NEW VIDEO fr Tim Naylor: SG PRO/HVX, NIKON

T

Tim Naylor

Veteran
timnaylor.com/vid_cezar.html

He's a new artist from Jamaica managed by Sean Paul's people. This cut is about to go to output. Just gotta to fix a few sync issues.

HVX 200
SG REV 3
Nikon 24 mm 2.0
35mm 1.4
50mm 1.4
85mm 1.4
135mm 2.0

Budget: Micro (I learned my lesson never to mention budget here, as there's always someone in the peanut gallery who can make King Kong for a 1000 dollars)

Location: Brooklyn

Lights: (2) Kino 4 x 4 (1) 1200 HMI Par (1) 1200 HMI Fresnell (1) Babies (1) 250 Pro (1) Leko (1) China ball

Crew: AD, PM, (2) PA's (2) Electrics (1) Grip (1) AC (1) Art Director (1) Hair/Makeup (1) Wardrobe

F Stop: bet 2-2.8.
Hero Lenses: Nikon 85mm 1.4 and 135mm 2.0. The sharpness gives me the chills.

Like to thank Timur Civan for most courageous focus pulling.

Production Notes:
Everything seemed fine until our leading lady called 2 am and said she slipped and hit her head at work and was wondering if we had a back up. Oh, call time is at 7 am. We pushed call and offered her more money. She magically healed and showed up at 1pm. Behind schedule and with Landlord threatening to shut us down (we were like field mice, I just don't get it). She eventually shut us down and we did a pick up day at my house.

Anyway, the label's ecstatic about the cut. Would love to spend more time on it but time to move to the next episode.

Believe it or not it was the 1st time I used my SG on a gig. Absolutely love it. My LE (which arrives this week) will have to be amazing to supplant it.

Tim Naylor - Director / DP
www.timnaylor.com
 
Last edited:
Its safe to say you have this genre LOCKED DOWN!
Looks very very good, no surprise the label is happy with it. Its tight.

One thing I noticed in the very beginning the singer goes out of focus every so slightly once or twice.

I think it was worth your effort with the leading lady. She is beautiful and adds a nuance to the video for sure.

Congrats on another fine job. (im still hooked on that Tami Chynn video)
 
"
Look 1st said:
Its safe to say you have this genre LOCKED DOWN!
Looks very very good, no surprise the label is happy with it. Its tight.

One thing I noticed in the very beginning the singer goes out of focus every so slightly once or twice."



You're right. 135mm 3/4 inch of DOF. That was the best we could do short of a straight jacket on talent. Sometimes you got to pick bet performance and focus. Oh well.
Click to expand...
 
Tim,

great job on the video. Was the opening shots just done off of available light from the window or did you have a light out side to augment?

SGPro huh? Fantastic, I'm glad I have one. I love mine.

Thanks
Richard
 
Awesome job Tim and Timur.
Any pics of lighting set ups?
What about your camera settings. The colors in the band shots are fantastic.
 
just want to echo all that - really nice looking - especially the colour stuff :)
 
majormorgan said:
Tim,

great job on the video. Was the opening shots just done off of available light from the window or did you have a light out side to augment?

SGPro huh? Fantastic, I'm glad I have one. I love mine.

Thanks
Richard
Click to expand...

Available light and a bounce board. Wide front on shots, available plus 1.2k bounce from camera
 
Matty_g said:
Awesome job Tim and Timur.
Any pics of lighting set ups?
What about your camera settings. The colors in the band shots are fantastic.
Click to expand...

Sorry, no productions pics. Though I did see my grip wondering around with a camera, I'll ask him if he has anything with lights in it. The lighting is quite simple - no fancy rigs.

The color/band stuff - two Babies, clamped high in the corners back crosslightng with hampshire on each. The overall fill was provided by the practicals in shot and a kino from behind camera. Light on his face was a reflector board rigged to the tri-pod. As we dolley in, it gets closer and dims up.

Girl in chair was a baby backlighting from back right and a china (500 watt) ball for frontal fill (you can see it in the shot).

In front of the car standing: HMI back right just outside of frame. HMI through silk for frontal key. 4 x 4 Kino frame right side edge light. 4 x 4 kino for camera fill.

In car: 1.2 HMI through 4 x 4 silk through back window. 1.2 HMI through silk front window.

Mirror Shot: Baby from behind (her backlight) bounce into mirror (front light) and then China Ball (you can see it again) giving us depth and doing something cool.

That's pretty much it.

Basically, I at least double my wattage working with the adaptor. Of course night exteriors were a bit stretched with a peanuts budget. Barely got away with it.
 
Hey Tim,
thanks for taking the time to write that up. I appriciate it a lot.
I'd say you more than barely got away with the night stuff.
 
03270014.jpg

^ china ball
 
looks pretty good man.

my only complaint was, as wonderful a job as the first AC did at focus pulling, there was tons of jitter as if no FF was used.

was there one used or not? Cause the vibration and shake was very distracting for me.
 
Nice work Tim! Lovin the clean crisp image. Subject lighting was awesome, especially when they were in the car.
 
PaPa said:
looks pretty good man.

my only complaint was, as wonderful a job as the first AC did at focus pulling, there was tons of jitter as if no FF was used.

was there one used or not? Cause the vibration and shake was very distracting for me.
Click to expand...

Jitter? What scenes? I'll look out for it next round, I hate FF jitter. There was a moment when we had to lose the RRock FF for techie reasons. We had bit of jerky camera moves as an aesthetic thing but we used a FF for about 90 percent or more. The "tons of Jitter "(which I'm still looking for) maybe encoding choke up. It's not the best encode and sometimes especially with lots movement or direction change, it gets jumpy. Hopefully that's it. But I'm just not seeing what you do. Help me out.
 
Last edited:
Matty_g said:
Hey Tim,
thanks for taking the time to write that up. I appriciate it a lot.
I'd say you more than barely got away with the night stuff.
Click to expand...

We shot much of the night at 1/24th. Something I hate to do that's how on the threshold we were. It's a dilemma: 1/48th at a 1.4 or 1/24th at a 2.0. The latter after weighing options (amount movement, DOF, contrast, etc) proved to look better. Not a big fan of shooting Nikons wide open. The clarity between a 1.4 and a 2.0 is noticeable.

Tim
 
You must log in or register to reply here.
Back
Top