8k.. I need it now

M

morgan_moore

Major Contributor
Not really but nearly!

I will be shooting an ad.

The primary distribution will be upright for use in stores, bust stops and the like.

But some environments will be 5 screens wide.

So I need to be shooting my landscape format with 80% safe space ie all critical info in the middle 20% of the screen and out oof garbage for the 80%.

Ive not done the calcs but at 4k Im not going to delivering 1080 upright for the middle screen.

This is always why I have seen a need for big Ks.. and its nothing to do with cinema.

Im actually gonna shoot 4k on my FS7 - Im sure it will look fine
 
I operated camera for a promo that was attempting to shoot for verticle and horizontal at the same time. Was different that maybe what you are doing. But i asked the director and dp about it in a meeting before hand, and they said they were required to have a verticle version, so they are just going to shoot horizontal with safe verticle margins... ...so hilarious. The end product was really awful. Nothing has emphasized how important framing is to me in recent times, as that proj. You know, but then that happens, and it is just so much more apparent.

What you’re doing sounds interesting. The wasted space is more atmospheric? I kind of like the sound of that.
 
The future unfortunately, folks. Here's a great DP who framed beautifully for 9:16 -

https://www.instagram.com/p/Bz0p96qARUL/?igshid=11yhqm7fum441

Shot on a vertically flipped Red Helium w/ Summilux-C primes.

No one likes it...just have to get used to playing in the sandbox!

KS.

EDIT: Been a while. Guess I can't post links to Instagram. Does this work? This is the DP's website - it's his stuff for McCain on his Instagram page:

http://www.viktorcahoj.com/
 
Last edited:
I don't think vertical video needs to be frowned upon in a commercial setting. Posters are a thing, and they are often vertical in nature. I see nothing strange at all in stores who are moving to digital displays might want to put some pretty, moving images up there.

I would shoot separate videos for the formats though. Isn't that possible?
 
AndreeOnline said:
I would shoot separate videos for the formats though. Isn't that possible?
Click to expand...

This is a consideration, as is somehow mounting two cameras very close but when the client likes the performance in a (narrow) shot then what?

This is also where I would like a large (645+) sensor (or anamorphic) as it will be hard to get nice DOF with all that width, especially as the background looks to be a budget built set as we cant find a legit bathroom as they are not deep enough to shoot 50ish to get a nice perspective on a mid of the talent while defocusing the BG.
 
morgan_moore said:
This is a consideration, as is somehow mounting two cameras very close but when the client likes the performance in a (narrow) shot then what?.
Click to expand...

Sure, my thinking is more along the lines of the two formats being different enough through framing alone (and not necessarily being shown side by side), that it could be two different takes.

Are the adamant that the deliverables are more or less crops/extensions of the same 1:1 pixel frame?
 
J Michael said:
Perhaps you could genlock 2 or more cameras and shoot pano like they do with multicam 360.
Click to expand...

Parallax in stitching will be an issue with talent so close to camera if using large-ish traditional cameras. This is why GoPros were so popular in 360 before integrated 360 cameras became widely available, even though nobody likes GoPros. You'd need to get the entrance pupils/nodal points closer together than any traditional pro cameras can get in order to make this work reasonably well. Beamsplitter rigs don't work well with wide lenses, as would be needed here.

As much as I dislike Reds, an 8K sensor shooting landscape and a sharp wide lens is really the best option here when both portrait and landscape deliverables are desired from the same takes.

Personally I love vertical video, if displayed on a vertical screen then there is absolutely nothing wrong with it. I plan on doing a lot more of this kind of shooting in the next year, it's exploding everywhere.
 
Last edited:
morgan_moore said:
This is also where I would like a large (645+) sensor (or anamorphic) as it will be hard to get nice DOF with all that width
Click to expand...

Oh my, if the framing headache was not ehough... I had not thought of DoF. I'm trying to calculate the crop factor that's relevant for this case, and it's a nightmare. If you shoot 3840x2160 to deliver a vertical 768x1366 and a 2.8:1 horizontal 3840x1366, your crop relative to the full 3840x2160 is 1.08x for the horizontal and 2.8x on the vertical clip. Your f/1.4 prime becomes f/4. If you can shoot full frame, it may be shallow enough, but wow, what a nightmare scenario in every way.
 
So we have agreed that the edge of the set will be 'non descript' making it possible to extend the set (digitally) - probably worth a screen.

Basically a wall with some props, all props to fit into about 4 screens and then the blank wall can be digitally extended. The set will be 4*1.2m wide

I guess Ill frame a bit loose n the talent and shoot at about 4 on my 'boosted' 50 giving me 35/2 look on the S35 chip. Maybe loose the booster or go up to a 75-boosted. (my 35-70 3.5 open)
 
You must log in or register to reply here.
Back
Top