"I Hate My 30s" - VH1 show shot on HVX200s premieres tonight...

K

kenn michael

Well-known member
@ 10:30pm

The show that I've been working on for the last bunch of months finally premieres tonight on VH1 at 10:30pm. It's called I Hate My 30s and it's a really funny tounge in cheek narrative sitcom with a very original tone. I was a picture editor on it, did all the audio post-production and all the score and songs.

It was shot by a brilliant DP Paul Marschall. He created a great vibrant hybrid film/sitcom-y look.

We shot over 200 8GB cards and not one problem.

Check it out if you can.

BTW, if you don't get VH1, the first episode is a free download on iTunes (but I don't like the compression).

http://www.ihatemy30s.com
 
Last edited:
I DVR'd it, and watched some of it last evening. It looked great!

Do you know what settings were used? Was it 1080i, 720p or a standard def format? 24 frames (I'm guessing it was) or 30/60? Also do you know what the in-camera settings were? Gamma, detail, pedestal, etc.

Obviously, it was finished in 4:3 since it had to play in standard def on VH1, but was it originally shot in widescreen and then cropped?

Again, really nice looking stuff. Thanks for the heads up on it. I'll be watching the rest of it tonight.
 
Good job!

I've been humming the "Carol...is staring down the barrel" song all day.

Production question...how many lights does it take to fully saturate the set.

No shadows...great color and detail.

Excellent sound.
 
Thanks everyone for the kind words!

We shot and edited in 720P 24PN. Shots were all framed for 4:3 and cropped on downconversion to DigiBeta. Gamma, pedestal, detail, etc... were all pretty much at 0, but there was some +1 and -2 on Chroma Level as far as I can remember.

Lots of lights on set. I mean LOTS. Paul intentionally used tons of lighting to get that saturated/no shadow/sitcom-y look. The HD footage looks INCREDIBLE!

The sound recordist Austin Storms did a fantastic job giving me the cleanest possible sound so I thank him for making my sound-post job much easier!

If I remember correctly, all 8 episodes fit on about 2.5TB worth of storage. I designed the workflow and supervised IT stuff while cutting the rough cuts on the stage. Very intensive work all around, but the fact that the show would keep me laughing would make up for the 48-60 hour marathons during the final stages.
 
kenn michael said:
Thanks everyone for the kind words!

We shot and edited in 720P 24PN. Shots were all framed for 4:3 and cropped on downconversion to DigiBeta. Gamma, pedestal, detail, etc... were all pretty much at 0, but there was some +1 and -2 on Chroma Level as far as I can remember.

Lots of lights on set. I mean LOTS. Paul intentionally used tons of lighting to get that saturated/no shadow/sitcom-y look. The HD footage looks INCREDIBLE!

The sound recordist Austin Storms did a fantastic job giving me the cleanest possible sound so I thank him for making my sound-post job much easier!

If I remember correctly, all 8 episodes fit on about 2.5TB worth of storage. I designed the workflow and supervised IT stuff while cutting the rough cuts on the stage. Very intensive work all around, but the fact that the show would keep me laughing would make up for the 48-60 hour marathons during the final stages.
Click to expand...

Any chance of sharing your workflow?
I saw the streamed version and couldn´t tell a difference compared to any other sitcom! (This is a POSITIVE remark...)
We have a lot of good dramatic examples here, but a look like this rarely gets covered (Brians last TV pilot being an exception...)
Also the on-set workflow would be of great interest, how they handled the P2 offload and backup, hell, just share anything you fell free to share :dankk2:
But again, how did you handle all the P2 cards and takes?
 
I watched it on my 42" Panasonic plasma EDTV (which, btw, looks great on HD stuff) and the image quality was really, really nice, especially considering the show is a standard-def downconvert. Very sharp and clean. I'm sure the copious amounts of light helped in that regard.

Overall it's *really* encouraging to see it get all the way through the workflow pipeline from 720/24P to SD cable and still look that good. Makes me even more confident that HVX "done right" can be shown anywhere with no apologies necessary.

Now all I've got to do is see a great looking HVX film transfer in a big theatre, and I'll be done with my doubts for good.
 
You must log in or register to reply here.
Back
Top