"MEDAL" HVX + REDROCK - Short

Only got to watch the first 6 shots or so, but they were beautifully shot! Did you use a dolly on a track? Or just a regular dolly? Very fluid shots. 24p right?
 
sorry about that. just reuploaded. It's up now.
Skateboard dolly on steel tube track -- 720 24p
 
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An absolute freak of nature.

can you tell me why your hvx and m2 footage is sharper then most peoples?
 
hmm - its always sharp for me. Could be my anal retentive focus checking or the compression. I have noticed that the footage does not seem as sharp to me sometimes when i have different ACs but that also usually means the vid comes from somewhere else too so it could be somewhere down the pipe line

you can see a handful of other M2 projects i did here
http://www.urbanrhinovisual.com/presents/fisher/films.html

and my reel which is mostly RAW hvx at the link in my SIG
 
Man I know you were talking about that compression setup you had and I was waiting for it to arrive, now it's here.

I believe I will pre-order.
 
hey nathat I know that you've used zeiss lenses also, could you tell me which ones you prefer, the zeiss or nikons? and in your opinion whhat lenses are your favorite? Thanks.
 
The Zeiss lenses that I've used are the ZF models with the nikon mounts. I definitely prefer these for a couple of reasons. They are a bit faster than most the nikkors I have. The glass is generally newer and sharper, where as the older nikkors tend to be a bit softer and I dare say even warmer by nature. The focus elements are much smoother with a little less breathing too, but some of that could be due to aging. I also really like the construction and mass which the Zeiss ZFs have, the weight and size make them feel much more like cinema lenses which makes the whole setup seem a bit less fragile.
 
Great job Nate - I would like to add regarding older nikons vs. newer zeiss that the "warmth" coming from some of the older nikons is due to yellowing of the glass. Not necessarily bad, but does give it a certain character, and also reminds me of the tip that anyone using older nikon glass should definitely white balance between changing lenses to ensure shots match.


Brian
 
bvalente said:
Great job Nate - I would like to add regarding older nikons vs. newer zeiss that the "warmth" coming from some of the older nikons is due to yellowing of the glass. Not necessarily bad, but does give it a certain character, and also reminds me of the tip that anyone using older nikon glass should definitely white balance between changing lenses to ensure shots match.


Brian
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Exactly. You see this in alot of older Cinema lenses. Alot of DPs actually seek out older Zeiss superspeeds for their speed and warming characteristics.
 
dantewaters said:
Man I know you were talking about that compression setup you had and I was waiting for it to arrive, now it's here.

I believe I will pre-order.
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Great! I get a ton of emails about compression settings all the time so I finally figured it was easier to make it as simple as possible for everyone. I'm also working on some videos to help people better understand Compressor over all which will be available for free on the site.
 
you really have your own style of cinematography that is very apparent in all of your films. it's really, really refreshing.
 
twerp said:
you really have your own style of cinematography that is very apparent in all of your films. it's really, really refreshing.
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Thanks! A lot of what you see there comes from working with Michael - he really know what he wants and likes. I shoot a bit differently with different people.
 
The Future

The Future

Nathan Beaman said:
Thanks! A lot of what you see there comes from working with Michael - he really knows what he wants and likes. I shoot a bit differently with different people.
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What's next for you and Michael? How long have you been together as collaborators?

The shots are very controlled, precise, some would say perfect...

And I must ask: exactly how many takes does it take to get to the center of a Beaman shot?
 
Mantics said:
What's next for you and Michael? How long have you been together as collaborators?

The shots are very controlled, precise, some would say perfect...

And I must ask: exactly how many takes does it take to get to the center of a Beaman shot?
Click to expand...

Were filming another short this coming week with my new RED. It'll be my second RED project with Michael.

We've done six or seven films together at this point and more will follow!
 
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