]

Whistles slowly in the thread in a spaghetti-western kind of way.......

http://www.westernposterpage.com/ce.jpg

[Barry_Green]

They really do do it BIG in Texas, don't they!
As I've been saying... "balls to the wall."

[mikkowilson]

Almost as as big as half of Alaska.

:evil:

But Alaska is represented, so it's all good. :)


- Mikko

[ilauzirika]

I love all this talk between mods hahaha as if you didn't know anything:violin:
good luck with the shot this week!

[adeath]

This sounds amazing. My dad and I where actually just discussing the set you are talking about over the weekend. He just recently moved out of Dripping Springs to be further off in the Hill Country. I too would love to be able to see some stills from the set.

[mcgeedigital]

There will plenty of stills taken throughout the shoot.

[Simon Höfer]

This project sounds better and better. Can't wait to see more!

[Chris Messineo]

I'm so excited to see this!

[Chris Messineo]

Also, maybe I missed it, but who did the poster? It's phenomenal!

[TimurCivan]

I believe it was stephen

[Stephen Mick]

Poster Design by the wicked-talented designer Bill Laviolette. Thanks!

[Stephen Mick]

I had planned to write a long introductory post to kick off the production, but honestly, we're due on set in about six hours, and sleep is more crucial at the moment.

I will say this…

The opportunity to work with the crew we have assembled is truly an honor. I am humbled to be in the company of so many talented and passionate people. Experiences like this are nothing short of inspirational, a natural by-product of getting great people together who love what they do.

Over the next several days, we will share some of our work and many of our stories from the set. I hope that, in some small way, what you read and take away will enrich, enlighten and inspire you as much as this entire site has done for me in my time here.



SM

[PaPa]

I'm starting to wonder if the entire thing will be shot on the AF100 save for some shots for other cameras or if including some film means we will get several versions of the same piece on different media...

[Erik Olson]

Break a leg, we're all counting on you.

[Noel Evans]

Have a great time! Enjoy the ride :)

[mcgeedigital]

We are wrapped on day one. Photos to come when we get back to crew quarters.

[TimurCivan]

My legs hurt. i have goat s**t all over my clothes and its in my lungs too.

The location, is now a part of a goat farm, and the goats use the set building as shelter. 10 years of goat shit equals, 4 inch thick layer that gets pulverized into dust by the feet of 24 people..... and is now in my lungs.

[Barry_Green]

I'm starting to wonder if the entire thing will be shot on the AF100
Well, okay, you figured it out. We're not shooting this film on an AF100.














































We're shooting it on TWO AF100's!

[Luis Caffesse]

We're shooting on AF100s??

:)


What's funny is as ridiculous as the above posts sounded....neither Timur nor Barry are kidding.
Day 1 down...

[Barry_Green]

2652926526

26527

26528

26530

26531
26532

[TimurCivan]

Goats remnants aside....

We got STELLAR stuff today. I also pulled off what is possibly the most complex single lighting structure i've ever built... and the folks involved with this project pulled it off swimmingly. Lets just say, i had, 1 Dimmer, 1 4x4 frame skinned with 216, another skin of straw, 6 Cstands holding up 4 nets and 2 cutters, and a grip hollywooding a flag, all to shape the light of 1 Mole Richardson inkie. Thats a 150w pepper light in case you didn't know.

[Barry_Green]

More...

26533

26534

26535

26536

26537

[TimurCivan]

I appreciate the photos... :)

[Barry_Green]

Gotta love that 7-14 lens on 7mm... :evil:

[mcgeedigital]

http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7683.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7684.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7685.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7686.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7689.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7694.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7697.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7701.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7708.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7722.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7725.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7727.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7728.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7729.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7736.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7737.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7741.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7743.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7744.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7745.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7747.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7757.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7758.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7770.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7776.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7777.jpg
http://i179.photobucket.com/albums/w305/mcgeedigital/Verse%20b4%20dying%20day%201/IMG_7778.jpg

[Stephen Mick]

First day down, three more to go.

To say our crew is awesome would be an understatement. Our cast delivered the goods today, that's for sure. On more than one occasion I felt the hair stand up on the back of my neck.





Then I realized it was just Caffesse looking over my shoulder, undressing the AF-100 with his eyes.

[Noel Evans]

Looking good. Cant wait to see it.

[dillont]

AAAAAWWWWEEEEESSSSOOOOOOMMMMMMEEEEEEE!!!

You guys Poo Pooing rock! Thank you for sharing your experience with us!

Gratefully,

Dillon

[mikkowilson]

So while Photoshop is processing my set photos from day one so I can post a couple before bed...

Let me say that it as an honor and a pleasure to be a part of the awesomest film crew there is.

It's been a long day, and I haven't had a chance to review it all; but the footage we looked at tonight on a laptop here at base-camp looked incredible. The tonality, the dynamic range, the bokeh; all beautiful stuff. Hard to believe that it's coming out of a $5,000 camera. If I just saw the footage, I'd probably guess a number with another 0 on there. In the all important "image quality" question; "Does it deliver?". The answer is clear as day: Hell yeah.
Quality is *not* an issue with this camera.

But; I'm not the DP, I'm a Steadicam operator. My job is to operate the camera; not to make it take pretty pictures... So for me a big question is usability.
I shoot video for a living. I'm spend hours a week shooting video; mostly TV news (if you've done it, you know what the pace can be like, "time" is something you simply don't get).
Working with the AF100 is easy.
In fact, I didn't really see what the big deal was with the operation benefits. Because I simply treated it like every other video camera. If I needed bars, there's a button. Composite video out to my Steadicam? RCA. Done. HD-SDI out to the director's monitor? Done. Audio level check. On-screen meter. Focus assist? Sure, used it all the time.
It was a very bright sunny day today. However a lot of the shooting was done inside. Going back and forth; I automatically reached up and spun the ND wheel on the front of the camera "where it should be!" and added or reduced ND as necessary.
Iris was interesting; some lenses I used the electronic iris control on the camera, other lenses I simply rotated the iris ring on the lens. And that's what really started to sink in the way that operating this camera is different: You can run it and use it as a video camera; but you can also set the back end and then use the lens like you would on any still camera. Of course when we threw the PL lenses on there; then it was simply just like any film camera I've shot with .. except with all the features of a regular video camera in the back. Like Waveform monitor. The ability to look at the waveform live in the camera as you adjust it is indispensable when you have so much dynamic range and such a large pool of lenses to choose from.

One Steadicam shot today (the first Steadicam shot with an AF100) involved a long slow "dolly" in a field.
So there we are, out in the field, My AC, Barry, and Myself. No one else. The gear is all a way away by the cars out of shot. It's bright sunny day with a clear sky. And we are shooting 60fps. So a quick rotation of the ND wheel and I was close; then I fired up the Waveform monitor in camera and dialed in iris so the sky was just pushing 95%. The image looked great. Of course my AC was watching the whole time on a wireless monitor fed right from the camera as Barry carried a scavenged peice of plywood to block the little lens flair we could see on the little HD monitor. After the take, we simply re-played the clip back (with the slow-motion) there in camera - and on my AC's monitor.
The shot was very challenging; but the equipment helped in very possible way I could wish it to.
And I think that's where the really big difference plays out with the AF100: It just works, the way it's supposed to. No compromises.

Another little example. Our audio guy had to step a little too far from the camera today .. but the camera has regular standard XLR inputs & 3.5mm headphone out .. so we were using a regular audio snake; so someone just reached out and split the quick disconnect before the camera was in danger of being pulled over. Again; not a major thing ... but because the camera works like every other professional production camera out there; we could use the right professional tools to get the job done properly and safely.

Oh yeah, like every other professional production camera; except for the picture - which is far above most.

After spending one day on set with a couple of them; I kinda have to agree with Barry's initial statement on the AF100 as a low-cost digital cinema camera: "Game Over".


Photos to follow...

- Mikko

[mikkowilson]

Some of my photos from Day 1 on "Verse":

Morning roll out to set & camera prep, first shots, first Steadicam flight, followed by the first Merlin flight...
26540265412654226543265442654526546265472654826549 2655026551

- Mikko

[mikkowilson]

More misc. production shots from Day 1 ...
26552265532655426555265562655726558265592656026561 2656226563

- Mikko

[mikkowilson]

And a few more...
265722656626567265692656426570265652657126568


That's all for tonight. Wake up is in 4 hours.

- Mikko

[alpi69]

sorry if it sounded like one. It isn't.

I'm just so impressed after using for a day that i felt a need to post a list of the positives i found to working with it.


I could paraphrase:
The picture looks good; and you use it just like any other professional camera. Overall a very uneventful day on the set, actually.

- mikko

rofl

[Osslund]

Very interesting project and I bet you have loads of fun shooting it :) How many days of shooting and post production?

[Chris Messineo]

This is truly inspiring. Thanks for sharing all the details. I love it.

[Luis Caffesse]

Very interesting project and I bet you have loads of fun shooting it :) How many days of shooting and post production?

4 Day shoot.
Post production.... we'll let you know when the shoot is over, right now I can only think about the next 72 hours.
:)

Getting ready to leave for set here in a minute.

[heavyG]

Thanks for all the set photos guys; it's really appreciated. Fantastic to see the camera working in a small crew situation, all kitted out like I imagine mine will be in a few weeks.

[kylekmd]

LOVE IT!

Awesome photos. Great crew, great location. Looks like a blast.

[Stu Siegal]

Great post, Mikko, these are the kinds of things people should have been talking about all along. Your post is a great summary of why I don't own a DSLR, and why I can't wait for my AF100. I think it's going to be an extremely versatile cam, moreso than even some of it's strongest proponents have given it credit for. I'm assuming this is a Panasonic-commissioned project, and congrats to them for doing it right. Can't wait to see the results.

[bhdfield]

Ya'll need to make some of them cowboys git some dirt on 'em, and some sweat! They all look mighty clean and well fed fur bein' ornery cusses! (Actually your crew looks a little more the part, minus the cowboy hats).

[_JD_]

Thanks for sharing. I don't suppose anyone would be willing to share a budget range for this would ya?

[ilauzirika]

Thanks for sharing. I don't suppose anyone would be willing to share a budget range for this would ya?

I read 5 figures somewhere, but I can't remember where.....

Edit: I found it

http://www.dvxuser.com/V6/showthread.php?230175-This-might-be-interesting-to-a-few-of-you&p=2175240&viewfull=1#post2175240
"...five figures of money..."

[John Caballero]

How long is the final product? Also, you might be doing it anyway, but would it be possible for you to shoot some sample shots with the GH1 kit lens? Thanks for your efforts. I am sure is going to look excellent.

BTW. The cast looks great. I am glad for them too. This will be a great piece for their resume. Good luck to everybody involved. I am sure Jan Critteden and Panasonic are thrilled about this project.

[taubkin]

I am sure Jan Critteden and Panasonic are thrilled about this project.

They are probably running it... :)

[Ticheli]

I think there is little doubt that this production will be the defining moment in launching the AF100.

A hearty thank-you to all involved!

Good shooting and best regards,

Leo

[Zblock]

Very interesting guys. I can't wait to see some of the AF100 footage. Love westerns as well. You all should check out this artist from Venice CA. Gabe Leonard. For some reason his site is down but do yourself a favor and google image his name.


I'm thinking about making a Western Themed Feature soon.

I do have one nitpick though. Your actors look too clean and fresh. I just saw the trailer for cowboys and aliens and those guys looked really nasty dirty. Thats what I want to see when I watch a western.

Good luck with the rest of the production. Can't wait to see more.

[Jaime Valles]

Thanks so much for sharing your experiences on this film. I'm anxiously awaiting stills & clips from the movie!

[Jan_Crittenden]

They are probably running it... :)

Oh no we are not. I am loaning the cameras to Barry only because he is writing that book and experiences like this one can only make the book more valuable as it will have a voice of experience running through it.

Best,

Jan

[taubkin]

Oh no we are not. I am loaning the cameras to Barry only because he is writing that book and experiences like this one can only make the book more valuable as it will have a voice of experience running through it.

Best,

Jan

Heh, nice.

Will you at least show it on some conferences? :)

[Chris Messineo]

I am loaning the cameras to Barry only because he is writing that book and experiences like this one can only make the book more valuable as it will have a voice of experience running through it.
It would be super cool if the book had a copy of the film and maybe even a chapter on the making of the film! I bet a lot of people would be digging that.

[ZazaCast]

It would be super cool if the book had a copy of the film and maybe even a chapter on the making of the film! I bet a lot of people would be digging that.

YES! Barry, can I pre-order?

[Steve Kahn]

It would be super cool if the book had a copy of the film and maybe even a chapter on the making of the film! I bet a lot of people would be digging that.

I'll go one better. What a great concept for this book if it was written in the context of making a (this) short film. One could show examples of what does and does not work and why. Don't know if you had this in mind Barry but it would sure be interesting and informative. Also, it could be very multi-media interactive with an accompanying DVD. Hell, maybe it should be completely interactive. A book on DVD

[Noel Evans]

Yes Zaza send me your money and I'll make sure Barry gets it :P

[Jaime Valles]

It would be super cool if the book had a copy of the film and maybe even a chapter on the making of the film! I bet a lot of people would be digging that.
+111111

[Barry_Green]

They are probably running it... :)

Nope. I told Jan I wanted a camera because we wanted to put it through its paces, and she loaned me not one, but two. But that's it... I don't think Jan knows anything about the script or necessarily even that it was a Western. This project is entirely commissioned and financed by me (through Fiercely Independent Films Inc) and Stephen Mick's Proof Creative Inc.

[Barry_Green]

It would be super cool if the book had a copy of the film and maybe even a chapter on the making of the film! I bet a lot of people would be digging that.

Not gonna make it in the book, that deadline is much too soon. But we will have lots of discussion on the making of it here. Lots and lots and lots of BTS are being shot.

[ilauzirika]

But we will have lots of discussion on the making of it here. Lots and lots and lots of BTS are being shot.

Nice to hear that!!!

[mcgeedigital]

Justin, who was shooting the BTS, has been all over the place, I'd be surprised if he didn't already have 7-8 hrs of raw material.

[mcgeedigital]

The "Howitzer" Nikon 50-300mm f4.5 AIS on the AF-100
This lens had an equivalent FOV of a 100-600mm lens on the camera:

http://www.dvxuser.com/V6/attachment.php?attachmentid=26586&d=1291519881

Timur was drooling on this bad boy.

[Barry_Green]

Just finished day 2. Massive exteriors day, with actors, gunshots, a horse, a herd of cattle (not that they were in the film, but they kind of surrounded my car when we were driving away from the location), a pink Finn, a Kessler crane, the debut of Mrs. Caffesse on the set, Hagrid the extra (who was summarily fired for wearing blue jeans), the first film footage being shot, the most awesome steadicam shot in the history of DVXUser steadicam films including an absolutely balletic leap by Mikko Wilson, a guest visit by Pharpsied, more goat droppings, truly astonishing cow patties, graves, the tiny little Lumix 20mm lens flying on the Steadicam and the crane, being used simultaneously with the preposterously massive Nikon 50-300 f/4.5 AIS lens from the '70's (Timur loves that lens to death!), and ... oh, yeah, some screamingly awesome footage.

Oh yeah, and it was all natural light. We never even got around to firing up the generator. All natural light, with scrims and mirror boards and silks and bounce.

[10s]

What I really like about this process of making this short is that it will show what this AF100 camera can deliver. No hype, just factual evidence.

IMO, this is the best way to introduce a camera because we will have results created by competent craftsmen using professionally accepted standards, not kids with a camera. In the end we should see what it can do; from dark shadows to blinding white high noon skies, from slow-mo to fast action. Hopefully there will even be a bit of hand held jitter to satisfy all the Saving Private Ryan cinematic fans. Will it be able to handle all of this and deliver professional results?

This project should cut short annoying debate and let the camera tell us what it can do. The camera will either deliver results we can bank our future on or it will not and we will look elsewhere. From what I see so far, I'm betting this AF100 model will be much bigger than the DVX100.... by a mile. :)

[Taylor Rudd]

Just finished day 2. Massive exteriors day, with actors, gunshots, a horse, a herd of cattle (not that they were in the film, but they kind of surrounded my car when we were driving away from the location), a pink Finn, a Kessler crane, the debut of Mrs. Caffesse on the set, Hagrid the extra (who was summarily fired for wearing blue jeans), the first film footage being shot, the most awesome steadicam shot in the history of DVXUser steadicam films including an absolutely balletic leap by Mikko Wilson, a guest visit by Pharpsied, more goat droppings, truly astonishing cow patties, graves, the tiny little Lumix 20mm lens flying on the Steadicam and the crane, being used simultaneously with the preposterously massive Nikon 50-300 f/4.5 AIS lens from the '70's (Timur loves that lens to death!), and ... oh, yeah, some screamingly awesome footage.

Oh yeah, and it was all natural light. We never even got around to firing up the generator. All natural light, with scrims and mirror boards and silks and bounce.

ARG. Sorry I missed it. The wedding was nice, though. See you boys bright and/or early tomorrow.

[dillont]

What I absolutely love, love, LOVE about this is that we're getting a front row seat of the BTS, from differing perspectives of a lot of the team members. An incredibly informational endeavor for all of us not there.

I'm humbled. Thank you (again).

Dillon

[mcgeedigital]

Halfway through the shoot, and it feels great to get so much fantastic footage in the can. Today we shot all natural light with some silks, bounce boards, and single and double scrims as the only lighting modifiers. The camera, imo, held up fantastically and the range and and clean image it is putting out is ridiculous.

The crew we have on this project is top notch, and having worked in the industry for over 20 years, I can say without a doubt that they are the best crew I have worked with in a long time.

Oh, and Timur and Mikko ROCK!

[groveChuck]

What camera are you shooting on Stephen?

- Mikko

They're "borrowing" one from Joe Dono... :laugh:

[mikkowilson]

Two camera's actually.

- Mikko

[Melvin Harris]

DVXuser,

When I was 15, I went to France and England with my high school to perform at the 50th anniversary of D-Day and I got to sing in Notre Dame cathedral.
When I was 25, I got married and eventually vacationed in Hawaii on the big island.
When I was 29, I traveled to Calcutta (Kolkata) India for two weeks to work on a film.

Today, however, ranks among one of my best days, ever!

Two AF100s, all of the gracious talent, the sheer professionalism of the cast and crew, the gear (drooling), and my almighty goodness... the footage.
Wow.
And the Howitzer is so pimp it should have its own soundtrack by Issac Hayes and Curtis Mayfield.

Here's what I learned-

1. Have the tools to do the job right, and then do the job right. There's nothing wrong with Home Depot solutions on a budget, but eventually you are gonna need to kit up, man up, and get what gets the job done. There was something so satisfying about being on a set that either had everything needed at hand, or had the personnel to get it. You owe it to yourself to experience that. Also, for the record, there is nothing wrong with the AF100, nothing. There's nothing to worry about; nothing to say except that the footage gave me a movie mangasm. If you've got it, keep it; if you're on the fence, fall off. If you don't like it, good, more for me. Put talent in front of and behind that thing, give it everything it needs to function at its best (I seem to remember a model/Mcdonald's analogy), and shoot. If you skimp, don't be surprised with the result. You can only run your car for so long with a pair of pantyhose acting as a fan belt. No tool does any job well with a half @ssed user with half @ssed support gear, and today, the tools did their job very well.

2. Humility and talent go hand in hand. The inner workings of these guys minds were way above my pay grade, and the experience level was so deep but I never felt it. I knew it, but I didn't feel it, and that is a testament to the awesomeness of every person involved. I was treated as a colleague, not as a lowly under 500 post count laughable senior member of an internet forum surrounded by giants and titans. Never have I met a more gracious group of people who totally didn't have to be, and that's the Simon's pure truth. It's something to aspire to, even here in digital blue and gray.

3. Study, Study, Study. Half the reason the images were as breathtakingly gorgeous as they were was because of the knowledge of controlling and shaping light and shadow, the knowledge of lensing, Hell, the knowledge of the director and every crew person that was there period. 'Nuff said. Forever be a student.

A big thank you to Barry Green for the invite and to the rest of the cast and crew for being so gracious, it was humbling and educational.
Seriously.

[Luis Caffesse]

You forgot #4..... if you visit the set, be ready to work. It took pharpsied all of 5 minutes on set before we had him running a giant silk across the set, just another member of the crew.
:thumbsup:


... a lowly under 500 post count laughable senior member...

First off - post count has nothing to do with anything.
And secondly.... you're not a 'senior member'

:)

[Melvin Harris]

the Black Flag strikes again! :smile:

[Melvin Harris]

That's so awesome!

[chriscurl]

Good luck with the rest of the shoot everyone, it's painful knowing I'm going to be 2 months too late to be a part of this but am really enjoying the stories and pics, keep em coming.

[Stephen Mick]

I'm sitting at the kitchen table tweaking the shot list for tomorrow.

The other six people staying at the "crew house" are sitting in the living room front of a 50" TV watching footage played back from today's shoot. All I hear are things like "perfect," "wow," "Mikko's a Steadicam god," and "can I have another beer?"



I hope the film is as engaging as we all think it will be. More than that, I hope I get the opportunity to work with every single person on our crew again in the future.

[groveChuck]

Sounds very inspiring, Stephen... and like lots of fun! You guys are doing it up right.
Can't wait to see footage, will you post any before the film is edited?
Best of luck!!!

[mikkowilson]

Well, we just got done with watching the day's "Rushes" ... on a roughly calibrated TV using the camera's color bars before switching to playback mode.
Lets just say that these are the best dailies I've ever seen!

I dunno about the 3rd comment above; but Timur's DP skills are second to none. He took control of every aspect of the image and made it his own. Between the direction team, and the awesome massive support crew we have; we've been able to create some incredible stuff.
We've got showdown at high noon, we've got bloody bullet hits at 1080p60 ("wow" [see above]), we've got horses, a Steadicam shot that I consider my best to date - and one that looks pretty wild on the BTS footage -, the most amazing totally flat down jib shot you've seen; and a sunset burial to die for - Absolutely perfect timing on the part of production on the last one. We had the chance to compromise some footage, and lose another opportunity; or we could sneak it and call a location move at the exact right moment and get the gold. Lets just say: we don't compromise.

As we (Stephen, Timur, Barry, Drew, and myself) sat around the TV watching this .. taking turns going up to the screen, or rewinding to re-watch key shots, we discussed all sorts of things.
Comments included: "There's things that suck; and then there's this." "You can't complain about this .. well, we certainly can't" "Yes, if you really really look down here, the image is a little alive in this take" "Check out that sweet backlight on the hairs of his neck in the MCU" "That black window is, well, black." "It's not *quite* RED in a lot of aspects, but it's damn near close." "It's like the DVX, except it's totally tack sharp." "Is that a single strand of spiderweb glistening in the light?"
And a particularly fun exchange that basically went: "So if we took this camera back in time 10 years; could *anything* digital beat it?" "No, I can't think of anything that could." "How about 5 years?" "D20 maybe?" "I dunno, the D20 was only ISO 100.. or was it ISO 50.." Yes; we where comparing the ungraded raw image playing back from the cards in the camera to top of the line high end digital cinema cameras. Not that it was better than many of them; but in the right hands, it can be a worthy contender. In my opinion, the AF100 could easily be considered as a "B" camera for almost *any* other camera.

So, after a couple of hours of pixel peeping with some of the peepiest peeps there are; we are all thoroughly impressed; and ready to get up again at 6am tomorrow and go at it for another day feeling that our creative hands are completely untied by the technology. If the footage doesn't look absolutely stunning; then it's *our* fault.


No photos from me tonight. We had a very busy day on set without many taken by the core crew; and despite breaking at sundown for an "early evening"; after dinner, and tonight's first large screen viewing session; it's 00:22, and everyone else has already hit the sack.

- Mikko

[dcloud]

I hope we get to see the whole film though...

[Luis Caffesse]

Gearing up for Day 3.... and reading Mikko's comments above just made me realize something.

When the AF100 first got on set on Day 1 there was a lot of talk on set about whether it was going to be as good as everyone wanted it to be.... and most of the discussions centered around the AF100 as compared to DSLRs.

Those comparisons only lasted for a few hours.
By the end of yesterday I was no longer hearing any DSLR comparisons - instead if a comparison was being made, it was to a higher end camera.

My point is - from what I've seen so far... to compare this thing to the DSLRs we've seen isn't even a contest.
Honestly, I haven't been this excited about a camera since the HVX was first released.

Alright - enough musing.... 5:30am, and I need to hit the road soon.

[Mark Harris]

Why on Earth would anyone compare it to a DSLR? It's a radically different machine.

[_JD_]

Why on Earth would anyone compare it to a DSLR? It's a radically different machine.

Because the sensor is derived from a DSLR?

[heavyG]

Because the sensor is derived from a DSLR?

Pretty sure that's not the case - The sensor is purpose built for the AF100, and has nothing to do with the GH1 / GH2. Been said here a few times by those in the know...

[Matthew Bennett]

Wow, this sounds really cool, can't wait!

Great genre to work in as well BTW!!

[HVXguy]

So, this is a short to show off the AF100? Or a short for film festivals and you are using the AF100 - or both? Or neither???

[PaPa]

Are we going to get some stills or is nothing going to be shown before it's wrapped, edited, finalized?

[mcgeedigital]

So, this is a short to show off the AF100? Or a short for film festivals and you are using the AF100 - or both? Or neither???

Both.

[J Davis]

Great to see all the pics, wonderful! And I finally got to see the location. Looking forward to the outcome.
If it is destined for festivals does that mean you will not post it online anywhere in case of disqualification?

[mcgeedigital]

Can't speak for Mr. Mick, but i am pretty confidant it will be posted online.

There is a pretty agressive turnaround to complete post. I heard someone say 2 weeks total.

[Barry_Green]

So, this is a short to show off the AF100? Or a short for film festivals and you are using the AF100 - or both? Or neither???
This is a short film in and of itself. It was an opportunity to try out the AF100 as well, and get some answers for ourselves and for others.

[groveChuck]

Barry- will any clips be posted before the film is finished?

[Barry_Green]

Barry- will any clips be posted before the film is finished?
That is still under discussion. Not really interested in having our stuff savagely attacked. It seems like people only want to tear stuff apart.

I mean, today I got a shot that looks like complete absolute crap. Should I post it?

[ilauzirika]

IMHO...I would opt not to show any individual clips.... and that's because I'm tired of single shots (still life, nature, photoshoot, charts...). I want to see how the images this camera produces help driving a story... that's why I would only show the final result (in glorious donwloadable full HD clip...to play back in my 130" projector screen...). And if I have to wait I'll wait hahaha....I just need some BTS footage to survive...hahaha

[Taylor Rudd]

A few stills from today's shoot. I think we even wrapped early?

26602266122661126610266092660826607266062660526604 2660326613

EDIT: not sure why the quality on these images are crap. Must've been an old export setting. I'll fix them after dinner. As Timur would say, I has hunger.

[Steve Kahn]

Awesome! Can't wait to see the short!

[Paul Vicente]

That is still under discussion. Not really interested in having our stuff savagely attacked. It seems like people only want to tear stuff apart.

I mean, today I got a shot that looks like complete absolute crap. Should I post it?

No, but perhaps tomorrow you guys can record a short clip just for the purposes of providing the raw clip online, that has audio as well. Something that looks really nice. I would love to test an MTS file on my editor.

With regards to your actual clips for the film, you should only release your final best work at the end, graded and complete, with no compromises.

Cheers.

[Steve Kahn]

That is still under discussion. Not really interested in having our stuff savagely attacked. It seems like people only want to tear stuff apart.

I mean, today I got a shot that looks like complete absolute crap. Should I post it?

Personally, I would never post anything I shot until the edit was locked and DONE. What's the rush?

[Barry_Green]

The film camera (GSMO) with the Redrock mattebox on it:
26625

Crew lighting an exterior scene:
26624


Matt's mixer and recorder
26623


Matt Gottshalk. McGeeDigital. Need I say more?
26622


Timur with The Howitzer, checking the image on the SmallHD DP6 monitor
26621


Timur's review of the gear:
26620


The AF100 with the side handgrip removed, which Mikko has engineered a mount to hang some gear off of:
26619


This is why Melvin calls himself "The Black Flag"
26618



26617



Steadi-Guru Mikko, who is likely the first person in the world to fly an AF100 on a Steadicam:
26616



Melvin hammin' it up:
26615

26614
(and yes, he really is that tall)
http://www.dvxuser.com/V6/images/style_dvxuser_vb4/misc/pencil.png

[ransom]

Personally, I would never post anything I shot until the edit was locked and DONE. What's the rush?

my 2cents. I AGREE.

[Barry_Green]

Kessler Crane giving us an overhead shot straight down:
26637


26636


Superstar Luis (you may remember him from such classics as "Pipe vs. Machete" and "Depth of Phil" and "Shady, Texas" hanging with awesome makeup/FX artist Chris Payne:
26635


26634



26633

(this next one is my favorite shot of the day...)
26632



26631


26630


26629


26628


26627


26626

[Luis Caffesse]

Why on Earth would anyone compare it to a DSLR? It's a radically different machine.

Agreed - it's obviously a radically different machine, not to mention in a different price bracket (somewhat).
As to why anyone would compare them - because that's what most of us have been doing a fair amount of shooting on for the past year or more... so it's only natural to start from that point of comparison.
Just take a look at all the "AF100 vs. 7D/5D/60D/T2i/Gh1/Gh2" type threads that we've seen pop up here.

Most people moved to DSLRs because of the larger sensor - but we gave up a lot to do that.
The AF100, from what I've seen, is what most of us wanted DSLRs to be.

Is it perfect? Probably not.
But you're right in saying it's a radically different machine - no question.

[interNETTI]

Day 3 complete!

Justin Netti, Behind The Scenes, here...getting a lot of great content on how this film is being shot, the incredible flow of the crew and the amazing versatility of the AF-100.

Let me put it this way...when you see the preview monitor you may drool just a little bit.

I can't wait till tomorrow!

justinnetti.com
audio / video production and post

[bboggs]

Did you mean drooling or drinking. I have no idea what that sentence means! :O)


Day 3 complete!

Justin Netti, Behind The Scenes, here...getting a lot of great content on how this film is being shot, the incredible flow of the crew and the amazing versatility of the AF-100.

Let me put it this way...when you see the preview monitor, you won't realize you've been drooling when you see the kind of footage we've shot.

I can't wait till tomorrow!

justinnetti.com
audio / video production and post

[interNETTI]

being amazed with beautiful pictures...

[groveChuck]

That is still under discussion. Not really interested in having our stuff savagely attacked. It seems like people only want to tear stuff apart.

Valid concern, as is the discussion you all are having.
OTOH, if the footage got ripped apart, I think the "critic's" opinion would be summarily dismissed and he would be laughed/shouted off the forum.

I guess I had perhaps envisioned a montage of shots that weren't in the film, but captured the location- ie the gorgeous backlit grass, maybe combined with some BTS footage (CUs of cameras, hands on follow focus, etc. "Making of," tease worthy shots).
I would be curious how the ungraded footage compared to final graded footage.

But these are strange times, and I could understand nobody releasing footage at this point. Just thought I'd ask.

[bboggs]

I am thrilled to see all the great posts from everyone about the af100 and the sweet footage we are getting. It is a very exciting time in the video camera world once again. I would venture to say that not since the release of the original dvx100 have we seen such a revolutionary change in video camera technology. I must give props to Panasonic for being a huge and successful company that absolutely listens and responds to it's customers.

I love technology in a way that some might deem inappropriate but tech toys are not the reason I became a filmmaker. I did that for the experiences, relationships, camaraderie, adventures and to participate in the making of movies and memories that will be here long after I am gone. To that end, this is the most talented crew I have ever had both the honor and privilege of working with. I feel truly blessed to have been asked to be a part of this project. This film crew is like the Harlem Globe Trotters of DVX User and man is it fun to play on their team!

Let me just say this, if this project were a dessert, it would be the most incredible cake you have ever tasted in your life. and the af100? it would be frosting so good we would need a firehouse to wash your brains from the walls and ceiling after your head exploded from consuming it.

sleep well all for tomorrow we put this bad boy in the can!

[Barry_Green]

bboggs is the gentle giant who's been lovingly nicknamed "hagrid" because ... well, yeah, because he looks like Hagrid. He was also crew and cast on "Depth of Phil"; he played the convenience store clerk. We're delighted to have him on this crew along with all the other fantastic crewmembers.

[Barry_Green]

I mean, today I got a shot that looks like complete absolute crap. Should I post it?
Okay, I've relented. I've decided that in the interest of full disclosure, I should indeed post the shot that looks like "complete absolute crap".

For the pixel peepers, I'm posting this at full 1920x1080.


26640

:evil:

[bgundu]

What gamma setting is this?
Why is it blown out?
Why so noisy?
is that compression artifacts?



Okay, I've relented. I've decided that in the interest of full disclosure, I should indeed post the shot that looks like "complete absolute crap".

For the pixel peepers, I'm posting this at full 1920x1080.


26640

:evil:

[Steve Kahn]

Uh.... don't mean to flame Barry but I throughly pixel peeped this image and there's like 35%, maybe 40% crap TOPS!

WTF???

[dustylense]

LOL, I can hear the "look at those blown highlights" out of that pile there Barry!

But for real. If you guys choose to release this footage, or some samples (outtakes or such), I know that I'm keeping in mind that this camera is $4,800!!!!!! I mean, FOR REAL guys (nay-sayers)! Thats the price of a 1dMK4! That is what gets me excited about the AF100. The price point and all the footage I've seen thus far. Even the P. Bloom stuff that got ripped apart looks GREAT to me!!! Poor Philip, got a lashing here and most of you should go pound sand that gave that lashing.

The reports of what you guys are getting us about this project and how you feel about the image just makes my mouth water! I am most certain that the AF100 is going to do well. Maybe not for everyone, but for a lot of us! And for a camera that costs what it does, with the options of so many lenses out there? Come on, I for one am counting the days until this puppy hits the shelves and we start seeing projects, both good and bad, just like there is with ANY camera out there...

Thanks guys for this exciting thread and I for one hope you give us a taste from the shoot very soon. If not, cool. If so, much cooler!!!

[Drew Ott]

Great time watching dailies tonight. I've been trying to stay away from speculation about unreleased cameras recently, so I wasn't nearly as excited about the AF100 as everyone else, but I think I just fell into heavy gear lust while watching today's playback. Ugh.

I'd post more but I'm falling asleep.

[J Davis]

omg what an incredible location !


http://www.dvxuser.com/V6/attachment.php?attachmentid=26611&d=1291599896
http://www.dvxuser.com/V6/attachment.php?attachmentid=26606&d=1291599873

[mikkowilson]

Short post tonight as the AF100 here next to me on the table formats our cards for tomorrow. If all goes to plan, we should wrap by lunchtime; so there may be lots of "playing" in the afternoon.

3 major things today:
1) One of our cast members wears a jacket with the tightest little stripes you can imagine. While setting up for one shot today on the Steadicam; i looked at my monitor to see huge ugly rainbows all over the shoulder of the jacket. Moire up the wazoo. But. My Steadicam monitor is a SD monitor, fed by composite. And sure enough, a quick look at the camera's monitor confirmed that it was simply a result of the downconversion for my monitor. And watching the "dailies" tonight confirmed it. The tightest of lines in all shapes and sizes all day long. The only time you can't see the perfectly clear stripes is when the shot size & focal length is such that they blur together beautifully into a textured and then solid gray.

2) This camera is really light! As you can see from Taylor's photos (He's an amazing AC by the way! :thumbsup:), I did a fair amount of standing around with the rig on my shoulder today between shots. That's a standard rest position for the Steadicam if you aren't shooting. While standing there, I realized that while standing around with the rig on my shoulder between shots to speed things up isn't exactly new; it's very very rare on a shoot of this scale and quality. Normally shoots with this variety of lenses & accessories (like wireless follow focus) involve cameras that weigh much more, and have us walking back to the docking stand between every take.
It's like the compromises comment I made yesterday: We got to fly all we needed, get a fantastic picture that everyone is raving about; BUT also got to work with a light fast rig at a faster pace. There's a shot I did yesterday that involved me jumping over an actor with the Steadicam ... a stunt move that I last remember doing with the Flyer and a light camera - not something I'd feel so good doing with a big heavy digital cinema or film camera. The size really changed the pace of things, back down to the speed of fast, almost "run and gun" style shooting at times; but still delivering top notch results.

3) Little things like the built in ND filters really help with the multitude of lenses you can use with this camera. After we wrapped; we put a couple of crazy long lenses on the camera to play. The first was a Sigma (I think) 600mm f/8 mirror lens. With the crop factor, it was equivalent of a 1200mm lens. Slowly panning the horizon, we suddenly found a house in the distance, that we couldn't even see with our eyes. The ND wheel allowed us to quickly change ND as necessary to correct exposure. Then we put on my Canon 100-400mm f4.5-5.6 L IS lens on the camera. (Again see Taylor's photos.) Our mount adapter didn't allow for iris control; so the lens was wide open. Again the ND wheel let us switch quickly between grass in the sun, to trees against the sky, to bushes in the shadows. At f400mm full telephoto (800mm equivalent), it wasn't quite as long as the 600mm Sigma; but the Canon L -series glass was super sharp. Once we focused (with the help of the awesome focus-in-red feature) on part of a tree about a quarter mile away, we could just imagine the Leopard dozing on the branch in the sun. Nature Doc shooters are going to LOVE this camera.

Now it's 1:09am, and wake up is again at 6 for a 6:30 roll out, so I'm calling it a day too.

- Mikko

[Derrick_SA]

More...

26535



Nice, If I may ask, what was the setup here. I mean what were you shooting. What I'm asking is I'm trying to understand the scrims, and mirrors board's setup here?

thanks!
Derrick

[mikkowilson]

Derrick; in that shot we are shooting inside the building. The scrims cut down the sunlight passing directly in the window to soften the ambient light inside; then the lamp is bouncing off the reflector-board down through the window to provide our hard "key" light in place of the sun into out scene inside.

We could wait for the sun to line up exactly; but then if you take too long, you miss it. This type of common set-up uses the sunlight, but then gives us to ability to use more controlled artificial light in it's place where we need it.

- Mikko

[alpi69]

Okay, I've relented. I've decided that in the interest of full disclosure, I should indeed post the shot that looks like "complete absolute crap".

For the pixel peepers, I'm posting this at full 1920x1080.


26640

:evil:

Well, sorry Barry. But this is really crap. And if you ask me it looks kinda grainy. :P

[Derrick_SA]

Derrick; in that shot we are shooting inside the building. The scrims cut down the sunlight passing directly in the window to soften the ambient light inside; then the lamp is bouncing off the reflector-board down through the window to provide our hard "key" light in place of the sun into out scene inside.

We could wait for the sun to line up exactly; but then if you take too long, you miss it. This type of common set-up uses the sunlight, but then gives us to ability to use more controlled artificial light in it's place where we need it.

- Mikko

thanks Mikko, I appreciate the answer. Man, it must be a blaast working on this short!! Can't wait to see it!

- Derrick

[Luis Caffesse]

We got to fly all we needed, get a fantastic picture that everyone is raving about; BUT also got to work with a light fast rig at a faster pace. There's a shot I did yesterday that involved me jumping over an actor with the Steadicam ... a stunt move that I last remember doing with the Flyer and a light camera - not something I'd feel so good doing with a big heavy digital cinema or film camera. The size really changed the pace of things, back down to the speed of fast, almost "run and gun" style shooting at times; but still delivering top notch results.

Poor Mikko. :)
We ran him ragged yesterday, I think.... and he's up first thing this morning as well.

One of my favorite moments yesterday was when I asked him "can you move to another location without having to breakdown your rig?"
We were trying to catch an extra series of shots before losing our light for the day, and it involved moving a handful of crew and the steadicam down the road a ways to another section of the set.
He told me, basically, "Yes - only because this camera is so small and light."

So we stuck him in Barry's car and moved down the road.... crew was set and ready to go before our actors were even out of makeup.
We got our shots as the sun got low in the sky (gorgeous, by the way, thanks to Timur's eye and Mikko's moves) and we were able to wrap an actress a day early.

So yeah, Mikko hit the nail on the head - the camera is small enough to give you that run and gun feel on set. But the image gives you the feel it came from something much larger.
That's both a blessing and a curse for him, I'm sure. It keeps his rig lighter... but it also gives us the feeling that we can just keep moving, keep shooting, and never slow down too much.

Alright - last day is starting in about 90 minutes - I'm hitting the road.


Oh, and yes... the 600mm mirror lens was a Sigma.

[Taylor Rudd]

Alright - last day is starting in about 90 minutes - I'm hitting the road.

Awww, last day already?

[Taylor Rudd]

Oh, and yes... the 600mm mirror lens was a Sigma.

Not to mention it has a minimum focus of what... 2 meters? .... at 600mm on a 2x crop... That is 1200MM ULTRA MEGA-AWESOME BONUS MACRO. Get excited.

[John Caballero]

Are you filming the BTS with the second AF100 and the GH1 kit lens?

[hscully]

Thanks for sharing your experiences on the shoot and the shots of the camera. I am really looking forward to seeing the final product. Just to chime in, I agree with Barry and those who suggest not showing it until you decide it's finished. I'm happy to wait, and will be even happier to see it.

[Barry_Green]

Are you filming the BTS with the second AF100 and the GH1 kit lens?

No, both cameras are active. One is the tripod cam and the other is the steadicam cam. BTS is with an hpx170.

[heavyG]

No, both cameras are active. One is the tripod cam and the other is the steadicam cam. BTS is with an hpx170.

Are there noticeable differences in the footage between the production camera and the pre-production model? Or can it be graded out in post?

[Barry_Green]

Are there noticeable differences in the footage between the production camera and the pre-production model? Or can it be graded out in post?

Both are preproduction units. Production models don't exist yet; if they did, they'd be selling them! :)

We used the SD card to load the scene few and equalize the cameras. Differentlenses can impart a different look to the footage so some CC will always be advisable when using different families of lenses.

[heavyG]

Both are preproduction units. Production models don't exist yet; if they did, they'd be selling them! :)

We used the SD card to load the scene few and equalize the cameras. Differentlenses can impart a different look to the footage so some CC will always be advisable when using different families of lenses.

Understood - just thought earlier it was mentioned one cam was a production model, and the other wasn't. So many posts - I'm having trouble keeping score.

[groveChuck]

Okay, I've relented. I've decided that in the interest of full disclosure, I should indeed post the shot that looks like "complete absolute crap".

http://www.dvxuser.com/V6/attachment.php?attachmentid=26640&d=1291611281&thumb=1 (http://www.dvxuser.com/V6/attachment.php?attachmentid=26640&d=1291611281)

:evil:

That's some SERIOUS compression happening there!!!

[Stu Siegal]

Then we put on my Canon 100-400mm f4.5-5.6 L IS lens on the camera. (Again see Taylor's photos.) Our mount adapter didn't allow for iris control; so the lens was wide open. Again the ND wheel let us switch quickly between grass in the sun, to trees against the sky, to bushes in the shadows. At f400mm full telephoto (800mm equivalent), it wasn't quite as long as the 600mm Sigma; but the Canon L -series glass was super sharp. Once we focused (with the help of the awesome focus-in-red feature) on part of a tree about a quarter mile away, we could just imagine the Leopard dozing on the branch in the sun. Nature Doc shooters are going to LOVE this camera.


- Mikko

Mikko, would love to see a frame grab or two from the Canon lens, if you've got any from the footage. Sounds incredible.

[Derrick_SA]

That's some SERIOUS compression happening there!!!

HA HA!

- Derrick

[wbrock001]

Perhaps if time allows a short sequence showing graded edited shot then show ungraded edited shot. That would be very useful.

[Mrs. Caffesse]

hey!

here's the first batch of quick-n-dirty edites from my visit to the set. highlights include several lovely shots of my personal hero, Barry, who found my iPhone in a hayfield. . . .and my winning shot of Mikko in our "quick draw" contest.

NIKON RULEZ!

http://fulltiltphotography.zenfolio.com/verse

ENJOY!

. . .more to come in the next few days.

<3

[Jesse Brauning]

The link just sends me to zenfolio.com

[Mrs. Caffesse]

DANG IT!

i'm on it. . .gimme a minute

[bgundu]

copy/past link seemed to work for me.

http://fulltiltphotography.zenfolio.com/verse

[kylekmd]

Yes, the link is not working...

COPY & PASTE does work, that's true.

Not any more, though...

[heavyG]

first two clicks didn't work… 3rd did. technology, who knows why?

[Mrs. Caffesse]

let's try it again. . .
http://fulltiltphotography.zenfolio.com/dying


aaaand, boom goes the dynamite.

or, not. . .it worked in preview mode. . .and there are already 4 visitors, so the page itself is fine, there must be something wonky with DVX.

it's your fault.

[Dafilman21]

You have to copy and paste the link to get it to work.

[bgundu]

It works fine of the link in my email.

[groveChuck]

. There's a shot I did yesterday that involved me jumping over an actor with the Steadicam ... a stunt move that I last remember doing with the Flyer and a light camera - not something I'd feel so good doing with a big heavy digital cinema or film camera. The size really changed the pace of things, back down to the speed of fast, almost "run and gun" style shooting at times; but still delivering top notch results. - Mikko

Mikko, is the Flyer what you're using here?

And in one of the early interior photos, someone's handholding a Steadicam (no sled), was that a Merlin?

Thanks, can't wait to see your moves!

[groveChuck]

copy/past link seemed to work for me.

http://fulltiltphotography.zenfolio.com/verse

"Sorry, the page you were looking for cannot be found."

???

[S. Matthews]

http://fulltiltphotography.zenfolio.com/dying

[ZazaCast]

Nice!

[bgundu]

Yes the other steadicam is the Merlin.

[kylekmd]

COPY & PASTE works...

Photos look GREAT... Everything looks AMAZING.

Can't wait to see some footage.

[Justyn]

looking forward to the footie too.... Congrats all!

[Jack Daniel Stanley]

So cool. Psyched, happy y'all are had a fun / productive "pioneer"ing shoot.

Jealous of the following in the following order:
1 - Working with that crew.
2 - Working with that crew.
3 - Working with that crew.
4 - Working with that crew on a Western at that Location.
5 - Working with that crew and that camera.

Go Team User!

[Mrs. Caffesse]

sorry about the link.

wifeFAIL.

[bgundu]

sorry about the link.

wifeFAIL.

What!! You blaming the wife!!! :)

[ZazaCast]

What!! You blaming the wife!!! :)
I believe she IS the wife....hello Mrs. Caffesse...and thanks for posting!
Happy Hoildaze.

[Simon Höfer]

Pictures are looking great Mrs. Caffesse! No. 85 is my favorite :)

[Alvise Tedesco]

Is it Luis or wife who wins the "best bts pictures set" (till now at least)?
Some are stunning. A pleasure to look at. Thanks for posting

[Mrs. Caffesse]

timur giving his best psychotic groucho marx impression is definitely up there with the best of the shots.

these were all taken by me, but others on set have taken some lovely shots as well.

[Mrs. Caffesse]

26660

[Everts]

Great BTS !!!

[ZazaCast]

http://i302.photobucket.com/albums/nn91/zazacast/p549587967-3.jpg

"Keep your hands where I can see them and step away from the AF100....NOW!"

[alpi69]

26660

"Go on. Tell me there´s noise once more. Just say it!"

[Mrs. Caffesse]

Melvin
26661

Super Luis and Drew Ott
2666226663

STL and Mikko (one of only a handful of shots where Mikko is NOT wearing the steadycam rig)
2666426665

[Rodney V. Smith]

I would have given my left testicle to have been on this shoot. Damn guys: awesome just to hear of it.

[Mike McNeese]

So cool. Psyched, happy y'all are had a fun / productive "pioneer"ing shoot.

Jealous of the following in the following order:
1 - Working with that crew.
2 - Working with that crew.
3 - Working with that crew.
4 - Working with that crew on a Western at that Location.
5 - Working with that crew and that camera.

Go Team User!

+1

Sure you guys don't wanna come up to Baltimore, Ohio, to shoot some stuff? It's a beautiful gray 40-degree day?

...grumble...

This looks fantastic guys. Can't wait to see what this DVX All-Star crew comes up with!

[ZazaCast]

I would have given my left testicle to have been on this shoot. Damn guys: awesome just to hear of it.
I would have given YOUR left testicle to be there too!

[Derrick_SA]

I would have given my left testicle to have been on this shoot. Damn guys: awesome just to hear of it.

that's just nuts...

- Derrick

[Alvise Tedesco]

I would have given YOUR left testicle to be there too!

that's no nuts at all

[Paul Vicente]

I would have given my left testicle to have been on this shoot. Damn guys: awesome just to hear of it.

You might regret giving it away.

[ZazaCast]

You might regret giving it away.
I'm pretty sure Rodney is married....so....I believe they're already gone!:shocked:

[Terry_Lasater]

26660

Timur looks more and more like Groucho with every pic posted.

[Taylor Rudd]

Not sure if I'm allowed to say it, but.... THAT'S A WRAP.

[ZazaCast]

Not sure if I'm allowed to say it, but.... THAT'S A WRAP.
Congrats on the wrap!
REALLY can't wait to see this one.

[chriscurl]

Congrats everyone!

[groveChuck]

Not sure if I'm allowed to say it, but.... THAT'S A WRAP.

Are we all invited to the wrap party? :beer: :beer: :beer: :beer: :beer: :beer:

[mcgeedigital]

Screening the final day of footage at dinner:
http://i51.twitgoo.com/1znlw5g.jpg

[Matthew B]

Screening the final day of footage at dinner:
http://i51.twitgoo.com/1znlw5g.jpg

I dunno, that footage looks a little blownout :grin:

[mcgeedigital]

Yeah, it is noisy too.

;p

[groveChuck]

http://i51.twitgoo.com/1znlw5g.jpg


Whoa, that's worse highlights than my old blonde girlfriend!!! :grin:

[Matthew Bennett]

You guys have access to an actual FILM CAMERA?!! WHat the $%@^ are you do shooting video???!!!

This looks like it's going to be amazing - way to pull an awesome production together!!!

[Taylor Rudd]

Yeah, it is noisy too.

;p

I don't know what monitor you're watching it on, but over here it looks PERFECT

[mcgeedigital]

I don't know what monitor you're watching it on, but over here it looks PERFECT

I was kidding.

And as it stands right now my 7d goes on the marketplace as soon as I get home tomorrow.

[mikkowilson]

Mikko, is the Flyer what you're using here?

And in one of the early interior photos, someone's handholding a Steadicam (no sled), was that a Merlin?

Thanks, can't wait to see your moves!
I'm operating the my Steadicam Archer.

And yes, I have my Merlin along for playing with; which is the handheld rig in the photo.

- Mikko

[Barry_Green]

You guys have access to an actual FILM CAMERA?!! WHat the $%@^ are you do shooting video???!!!
I actually brought three film cameras along. And I will say that after loading the first mag, I said to the crew: why the bleep would anyone ever shoot film again? Boy was that annoying! (new camera, never used before, bought off ebay, first load). Second load was much better.

So, after griping about loading, I set it up, and looked through the optical viewfinder -- and fell in love all over again. Pulled the trigger and it purred like a kitten, and the screen flickered just like it's supposed to, and ... yeah, it's great.

And it was so simplistic. So ridiculously simple. On the video camera you have to remember to set the white balance right, and the black balance, and check on your scene file settings, and then check the ISO to make sure you haven't gained up, and then check the waveform monitor and the zebras for proper exposure... it's so complex. With film, you walk over to the set and push the button on the light meter. Spin the iris and pull the trigger, and that's it.

Of course, if you DID want to change any of those things (like white balance or ISO/gain) then yeah, you gotta open up a new can of film, go into the changing bag, unload the old film, snip the ends, tape up the short end and recan it, then load the magazine with the new stock... vs. just pressing a button. It's so simplistic, and so complex. (of course, you can spend a few hundred more to buy multiple magazines to make changing WB a little easier, but you still have to pre-load that mag too. When you're done with all that, and you put the hard work behind you, then shooting is definitely fun.

Then I remembered that it's costing me about $35 for every minute shot. Every minute. And that, right there, is why people shoot video. :thumbsup:

When he called cut, Stephen would occasionally ask "Can I see playback on that?" On the AF100, the answer was "yes". On the film, I'd have to answer "in about a week." :D

[TimurCivan]

So we have wrapped shooting today. I have to say, looking at this production, in one sense it was a exercise in learning a new camera. However the surprising thing about this camera is that after a day or so, i didn't "feel" the camera anymore. What i mean is this. I never felt weighed down, like it was too big and heavy, or really too small and unstable. Its sensitive enough that i never felt that i was struggling for exposure. I was able to use PL lenses, so i always got consistent, clean results.

I was so un-bothered by fiddling with the camera that i was actually able to focus on the lighting, blocking and camera operation. The AF100 just doesn't get in the way.

As far as the image goes, this thing is simply amazing. We were shooting a young man, collecting firewood in dappled sunlight under some trees. When he was in shadow, he was a bit dark, but still exposed and clear, and with accurate color and tones. The portions that hit the sunlight, were bright, but also exposed and retained full detial. There was at least a 5 stop difference, yet the AF100 just took it in stride. The 10.5 stops of Dynamic Range really came in handy, but are also fully use able.

We also got to try the AF under a unique condition, that left us 30 feet in the air and that i was convince would break the image. No such luck. This camera stands up to skew, and wobble in stride, and it is very difficult to trigger those effects.

Off to bed have a plane to catch.

[Zblock]

Wow can anyone say Amazing Pictures. Great job capturing the action of the set.

[Taylor Rudd]

I was kidding.

And as it stands right now my 7d goes on the marketplace as soon as I get home tomorrow.

Just kidding as well - I'll put up a smiley face (maybe one holding beer?) next time :beer:

As Timur said, the nice thing about the AF100 is that it's not a selfish camera. It doesn't need special treatment. The general consensus: it just does what it needs to do. Finally.

[Stephen Mick]

So, the shoot is wrapped, the crew is getting packed and ready to leave this morning, and I've got a few minutes to compose my thoughts and share them with all of you.

First, I have to thank Barry, Timur, Mikko, Caffesse, STL, McGee, Wildman, Drew Ott, Mrs. Caffesse, Taylor Rudd, Brandon Boggs, and every other person who gave so much of their time and effort to make "A Verse Before Dying" such a wonderful experience. When Barry and I first cooked up this idea of putting an AF-100 film together, I don't think either one of us could have imagined it would go this well. I hoped it would, and the planets definitely aligned for us, with a perfect cast, the best crew I've ever worked with, a location that felt like another character, and the help of quite a few "friends" who supplied us with key gear to get the job done.

As far as the camera goes… well, let's just say there's not likely anything I could say that Mikko, Timur, Barry and Matt haven't said already, and more eloquently than I could. What I will say is this… I hardly ever thought about the camera. We weren't there to "test" the camera, we were out to shoot a film. And the camera just plain delivered. When you're on set, if you're thinking and talking about the camera, there's likely something wrong with it, and that never happened here. Timur was able to focus on the images, and I was able to focus on the actors, their surroundings and the impact of each scene.

So…where do we go from here?

To the edit.

People have asked to see footage, and that wish will be granted. While our "A" editor, the amazing Stephen Bohls, works on the film, I'll be working on the trailer. Hopefully, we'll have something quickly, but you'll only see it when it's ready. With the help of McGee, I'll also be posting a few select clips for people to check out.

During pre-production, we also thought about some "technical details" that we wanted to investigate while we had the cameras around. Things like rolling shutter performance, on-board codec vs. outboard recording device, functionality of certain lenses, low-light performance, etc. In time, we'll get to the results, but my focus now is to get the edit rolling and start working on music and finishing details.

And one of those finishing details will be color work. Again, we've always said (to each other) we wanted to see how the footage would hold up in the best of conditions, and part of that means working with a kick-ass professional colorist. My good friend Oscar Oboza at Pixel Farm (in Minneapolis), has graciously offered to color-correct the film in their telecine suite. So we'll be using their Spirit Datacine to transfer our Ultra16 16mm film to digital files, and their Baselight system to do all the final color work.

The schedule is always in flux, but the plan is to have a "teaser/trailer" shortly, and to have the film ready as early as December 22nd. (Think of it as an appetizer to "True Grit.") This may change, depending on how things come together, and I'll keep the thread updated with info.

Finally, a big thank you to everyone who's dropped into this thread and offered their encouragement and support. It hasn't gone unnoticed, and it is, most certainly, appreciated.

[ZazaCast]

This is just great news... congrats to all involved...and THANK YOU ALL for the hard work!

The vast knowledge and experience you guys share is priceless. I still say DVXUser is THE best film school...and it's FREE.
To have access to the professionals on this forum, well, again, you can't put a value on that.

...and to hear you talk about this camera and the quality of the images...and it's not even the production model yet....damn, this thing is going to smoke.

I for one would like to thank you all once again...and please know how much we appreciate you taking the time to share your knowledge & skill with us!
Happy Holidaze.

Cheers!
-Zaza

[PaPa]

^^^^^^

what he said.

very exciting times guys. Cannot wait to see some sneak peaks! Thank you, all of you for your hard work.

[Melvin Harris]

The vast knowledge and experience you guys share is priceless. I still say DVXUser is THE best film school...and it's FREE.
To have access to the professionals on this forum, well, again, you can't put a value on that....

I for one would like to thank you all once again...and please know how much we appreciate you taking the time to share your knowledge & skill with us!
Happy Holidaze.

Cheers!
-Zaza

Never have truer words been spoken. I spent part of one day, ONE DAY, on that set and it changed everything for me. It changed how I think about my productions, and it changed how I teach my students. I don't usually gush, and I don't teeny bop, but it was awesome watching them work with new technology like it was nothing, like they had been working with the camera for years. It was a master class, man; it was school.

Alright, I'm done gushin'
Black Flag out!

[Chris Messineo]

The schedule is always in flux, but the plan is to have a "teaser/trailer" shortly, and to have the film ready as early as December 22nd. (Think of it as an appetizer to "True Grit.") This may change, depending on how things come together, and I'll keep the thread updated with info.

Finally, a big thank you to everyone who's dropped into this thread and offered their encouragement and support. It hasn't gone unnoticed, and it is, most certainly, appreciated.

Wow, that's fast! I can't wait to see what this amazing team has created.

As I said earlier, this is all very inspirational and it has me very excited to tackle my next project later this winter with my new AF100.

[EidolonFilms]

Did you guys test if using the Lumix lenses on the AF100 gives you distance readouts for focus? I think this is something Barry had mentioned he thought might be a feature.

[John Caballero]

Thank you a lot! Looking forward to the film.

[OldCorpse]

Good job, guys. It would be very helpful if you could list the lenses you used, together with the time code, so I can see exactly which lens was used on which clip. Plus, if you could do the same (synched to time code) for all the settings used on the camera. Looking forward to seeing this!

[mcgeedigital]

Did you guys test if using the Lumix lenses on the AF100 gives you distance readouts for focus? I think this is something Barry had mentioned he thought might be a feature.

They do yes.

[J Davis]

So, the shoot is wrapped, the crew is getting packed and ready to leave this morning, and I've got a few minutes to compose my thoughts and share them with all of you.

First, I have to thank Barry, Timur, Mikko, Caffesse, STL, McGee, Wildman, Drew Ott, Mrs. Caffesse, Taylor Rudd, Brandon Boggs, and every other person who gave so much of their time and effort to make "A Verse Before Dying" such a wonderful experience. When Barry and I first cooked up this idea of putting an AF-100 film together, I don't think either one of us could have imagined it would go this well. I hoped it would, and the planets definitely aligned for us, with a perfect cast, the best crew I've ever worked with, a location that felt like another character, and the help of quite a few "friends" who supplied us with key gear to get the job done.

As far as the camera goes… well, let's just say there's not likely anything I could say that Mikko, Timur, Barry and Matt haven't said already, and more eloquently than I could. What I will say is this… I hardly ever thought about the camera. We weren't there to "test" the camera, we were out to shoot a film. And the camera just plain delivered. When you're on set, if you're thinking and talking about the camera, there's likely something wrong with it, and that never happened here. Timur was able to focus on the images, and I was able to focus on the actors, their surroundings and the impact of each scene.

So…where do we go from here?

To the edit.

People have asked to see footage, and that wish will be granted. While our "A" editor, the amazing Stephen Bohls, works on the film, I'll be working on the trailer. Hopefully, we'll have something quickly, but you'll only see it when it's ready. With the help of McGee, I'll also be posting a few select clips for people to check out.

During pre-production, we also thought about some "technical details" that we wanted to investigate while we had the cameras around. Things like rolling shutter performance, on-board codec vs. outboard recording device, functionality of certain lenses, low-light performance, etc. In time, we'll get to the results, but my focus now is to get the edit rolling and start working on music and finishing details.

And one of those finishing details will be color work. Again, we've always said (to each other) we wanted to see how the footage would hold up in the best of conditions, and part of that means working with a kick-ass professional colorist. My good friend Oscar Oboza at Pixel Farm (in Minneapolis), has graciously offered to color-correct the film in their telecine suite. So we'll be using their Spirit Datacine to transfer our Ultra16 16mm film to digital files, and their Baselight system to do all the final color work.

The schedule is always in flux, but the plan is to have a "teaser/trailer" shortly, and to have the film ready as early as December 22nd. (Think of it as an appetizer to "True Grit.") This may change, depending on how things come together, and I'll keep the thread updated with info.

Finally, a big thank you to everyone who's dropped into this thread and offered their encouragement and support. It hasn't gone unnoticed, and it is, most certainly, appreciated.


way to go AF100 team!
good job on putting this all together Stephan and Barry

[groveChuck]

Thanks for sharing the process guys.

And a huge thanks for creating the first film shot on the AF100, and the last film shot on that truly awesome set (may it Rest In Pieces)!!!

Can't wait to see the fruits of your labors! :thumbsup:

[mcgeedigital]

How much did i enjoy the imagery from the af100? Well, you will soon see my Canon 7d on the marketplace.

[Stephen Mick]

I can confirm to those interested that the Olympus 14-35mm f2 and the 35-100mm f2 both work flawlessly on the AF-100 with the Panasonic Four-Thirds to Micro-Four-Thirds adapter. Oh, and they're bad-ass lenses to boot. We didn't get to shoot any footage with them on the set, due to time and technical issues, but we just tested them in a controlled setting, and…disco!

[djkarn105]

I can confirm to those interested that the Olympus 14-35mm f2 and the 35-100mm f2 both work flawlessly on the AF-100 with the Panasonic Four-Thirds to Micro-Four-Thirds adapter. Oh, and they're bad-ass lenses to boot. We didn't get to shoot any footage with them on the set, due to time and technical issues, but we just tested them in a controlled setting, and…disco!

Meaning auto-focus, auto exposure, and lens focal length and aperture readout?

[Jarek Zabczynski]

Reading all this makes me wish I was there...great job guys! Can't wait to see it!

[mkfotos.com]

Reading all this makes me wish I was there...great job guys! Can't wait to see it!

Ditto. I think there's a large market for well shot, multi-angle BTS documentaries. Since I couldn't be there, I'd love to see a well made, annotated BTS video, and pay for the privilege.

[interNETTI]

Are you filming the BTS with the second AF100 and the GH1 kit lens?


I'm using a Panasonic HPX-170 p2 camera for behind the scenes. Mikko rolled a little bts with the af-100 though...

[AdrianF]

I can confirm to those interested that the Olympus 14-35mm f2 and the 35-100mm f2 both work flawlessly on the AF-100 with the Panasonic Four-Thirds to Micro-Four-Thirds adapter. Oh, and they're bad-ass lenses to boot. We didn't get to shoot any footage with them on the set, due to time and technical issues, but we just tested them in a controlled setting, and…disco!
Thanks for this. I'm interested in this duo on the AF 100 and the GH1/2. Would love to hear more thoughts on how they work out when you've got time.

[Cliff Wildman]

I helped produce "A Verse Before Dying" - I very rarely post here, but I do lurk a bit. I'm coming out of my hidey-hole to give my 2 cents on the AF-100.

My perspective on cameras is probably a lot different than most folks here. First, I'm not a shooter really. I produce/direct so I'm a believer in using the best tools you have available to you, and that making compromises on gear is OK if you're doing a good job making compelling content (AND GET CLEAN AUDIO!)

When we started this short, I thought it would be cool to see a new camera, but I didn't care about anything other than enabling Stephen to create the story he had come up with.

At one point I was asked what I thought. This was about 1/2 way through the shoot and I had honestly only seen 2-3 clips on Stephen's laptop. My opinion at that point was flat. I thought the image looked nice, but that in most circumstances a DSLR would really get you most of the visual quality the AF100 was offering.

Move two days later and I got to see a lot more footage on a laptop and projected. Note the projector was pretty crappy and was taking an SVGA input. Half way through watching those projected and degraded clips convinced me my first impression was wrong.

This is an amazing camera and for the price it's going to do a lot to shake up the market.

All in all, like Stephen said, we forgot about the camera and we just executed on our game plan and were able to work just as quickly with the AF-100 than anything else I've seen on a set before.

I'm not usually impressed by cameras. This was the first time I have been since the HVX came out.

Beyond that I was absolutely humbled by the talent we had on set. I dare say it was magical.

[_JD_]

"A Verse Before Buying"

[bboggs]

Today feels so ordinary after spending the last four days on this journey with you guys. Hope you all have a safe return home for the travelers!

[TimurCivan]

Home!

Time to get writing.....

I will be updating my blog, with tons of stuff.. and chiming in here. The info is in my signnature.

[Dino]

Bring it, Timur!

[Stephen Mick]

Meaning auto-focus, auto exposure, and lens focal length and aperture readout?

I only had a few minutes to play around. We had two AF-100s, 12 people and about fifty lenses, so I couldn't check everything. But "PUSH AUTO" auto-focus and auto exposure seemed to work fine, though I personally wouldn't use either one very much. Lens focal length and aperture readout worked perfectly as well. Remember, they're still-photo lenses, so they auto-focus like still lenses, but the lens and camera seemed to work fine together, and the IRIS wheel on the AF had full control of the lenses.

[mikkowilson]

Home!

Time to get writing.....

I will be updating my blog, with tons of stuff.. and chiming in here. The info is in my signnature.

Glad to hear you made it safe and sound. My plane is currently boarding; maybe I'll get a chance to post some stuff once we are airborn.

Looking forward to some of your write-ups Timur. I was a please to work with you (and the rest of the team) this weekend.

- Mikko

[MAR-10]

Thanks!
I was in purchase "decision making" mode, now I'm just in purchase mode :)

Very helpful, thanks again!!

[EidolonFilms]

They do yes.

Ok cool! Next question, is the distance readout accurate? I'm used to getting focus on an HVX200 and Canon XHA1 in run and gun situations by looking at the distance readout on the LCD, so if I can do this on the AF100 with the lumix lenses, that would be a huge plus.

[Christopher Payne]

It was very cool working with all of you. Can't wait to see the finished film!

[Stephen Mick]

Welcome, Chris Payne!


Chris was our make-up artist extraordinaire on this shoot. He's a madman! Part scientist, part artist, with a touch of serial killer thrown in. You can see more of his work at his website…
http://chrispaynemakeup.com/

[Barry_Green]

Good job, guys. It would be very helpful if you could list the lenses you used
Drew Ott was script supervisor, and I believe that he was making notes at some point, and perhaps for every shot? I don't know.

We used one camera as the A-camera on the tripod/slider/crane, and the other camera lived mainly on the Steadicam. The A-camera usually used the Compact Primes or The Howitzer. The Steadicam usually used the Zeiss ZF lenses (cine-modded by Duclos) but also used the 7-14 for one shot, and the pancake 20mm for some shots, and ... well, we had a lot of lenses that we used, I'm not sure of what all got used where.


Plus, if you could do the same (synched to time code) for all the settings used on the camera.
The scene file we used was pretty much the same all throughout, except for the use of DRS. We sometimes used DRS 1 in exteriors, and always turned it off during interiors. Timur went with a "special sauce" recipe, one that made me a little nervous about some aspects until I started seeing the footage roll in. He used detail -7, which to me is really low, but ... dang. He also turned the color as low as possible; I normally love and crave lots of color but for this film, a dusty old spaghetti western, minimal color was totally the right choice.

[Barry_Green]

And a huge thanks for creating the first film shot on the AF100, and the last film shot on that truly awesome set (may it Rest In Pieces)!!!
My mantra on cinematography is that it's not "all about the lighting" -- it's all about what you point the camera at. Lighting can accentuate and enhance what you've got, but -- a white-wall set is gonna look awful no matter how much lighting you throw at it. You gotta have the raw materials in front of the camera to start with.

The set was trashed. Seriously. They don't need to bulldoze it, they just have to wait a week and let the dry rot finish the job. One good shove and the whole thing might come tumbling down. So in a case like that, camera placement and field of view become really important. It's as much about framing the bad stuff out, as it is about framing the good stuff in. We really liked much of the degradation, as it added incredible character to the setting. But there was so much of the set that we just couldn't show, or could only show from very limited angles (hey, it's a set, that's always a consideration).

But it was huge! I don't know how big, but ... a hundred acres? Two hundred? I don't know. It was spread out all over the place. And it was rich in visual imagery. A little bit of set dressing here and there, and it ended up looking absolutely fantastic.

Here's another thing about why a camera like the AF100 can actually make shooting easier, vs. a 1/3" camera -- because of the shallow DOF, your sets don't have to be pristine and perfect. A little shallow DOF can hide a multitude of sins. If you saw the set we shot "O2" on, you'd be nodding your head right now. :)

[mikkowilson]

According to Google Earth, the main set is 1/3rd of a mile long. I honestly thought it was bigger.
Though we did make good use of the fields to either end too - especially for the Helicopter and some of the Steadicam shots.

We had one shot that used the entire length of the set.

http://maps.google.com/maps?f=q&source=s_q&hl=en&geocode=&q=30%C2%B021%276.32%22N++98%C2%B07%2744.44%22W&sll=21.132674,-86.860381&sspn=0.009867,0.01929&ie=UTF8&ll=30.352805,-98.127286&spn=0.009129,0.01929&t=h&z=16

- Mikko