A compilation promo for an Ad Agency

Michael Y Wong

Michael Y Wong

Member
Hi guys,

Hope everyone had a great new years and holiday.

I just quickly cut a short promo together for an ad agency that promotes one of the more popular cities in Canada, I figure I'd share with those of you here since the crowd here seems to be more into corporate work/short films.

The piece is compiled by footage that we shot in the past year for various commercial spots.

I have the full technical write-up in the vimeo post, but do welcome constructive criticisms/comments and questions if there is something I missed. Basically shot with XH-A1s & the Brevis35 adapter(original, not the improved MP.1)

It took me a while manually framing the 2.35:1 but I think it adds so much more, making everything feel 'slightly' more grand. What do you guys think?

http://vimeo.com/2752273

MYW.
 
Michael, the heli stuff was sick! Gyros and stabilization (hint) is an area of constant fascination for me :-)
 
there are some shots that looks familiar ,

saw them in a making of at cinevate's web site...

pretty impressive...
thanks for share...

i loved the outdors color.
 
Hi Guys

Yeah the shots were on the Cinevate website a while back... the ad agency wanted a combined promo so It was fun to put together (what I thought were) the best shots.
 
Michael -

Mind sharing what presets you shoot with? I know there is a lot of amazing color correction happening there! but what settings do you use in camera?
 
I'm sure Michael will pipe in here but when I queried Patrick on the preset question, the indication was that most footage comes off the camera "flat", adjusted for best range, and the CC work is done in post. Custom filters in Final Cut are things that the Stillmotion crew have worked pretty hard on.
 
Thanks DC & Trudd for watching + taking the time to comment.

As Dennis stated, we shoot everything flat as possible to preserve as much detail in the blacks as well as highlights. This gives us the most range in post with regards to being able to doing a more advanced level of grading after a pass of colour correction.

In 2007 we learned our lesson the hard way as we heavily relied on the custom presents in the A1s to adjust for exposure, but then began running into trouble as the blacks were too crushed when colour correcting and grading in post.

For this piece specifically, the golf sequence CC was very tricky as the sequence was shot during different times of the day at different locations, and the time lapse footage of the falls/casino posed a problem as they were severely underexposed. We were up @ 5 am for those shots in efforts to get a killer sunrise timelapse (my stupid idea but it seemed great at the time), and had set the exposure of the A1's to expect the sun to come out. Needless to say there was no sun, the footage was underexposed by (id guess) 3 stops and hence it was a challenge to salvage.

Beleive it or not, 90% of the stuff was coloured using the colour correction filters available in FCP2, you'd be surprised what can be done using simple native filters after spending years trying to understand the theory of colour correction + grading.

We will be discussing colour correction heavily as we teach our first ever in studio workshops in next week.

Thank you very, very much for watching.

MYW.
 
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