6" 45RPM EP by Matty_g and Mr. Vegas
- Thread starter Matty_g
- Start date
Mark Johnson
The Dude Abides
Matty G. , I read your book you sonofabitch!!!!
Mark Harris
Pain in the ass
Hey, can you throw up one 1080 grab, super high quality? For me? Please?
Mark Harris
Pain in the ass
well mainly I just wanted to get a gander at RED dynamic range in a better a higher-res image. So anything in some darkness, like the guy standing outside the record shop, would be awesome.
Danielleus
Well-known member
Yer grabs scare me they're so awesome. What're you shooting on again? I really look forward to it. And I really love your title. Can't wait. You have time to CC the film or was it just the grabs that got left behind?
Zak Forsman
Major Contributor
here's my pitch, more or less... i don't remember what y9u said your original intentions were... before/after...
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Danielleus
Well-known member
Beautiful.
So what did you like about the Red one? I was reading on one of the threads somewhere about how it might just be overkill to shoot with the Red and then have to compress to 50mb. What's your take on it? You feel like it was worth it (for here. Obviously probably worth it for our own overall consumption).
Zak, nice work with the still.
So what did you like about the Red one? I was reading on one of the threads somewhere about how it might just be overkill to shoot with the Red and then have to compress to 50mb. What's your take on it? You feel like it was worth it (for here. Obviously probably worth it for our own overall consumption).
Zak, nice work with the still.
Zak Forsman
Major Contributor
I don't it was overkill -- Matty expects this short to have a life beyond LoveFest.
Like Zak mentioned, I'm hoping to submit this to other festivals.
Not only that but I would like to get more jobs with the red.
What better way to do that than show people what you've done with it?
Not only that but it really increased the speed on set lighting for 320 asa instead of 100 asa at night.
playin' around
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dvpixl
Veteran
I was trying out some grading for these as well, and pretty much came up with what Zak did- it calls for some yellowish grime look with the record store n' all.
it does look compressed however but still holds details. no adapter fuzziness. I mean right off the bat, you can tell its not any other camera out there. even at this size. I cannot wait to get my own and cannot wait to check this film out.
it does look compressed however but still holds details. no adapter fuzziness. I mean right off the bat, you can tell its not any other camera out there. even at this size. I cannot wait to get my own and cannot wait to check this film out.
siniarch
Veteran
Danielleus,
I think Matt didn't stress the Light qualities enough. I mean we pretty much shot with available light and used some Kinos to just brush some light here and there. With an HVX, we would have needed a huge light to bounce into the room to bring the ambiance light up and then more light for key and fill. I mean this saved on setup cost and time. Huge Huge Huge.
(on a night shoot, you might consider renting a red. the money you save on generators, Hmi, stands, and extra grips could cover the extra cost of the red so it could be a wash. but you would save on setup times and be less noisy. Just a thought)
As the 1st AC, I liked all the possibilities of the red. I mean this fricken thing has so many ways to set it up with so many mounting holes that it lets you adjust it to your heart's content. We were able to get the monitor in a really good spot for the Operator (Matty_G) and also so the director could see it.
When we were in tight spaces, the battery module went from behind the camera to on top of the camera. (that dual rail system works great)
The sucker's heavy though and both Matt and I felt our old arch enemy at work all night "Gravity"
Another thing that was great were the lenses. I mean this was my first time with real Cinema Lenses. I know they cost an arm and a leg, (more than the red for 5 lenses) but what a pleasure to pull focus with these. The marks on the lens are dead on accurate, and the lens has so much travel and is so smooth, it really makes the pulling focus a lot easier in comparison to a Nikon still lens. (I didn't end up pulling focus. Matt is so awesome that he did that while having the camera on his shoulder)
And finally the thing about the size of the image is great because you can zoom in and re-frame in post, and if you have ever shot RAW files from a high end Digital Still Camera, you know how much controll of the image you have when you bring it into your computer. That is similar to what Red does. (although I haven't been involved in post, its what I've been told)
I think Matt didn't stress the Light qualities enough. I mean we pretty much shot with available light and used some Kinos to just brush some light here and there. With an HVX, we would have needed a huge light to bounce into the room to bring the ambiance light up and then more light for key and fill. I mean this saved on setup cost and time. Huge Huge Huge.
(on a night shoot, you might consider renting a red. the money you save on generators, Hmi, stands, and extra grips could cover the extra cost of the red so it could be a wash. but you would save on setup times and be less noisy. Just a thought)
As the 1st AC, I liked all the possibilities of the red. I mean this fricken thing has so many ways to set it up with so many mounting holes that it lets you adjust it to your heart's content. We were able to get the monitor in a really good spot for the Operator (Matty_G) and also so the director could see it.
When we were in tight spaces, the battery module went from behind the camera to on top of the camera. (that dual rail system works great)
The sucker's heavy though and both Matt and I felt our old arch enemy at work all night "Gravity"
Another thing that was great were the lenses. I mean this was my first time with real Cinema Lenses. I know they cost an arm and a leg, (more than the red for 5 lenses) but what a pleasure to pull focus with these. The marks on the lens are dead on accurate, and the lens has so much travel and is so smooth, it really makes the pulling focus a lot easier in comparison to a Nikon still lens. (I didn't end up pulling focus. Matt is so awesome that he did that while having the camera on his shoulder)
And finally the thing about the size of the image is great because you can zoom in and re-frame in post, and if you have ever shot RAW files from a high end Digital Still Camera, you know how much controll of the image you have when you bring it into your computer. That is similar to what Red does. (although I haven't been involved in post, its what I've been told)
These grabs are not a good example of what the camera can do
4k r3d > 1080 prores > 50mb quicktime > pict. grab > resaved in photoshop because i couldn't get jpg's out of the quicktime
you have much more leeway further up in the chain.
Robert Eldon
Well-known member
Great location guys! Did you use the CARRION monitor? I'm looking forward to seeing this and good luck with the 'future' ventures that this may create!
Michael Anthony Horrigan
More Cowbell Pictures
SPOILERS:
Really nice movie guys. I loved the music and the location, very sweet. The image looked fantastic as well.
The actors were VERY good and seemed perfect for each role. The framing was also excellent. There was a pretty big continuity error with the headphones when he first takes them off but I'm assuming you had no choice and had to use the following shot.
The time flew by as well, which is a great sign!
Nice work guys.
Mike
Really nice movie guys. I loved the music and the location, very sweet. The image looked fantastic as well.
The actors were VERY good and seemed perfect for each role. The framing was also excellent. There was a pretty big continuity error with the headphones when he first takes them off but I'm assuming you had no choice and had to use the following shot.
The time flew by as well, which is a great sign!
Nice work guys.
Mike