50cent Rap Video.

Re: 50cent Rap Video.

Sorry to be technical, but there is no such film stock as "5150".

With Kodak stocks, the first pair of numbers tells us the film gage (i.e. 52 = 35mm, 72 = 16mm) and the second pair tells us the actual stock.

A popular film stock among music video cinematographers (not directors, a director would never choose the film stock, unless of course he is also DPing the video) is 5279. It is a 500asa stock (thus it is fast enough to be versatile) and is relatively grain free. The reality is that most of the look of a music video is achieved through good lighting and work in telecine. The actual stock choice is important, but not a huge factor in music videos.

As for the look, good lighting gets you most of the way. It can be very difficult DPing a music video due to the number of setups needed a day. Here is a link to some images from a music video I just did the cinematography on (shot on the DVX):
http://www.silver-gold.com/emo_samples/
(Note that these were corrected for TV not computer monitors, thus they may not look correct)
I am happy with the results, but I know if I had more time I would have added little touches that I just did not have time for.

Kevin Zanit
 
Re: 50cent Rap Video.

Man those shots look great... what were you using for lighting? (generally speaking)... also, any cam settings you can recall?
 
Re: 50cent Rap Video.

Thanks for the kind words; when the video is done (we haven’t even finished shooting, tomorrow we have some work on a 60 ft. green screen) I will post a scene-by-scene breakdown of the lighting, etc.

For the image with the ladies on the bar counter (http://www.silver-gold.com/emo_samples/5.jpg):

This was a cool location, the bar area was backed by this translucent smoked glass. Here is another frame grab: http://www.silver-gold.com/emo_samples/3.jpg.

The soft sidelight was provided by 5 1.2k PARs shooting through a 12'x12' frame of 1/2 China Silk about 12' back. I tried to position the silk so that it would provide a sidelight that would wrap around the body/ faces of the girls eliminating the need for fill.

I originally wanted to evenly backlight the glass but we ran out of power (we were pulling around 160 amps . . . not a lot, but more than we had ;) ). So I settled for making a bright spot directly behind the dancers, and allowing the rest of the wall to falloff. This backlight was provided by a variety of fresnels and Kinoflos. The blue light was provided by a 4x4 Kino with daylight tubes pointing up.

For this setup:
http://www.silver-gold.com/emo_samples/8.jpg

We were shooting in another room in the bar (the red room as it was known). Obviously, this room was red with red windows. The sun provided the light coming through the windows. Also, not really visible in this frame grab, there are two Chinese lanterns as practicals on tables.

In this location there were lots of windows shooting a ton of daylight into the scene. So I placed large (24' x 12') solids to isolate the room.

The key light on the DJ and performer was provided by a 4x4 Kinoflo with 1000H tracing paper on the top half, and nothing on the lower half. A double net was placed over the lower half to take light off of the lower portion of the frame and direct the eye to our "heroes".

Here is a frame of that setup: http://www.silver-gold.com/emo_samples/kino.gif (this was the best one I could find, its kind of bad, but you get the idea).

To add a little rim light on the DJ I had a tweenie with 1/8 plus green just out of frame.

As for camera settings:

The shot of the dancers:

I was shooting at an F-4.8.
The camera was shooting 24P standerd. I had -7 detail with a -12 black level. Cinegama, and Cinematrix. Skin detail off. Everything else was left default

The shot of the DJ I think was a 2.8 (but I don’t remember, my gaffer might, if anyone cares that much). All the camera settings were the same as the last shot.

I will post the rest of the video as I get it.


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