ZazaCast
Major Contributor
I'm pretty sure Rodney is married....so....I believe they're already gone!:shocked:
"A Verse Before Dying" - AF-100 Western Short
- Thread starter Stephen Mick
- Start date
Terry_Lasater
All about the Caption
Timur looks more and more like Groucho with every pic posted.
Taylor Rudd
Veteran
Not sure if I'm allowed to say it, but.... THAT'S A WRAP.
ZazaCast
Major Contributor
Congrats on the wrap!
REALLY can't wait to see this one.
groveChuck
U-matic Member
Are we all invited to the wrap party? :beer: :beer: :beer: :beer: :beer: :beer:
Matt Gottshalk
Resident Preditor
Screening the final day of footage at dinner:
Screening the final day of footage at dinner:
I dunno, that footage looks a little blownout :grin:
Matt Gottshalk
Resident Preditor
Yeah, it is noisy too.
;p
;p
groveChuck
U-matic Member
Whoa, that's worse highlights than my old blonde girlfriend!!! :grin:
Matthew Bennett
Well-known member
You guys have access to an actual FILM CAMERA?!! WHat the $%@^ are you do shooting video???!!!
This looks like it's going to be amazing - way to pull an awesome production together!!!
This looks like it's going to be amazing - way to pull an awesome production together!!!
Taylor Rudd
Veteran
I don't know what monitor you're watching it on, but over here it looks PERFECT
Matt Gottshalk
Resident Preditor
I was kidding.
And as it stands right now my 7d goes on the marketplace as soon as I get home tomorrow.
mikkowilson
Steadi-Guru
I'm operating the my Steadicam Archer.
And yes, I have my Merlin along for playing with; which is the handheld rig in the photo.
- Mikko
Barry_Green
Moderator
I actually brought three film cameras along. And I will say that after loading the first mag, I said to the crew: why the bleep would anyone ever shoot film again? Boy was that annoying! (new camera, never used before, bought off ebay, first load). Second load was much better.
So, after griping about loading, I set it up, and looked through the optical viewfinder -- and fell in love all over again. Pulled the trigger and it purred like a kitten, and the screen flickered just like it's supposed to, and ... yeah, it's great.
And it was so simplistic. So ridiculously simple. On the video camera you have to remember to set the white balance right, and the black balance, and check on your scene file settings, and then check the ISO to make sure you haven't gained up, and then check the waveform monitor and the zebras for proper exposure... it's so complex. With film, you walk over to the set and push the button on the light meter. Spin the iris and pull the trigger, and that's it.
Of course, if you DID want to change any of those things (like white balance or ISO/gain) then yeah, you gotta open up a new can of film, go into the changing bag, unload the old film, snip the ends, tape up the short end and recan it, then load the magazine with the new stock... vs. just pressing a button. It's so simplistic, and so complex. (of course, you can spend a few hundred more to buy multiple magazines to make changing WB a little easier, but you still have to pre-load that mag too. When you're done with all that, and you put the hard work behind you, then shooting is definitely fun.
Then I remembered that it's costing me about $35 for every minute shot. Every minute. And that, right there, is why people shoot video. :thumbsup:
When he called cut, Stephen would occasionally ask "Can I see playback on that?" On the AF100, the answer was "yes". On the film, I'd have to answer "in about a week."
So we have wrapped shooting today. I have to say, looking at this production, in one sense it was a exercise in learning a new camera. However the surprising thing about this camera is that after a day or so, i didn't "feel" the camera anymore. What i mean is this. I never felt weighed down, like it was too big and heavy, or really too small and unstable. Its sensitive enough that i never felt that i was struggling for exposure. I was able to use PL lenses, so i always got consistent, clean results.
I was so un-bothered by fiddling with the camera that i was actually able to focus on the lighting, blocking and camera operation. The AF100 just doesn't get in the way.
As far as the image goes, this thing is simply amazing. We were shooting a young man, collecting firewood in dappled sunlight under some trees. When he was in shadow, he was a bit dark, but still exposed and clear, and with accurate color and tones. The portions that hit the sunlight, were bright, but also exposed and retained full detial. There was at least a 5 stop difference, yet the AF100 just took it in stride. The 10.5 stops of Dynamic Range really came in handy, but are also fully use able.
We also got to try the AF under a unique condition, that left us 30 feet in the air and that i was convince would break the image. No such luck. This camera stands up to skew, and wobble in stride, and it is very difficult to trigger those effects.
Off to bed have a plane to catch.
I was so un-bothered by fiddling with the camera that i was actually able to focus on the lighting, blocking and camera operation. The AF100 just doesn't get in the way.
As far as the image goes, this thing is simply amazing. We were shooting a young man, collecting firewood in dappled sunlight under some trees. When he was in shadow, he was a bit dark, but still exposed and clear, and with accurate color and tones. The portions that hit the sunlight, were bright, but also exposed and retained full detial. There was at least a 5 stop difference, yet the AF100 just took it in stride. The 10.5 stops of Dynamic Range really came in handy, but are also fully use able.
We also got to try the AF under a unique condition, that left us 30 feet in the air and that i was convince would break the image. No such luck. This camera stands up to skew, and wobble in stride, and it is very difficult to trigger those effects.
Off to bed have a plane to catch.
Taylor Rudd
Veteran
Just kidding as well - I'll put up a smiley face (maybe one holding beer?) next time :beer:
As Timur said, the nice thing about the AF100 is that it's not a selfish camera. It doesn't need special treatment. The general consensus: it just does what it needs to do. Finally.
Stephen Mick
Totally Usable
So, the shoot is wrapped, the crew is getting packed and ready to leave this morning, and I've got a few minutes to compose my thoughts and share them with all of you.
First, I have to thank Barry, Timur, Mikko, Caffesse, STL, McGee, Wildman, Drew Ott, Mrs. Caffesse, Taylor Rudd, Brandon Boggs, and every other person who gave so much of their time and effort to make "A Verse Before Dying" such a wonderful experience. When Barry and I first cooked up this idea of putting an AF-100 film together, I don't think either one of us could have imagined it would go this well. I hoped it would, and the planets definitely aligned for us, with a perfect cast, the best crew I've ever worked with, a location that felt like another character, and the help of quite a few "friends" who supplied us with key gear to get the job done.
As far as the camera goes… well, let's just say there's not likely anything I could say that Mikko, Timur, Barry and Matt haven't said already, and more eloquently than I could. What I will say is this… I hardly ever thought about the camera. We weren't there to "test" the camera, we were out to shoot a film. And the camera just plain delivered. When you're on set, if you're thinking and talking about the camera, there's likely something wrong with it, and that never happened here. Timur was able to focus on the images, and I was able to focus on the actors, their surroundings and the impact of each scene.
So…where do we go from here?
To the edit.
People have asked to see footage, and that wish will be granted. While our "A" editor, the amazing Stephen Bohls, works on the film, I'll be working on the trailer. Hopefully, we'll have something quickly, but you'll only see it when it's ready. With the help of McGee, I'll also be posting a few select clips for people to check out.
During pre-production, we also thought about some "technical details" that we wanted to investigate while we had the cameras around. Things like rolling shutter performance, on-board codec vs. outboard recording device, functionality of certain lenses, low-light performance, etc. In time, we'll get to the results, but my focus now is to get the edit rolling and start working on music and finishing details.
And one of those finishing details will be color work. Again, we've always said (to each other) we wanted to see how the footage would hold up in the best of conditions, and part of that means working with a kick-ass professional colorist. My good friend Oscar Oboza at Pixel Farm (in Minneapolis), has graciously offered to color-correct the film in their telecine suite. So we'll be using their Spirit Datacine to transfer our Ultra16 16mm film to digital files, and their Baselight system to do all the final color work.
The schedule is always in flux, but the plan is to have a "teaser/trailer" shortly, and to have the film ready as early as December 22nd. (Think of it as an appetizer to "True Grit.") This may change, depending on how things come together, and I'll keep the thread updated with info.
Finally, a big thank you to everyone who's dropped into this thread and offered their encouragement and support. It hasn't gone unnoticed, and it is, most certainly, appreciated.
First, I have to thank Barry, Timur, Mikko, Caffesse, STL, McGee, Wildman, Drew Ott, Mrs. Caffesse, Taylor Rudd, Brandon Boggs, and every other person who gave so much of their time and effort to make "A Verse Before Dying" such a wonderful experience. When Barry and I first cooked up this idea of putting an AF-100 film together, I don't think either one of us could have imagined it would go this well. I hoped it would, and the planets definitely aligned for us, with a perfect cast, the best crew I've ever worked with, a location that felt like another character, and the help of quite a few "friends" who supplied us with key gear to get the job done.
As far as the camera goes… well, let's just say there's not likely anything I could say that Mikko, Timur, Barry and Matt haven't said already, and more eloquently than I could. What I will say is this… I hardly ever thought about the camera. We weren't there to "test" the camera, we were out to shoot a film. And the camera just plain delivered. When you're on set, if you're thinking and talking about the camera, there's likely something wrong with it, and that never happened here. Timur was able to focus on the images, and I was able to focus on the actors, their surroundings and the impact of each scene.
So…where do we go from here?
To the edit.
People have asked to see footage, and that wish will be granted. While our "A" editor, the amazing Stephen Bohls, works on the film, I'll be working on the trailer. Hopefully, we'll have something quickly, but you'll only see it when it's ready. With the help of McGee, I'll also be posting a few select clips for people to check out.
During pre-production, we also thought about some "technical details" that we wanted to investigate while we had the cameras around. Things like rolling shutter performance, on-board codec vs. outboard recording device, functionality of certain lenses, low-light performance, etc. In time, we'll get to the results, but my focus now is to get the edit rolling and start working on music and finishing details.
And one of those finishing details will be color work. Again, we've always said (to each other) we wanted to see how the footage would hold up in the best of conditions, and part of that means working with a kick-ass professional colorist. My good friend Oscar Oboza at Pixel Farm (in Minneapolis), has graciously offered to color-correct the film in their telecine suite. So we'll be using their Spirit Datacine to transfer our Ultra16 16mm film to digital files, and their Baselight system to do all the final color work.
The schedule is always in flux, but the plan is to have a "teaser/trailer" shortly, and to have the film ready as early as December 22nd. (Think of it as an appetizer to "True Grit.") This may change, depending on how things come together, and I'll keep the thread updated with info.
Finally, a big thank you to everyone who's dropped into this thread and offered their encouragement and support. It hasn't gone unnoticed, and it is, most certainly, appreciated.
ZazaCast
Major Contributor
This is just great news... congrats to all involved...and THANK YOU ALL for the hard work!
The vast knowledge and experience you guys share is priceless. I still say DVXUser is THE best film school...and it's FREE.
To have access to the professionals on this forum, well, again, you can't put a value on that.
...and to hear you talk about this camera and the quality of the images...and it's not even the production model yet....damn, this thing is going to smoke.
I for one would like to thank you all once again...and please know how much we appreciate you taking the time to share your knowledge & skill with us!
Happy Holidaze.
Cheers!
-Zaza
The vast knowledge and experience you guys share is priceless. I still say DVXUser is THE best film school...and it's FREE.
To have access to the professionals on this forum, well, again, you can't put a value on that.
...and to hear you talk about this camera and the quality of the images...and it's not even the production model yet....damn, this thing is going to smoke.
I for one would like to thank you all once again...and please know how much we appreciate you taking the time to share your knowledge & skill with us!
Happy Holidaze.
Cheers!
-Zaza