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    LIVE [NIKE] Canon 550D + Iscorama 36 Anamorphic adapter shot spot
    #1
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    Video and a bit of info about the project on my site.

    http://www.someofmywork.co.uk/#585934/LIVE-NIKE

    Would love to hear any feedback or answer questions on my workflow.


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    Cinematography/Lighting Mod Ryan Patrick O'Hara's Avatar
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    Amazing! Simply fantastic, you defied my expectations!

    Hahaha, I was not expecting that caliber of quality. Congrats! I thought it was a badass commercial and worth of air for sure.

    Your highlights held really well. Can you tell us what aspects of the look were in camera and what was done in post? The vintage look was almost 100% but played perfectly well none-the-less. I'd love a walk through of that.

    -ryan

    If cinematography wasn't infinite, I'm sure I would have found the end by now.


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    Spam Assassin Mod Kegan's Avatar
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    Wow, that was very well done! I agree with Ryan - I'd love a bit of a walk through as well.

    Kegan
    "I dream for a living" - Steven Spielberg

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    www.kegansant.com


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    #4
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    Running out to buy a pair of Nike shoes, No... IMPRESSED... yes. Nicely done.


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    #5
    Ban Me Please! insanityfw's Avatar
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    WOW!! That was absolutely inspired!!!

    You need to change your forum name to BIGTIME

    Thanks for sharing. Very well done.
    I know how to do it. You just wouldn't know it from the way that I do it.


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    #6
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    YOU ARE THE MAN!!! soo cool! Thanks for posting!


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    #7
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    Thanks Ryan, a lot of the work was in post, I just shot using the Flat picture style, with minimum contrast and pretty desaturated to maintain as much latitude as possible for grading. The anamorphic adapter does add some unique features of it's own, alongside the ratio obviously, so I can't take all credit for the look in post. I actually also own a 5D mkII as well, but the adapter works better on the cropped sensot and the Carl Ziess Jena Flektogon 35mm 2.4 is the perfect length to get the maximum out of the frame.

    I've already went into detail on another forum about my post/grading process, but not sure what the forum's policy on cross linking to other forums is so I'll copy and paste it below if it's of any interest to you.


    -------------------------------------
    Using Red Giant's Magic Bullet Colorista 2 in After Effects, I setup a typical Primary of leaning the blacks towards blue and the gain towards yellow. Then since the problem with the shoe being silver, it appeared such different colours in different settings and since I was pushing my grade heavily towards warmer tones, I didn't want the true colour of the shoe to be lost in a yellow mush. So I used the Secondary keyer on ever single shot, to isolate the shoe, push it towards the blue, so that on balance it retained a medium tone, also adding a bit of separate 'Pop' to make sure the shoes always stood out within the frame. I then also used other instances of Colorista 2 to add a general amount of 'Pop' across the frame, add vignettes, using masks/keys to pull back cloud information blown out skies and similarly to tone down blown highlights on the shoes themselves. The secondary keyer in Colorista 2 really is so useful I kinda wish we had it on every level, but it's easy enough to just add further instances whenever needed.

    I then added a subtle amount of Magic Bullet Mojo to each clip, using the warm slider and the Mojo balance to get the warmer feel I was after, safe in the knowledge the prep I'd done on the shoes wouldn't turn the whole thing too warm/yellow.

    Then again once I'd edited all the shots together I added a bit more Mojo just to get the final look I was looking for.

    On top of this, on almost every clip I done something I've been doing for years in Photoshop on stills and would probably get laughed off the stage by any serious colourist. But I added between 1 and 3 of different simple solid colour (white, banana yellow, winey red and purpleyblack) layers overlaid in After Effects, set to between 3-10%, which lifted the blacks/dulled the highlights and helped create the muted look and decrease general contrast. It sounds like a silly thing to do, as I could have just spent more time lifting the blacks in a primary or secondary, but, as I've always found through doing it in Photoshop, magical things happen to certain colours when a tiny percentage of one or two colours completely overlay an image. Look at some of my Flickr work for examples of having done the same thing with stills http://www.flickr.com/photos/someofmywork/

    Hope that gives you some insight Denver and hope it's not too software specific, but the RedGiant software is what I'm used to using for grading. I've dabbled with Color but not spent enough time with it to really get to grips with it and this suited my Premiere/After Effects CS5/Dynamic Link workflow.



    Quote Originally Posted by Ryan Patrick O'Hara View Post
    Amazing! Simply fantastic, you defied my expectations!

    Hahaha, I was not expecting that caliber of quality. Congrats! I thought it was a badass commercial and worth of air for sure.

    Your highlights held really well. Can you tell us what aspects of the look were in camera and what was done in post? The vintage look was almost 100% but played perfectly well none-the-less. I'd love a walk through of that.

    -ryan


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