The Blackout: Just Wrapped Feature with XLH1
- Thread starter Robert Sanders
- Start date
Robert Sanders
Well-known member
Here are some shots of the camera in various setups.
1. Flying on Cedric Martin's Steadicam, 6X lens.
2. On location, 20X lens, long focal length for close ups.
3. On location on Steadicam, 6X lens.
4. On sticks, 20X lens.
5. On JimmyJib, 6X lens.
1. Flying on Cedric Martin's Steadicam, 6X lens.
2. On location, 20X lens, long focal length for close ups.
3. On location on Steadicam, 6X lens.
4. On sticks, 20X lens.
5. On JimmyJib, 6X lens.
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Robert Sanders
Well-known member
Here are some shots of the capture station we carted around everywhere.
1. The capture station shoved into a bathroom.
2. Down in that Godforsaken basement filled with dust, dirt and a hazer blowing smoke into the basement around the clock. I was convinced the system would fail down there. If you look closely there's a box of Sony Pro DV tapes standing by just in case.
3. Another shot in the basement.
4. Shoved into the hallway on location in downtown Los Angeles.
5. Camera on the Jib with myself and the capture station on the bottom, on kneeling on the roof.
1. The capture station shoved into a bathroom.
2. Down in that Godforsaken basement filled with dust, dirt and a hazer blowing smoke into the basement around the clock. I was convinced the system would fail down there. If you look closely there's a box of Sony Pro DV tapes standing by just in case.
3. Another shot in the basement.
4. Shoved into the hallway on location in downtown Los Angeles.
5. Camera on the Jib with myself and the capture station on the bottom, on kneeling on the roof.
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Robert Sanders
Well-known member
Some more random photos from the shoot.
1. Camera on Steadicam, 6X lens, Christmas in August.
2. Close up of the camera.
3. Fully rigged, 6X lens.
4. On the stage, Jib, 6X lens.
5. Steadicam through the electrical room in the basement.
1. Camera on Steadicam, 6X lens, Christmas in August.
2. Close up of the camera.
3. Fully rigged, 6X lens.
4. On the stage, Jib, 6X lens.
5. Steadicam through the electrical room in the basement.
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Robert Sanders
Well-known member
Unfortunately, no. The A1 package was a loaner and we'd just received it a couple days before the shoot. But it would be interesting to see a comparison.
My guess is that the analog capture would be softer than the HD-SDI, but comparable to the HDV version (noise would sharper on HDV but duller/softer analog).
William_Robinette
Shallow Member
Fantastic. I vote for some footage too!
How long did it take you all to set up/break down that capture station?
How long did it take you all to set up/break down that capture station?
Beautiful pictures, RS, but I don't understand something about your description of the capture configuration for the XL-H1 on this shoot. The XL-H1 does not have embedded audio or timecode in the SDI line. So what method was used to capture audio and timecode? Also, the SDI is streaming 1080/60i uncompressed. This requires a very fast storage/writing system. You didn't describe how you achieved this.
Can you tell us how you achieved those night shots? Did you use special lighting filtration, lens filters, or was this done in post?
Thanks for sharing!
Can you tell us how you achieved those night shots? Did you use special lighting filtration, lens filters, or was this done in post?
Thanks for sharing!
ShannonRawls
Well-known member
hi hbrod, how's it going buddy.
hey, did you read the entire thread? he said he captured using the "ProRes 422 HQ" codec which doesn't need a fast system like uncompressed. therefore he most likely generated new timecode on the computer, especially since there was no need to sync with tape since he never used any. he also mentions he recorded audio directly into his AJA Kona breakout box. he even mentions the sound gear he used.
your question about his night shots are still unanswered however.
hey, did you read the entire thread? he said he captured using the "ProRes 422 HQ" codec which doesn't need a fast system like uncompressed. therefore he most likely generated new timecode on the computer, especially since there was no need to sync with tape since he never used any. he also mentions he recorded audio directly into his AJA Kona breakout box. he even mentions the sound gear he used.
your question about his night shots are still unanswered however.
Really nice report and nice work.
Shannon - thanks for that you and Nick convincing me about the Canon XLH1 2 years
ago on DVinfo.net when it was new and hot.
I have had the best time with it, love my custom presets etc etc...so much that I also pickup
a Canon XHA1 yesterday as a b-cam and for easy 2 camera situations.
A happy story.
All the best
Carl Ny
Shannon - thanks for that you and Nick convincing me about the Canon XLH1 2 years
ago on DVinfo.net when it was new and hot.
I have had the best time with it, love my custom presets etc etc...so much that I also pickup
a Canon XHA1 yesterday as a b-cam and for easy 2 camera situations.
A happy story.
All the best
Carl Ny
Right, ShannonR, my bad. I followed the thread and read about the audio issue. That's a really interesting approach. He still had to sync it up in post. I'm wondering if he shot in non-drop frame: wouldn't the audio continue to drift, otherwise? Couldn't he have looped into the monitor out of the KL box instead of going through Blackmagic HDLink converter?
I have most of the same equipment, I'd love to test this out! I'm wondering if I could set it up the same way, except get the audio out of the camera by firewire through a Convergent Design HD-Connect LE? Must tinker.
I have most of the same equipment, I'd love to test this out! I'm wondering if I could set it up the same way, except get the audio out of the camera by firewire through a Convergent Design HD-Connect LE? Must tinker.
Robert Sanders
Well-known member
Hey William. It's funny you ask that question. At first we were very meticulous about setting everything up, making sure cables were laid cleanly, strapping everything down. Towards the end of the shoot it became "f*ck it" and ended up hodge podged together.
Robert Sanders
Well-known member
It wasn't a full and complete re-sync. Everything was just offset by two frames. The easiest fix seemed to be to just offset everything will editing rather than just re-syncing all the raw footage and creating yet another huge library of assets.
We captured everything 29.97 with no audio drift problems. Probably because audio was coming straight out of our Mackie mixer straight into the Kona breakout box where it was mixed with the picture feed from the camera.
Cinema Displays do not have an HD-SDI input. So they require an HD-SDI to DVI adapter. Some of the new LCDs out there from Panasonic and JVC do accept HD-SDI, which is nice.
Robert Sanders
Well-known member
The budget was around $250K give or take. It was financed through a private placement funded through a handful of investors.
Robert Sanders
Well-known member
The rough cut is officially finished. We're now headlong into the second cut of the movie as well as starting to figure out all of our visual effects processes.
I should have a trailer in a few weeks along with a couple select scenes.
We expect to premiere the movie at The Landmark theater in April.
I should have a trailer in a few weeks along with a couple select scenes.
We expect to premiere the movie at The Landmark theater in April.
ShannonRawls
Well-known member
A.d.r.
