TimTheFoolMan
Well-known member
Here's the link to the second episode in our new webseries, "Brothers Barbarian":
Brothers Barbarian on YouTube
The Steadicam Pilot shots were all HVX200, and the tripod shots were all AF100. Editing was in FCP7, with color correction/grading done in Apple Color. Sound was from a Rode NTG-3 on a boom along with a Sennheiser G3 with a Countryman B6 lav, feeding into an Edirol R-44 and remastered in ProTools.
Notable issues for the AF100 were the sky blowout in the second shot (panning from the trees/sky to track the running orc) and the scene inside Lord Brian's tent, where the backdrop is blown out. In the very last shot, we went handheld with the AF100 because our Steadicam guy wasn't available. In retrospect, I wished for the HVX on the Steadicam.
Lesson learned:
Tim
Brothers Barbarian on YouTube
The Steadicam Pilot shots were all HVX200, and the tripod shots were all AF100. Editing was in FCP7, with color correction/grading done in Apple Color. Sound was from a Rode NTG-3 on a boom along with a Sennheiser G3 with a Countryman B6 lav, feeding into an Edirol R-44 and remastered in ProTools.
Notable issues for the AF100 were the sky blowout in the second shot (panning from the trees/sky to track the running orc) and the scene inside Lord Brian's tent, where the backdrop is blown out. In the very last shot, we went handheld with the AF100 because our Steadicam guy wasn't available. In retrospect, I wished for the HVX on the Steadicam.
Lesson learned:
- If you can "bake in" a look that's 90% of what you'll want in the end, you can push the AF100's color around pretty well without it breaking down.
- In general, better to underexpose a bit than overexpose--the blowouts can create ugly artifacts when the blue and red channels "hit the stops" first.
- I'm seriously thinking that a cyan filter, properly selected, might allow all three channels to blow out simultaneously, and make the camera more forgiving for unpredictable situations.
- Lighting, lighting, lighting... if you have control over the conditions, TAKE control and provide the proper fill or bounce, scrim outdoor scenes as necessary, and so on. This sounds obvious, but pulling down highs isn't always possible, so you have to be ready to pull up the shadows to keep the dynamic range within what the sensor (and codec) can resolve.
- These two cameras don't have similar "looks," but can be intercut if you're careful.
- You can bend the HVX toward the native look of the AF100 more easily than the other way around, but within the limits of the sensors & codecs, you can go the other way too.
Tim