Artist at work

M

morgan_moore

Major Contributor


An art happeing occured at my studio - I did BTS stuff all handheld

Technicaly we see some focus pulling and also some longer shots with the speed ramped - stability on a handheld shot is required for such ramping - especially when transitioning into the dutch angle at 1.28

I used lots of jump cuts to upset the viewer a little

Enjoy

S
 
Another one..

I was shooting a knitwear catalogue today (stills) and grabbed a few motion shots with my 5d

Been looking to realise a manner for making a moving version of a still catalogue for a while

My rig sits on the floor no worries while I am shooting stills on the D3

enjoy

SMM

 
Hey Morgan,

Just something I've noticed in your, and most peoples, material... seems to be a fair amount of overexposing going on. And, perhaps not in the traditional sense, but in how these things work for best image.

The skin in both videos is quite a ways off, and, overexposed to the point where details beginning to fade and flesh becomes a layer o'plastic.

Take it or leave it, of course, but may want to experiment with exposure and contrast.
 
Kholi is right. Mind you, i think for your second piece, although it's over exposed, it does give that whole washed out modeling look which is good sometimes, and i think works for the piece. But in general, you do want to lower your exposure a tad.

I tend to like it when skin tones aren't that dark and like them exposed or slightly over by a half stop or a stop.

Just picked up the marshal monitor with false color and it's really a life saver. Tells you exactly what you're getting. Here are a few test grabs i did, trying to keep my friends skin tone between pink, green and light gray. ( on the monitor ) Considering there is no control over lighting, im very please that already the false color is adding considerably to my skin exposure control/influence.

I would say the following are probably half a stop - a third of a stop over what I would choose to do if i had controlled lighting, but I do like this look as well for certain types of scenes.

dan02.jpg



dan03.jpg



dan04.jpg
 
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Interesting over exposure comment.

Yeah the fashion one is loooking for that blown feel but..

I think there are some screen / vimeo / colourspace issues - which I could probably do with some pointers for

This is my experience

Shooting - my clips look great on camera - dare I say im good to excellent at avoiding clipping where is is not required ie controlling exposure in camera

(in the first film our kiddie was swept by the harsh lights a couple of times and I knew the exposure was blown but the shot survived on other merits)

Then I get back to my mac, do my StreamClip and import to FCP and it all starts looking a little underexposed and flat/muddy

In FCP I then tend to give it a little kick using colour corrector three way which runs with no render

This then makes it start looking good on my screen (Eizo lcd monitor - proper professional screen for evaluating still images - calibrated with a spider thingy)

The requirement to do this tweak often start to degrade the file in my eyes and annoys me that I didnt get it right in camera

So I 'grade' my footage and it looks coolio for me in FCP or when exported to QT

However it is my observation that watching my Reel on consumer DVD players and 'regular TVs' some of the colours are horribly oversaturated and blown - in fact the in camera footage would have probably created the correct result

I also note that when stuff is uploaded to vimeo another color shift occurs

My conclusion is that I am missing some knowledge on colour space. 'broadcast safe' and other such gems

It is also possbile that I need a (CRT?) monitor to grade on and actually maybe need (in professionally demanding situations) to produce two grades - computerweb friendly and DVD/TV friendly

Maybe you guys can provide some pointers

ps your clips are exaclty how I shoot unlit stuff controlling the exposure where it matters and allowing blownness where it does not matter (the window) - this is the key to shooting on a budget IMO

Maybe you would comment on my D3s test - the second half from about 2.45 you see some knockabout footage - this is 'out of camera' and ungraded - showing what I am actualy shooting with a camera I had never even tried before




S
 
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No disrespect Im a very experienced stills photographer and intensely aware of exposure and maximising a digital file

I have been shooting digital since the D1 in 1999 - those early digicams were so so clippy I can tell you

While the two clips shown in this thread are not greatly shot (being intense RnG) Im seeing the same issue on other more considered footage of mine

I understand your concept of the test images (not mine) being a little over but I really think I have a delivery issue

In stills I am used to delivering a good range of 0-255 in all channels - the magazine I work for Im contantly 'dissing' the other photographers for 'blowing their sh1t'

Is it not true that broadcast safe has a smaller DR than 0-255

S
 
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Kay, no, that does not look overexposed. Definitely underexposed but not by enough to go from that to the video.

Maybe recalibrate your monitors??? The only thing off about that image is that it's just flat, no real lighting.

But, it's not overexpsed. And the tone of her face is actually on.
 
Sure its flat - my studio strobes are no good for motion - we 'lit' the motion by opening the roller door in the studio :)

There is no monitor calibration issue - either just bad correction or an 'issue' between formats and or settings

S
 
That last shot looks on Morgan :) Big difference between that and the final product. Maybe a little too heavy in the CC area? Otherwise i like your original!
 
I agree too heavy but also think the I may be seeing something different from you - depends on your viewing device

eizo could actually be a problem in this case

I think I need 'broadcast safe' warning on when grading maybe not going to the full gamut viewable by my monitor or actually get a Sony broadcast style monitor

As a stills photographer the tradition is to deliver in A1998 space which is wide gamut and let the client convert to the appropriate space for their final delivery - typically smaller gamut CMYK print or SRGB web - same as I also always deliver with no sharpening because sharpening is dependant on final use media and output resolution

Here I have no client doing a final conversion so must learn to be my own client

Also Im after feedback on camera moves, cuts etc ?

S
 
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