C300: C300mkii shot Commercial

Thanks guys.

Sean, The fuji played really nice. It was standing in for an iphone camera so it didn't have to look really good, but I was really impressed with the clarity of the image and the color was really great and natural looking. If I remember correctly I used the low contrast portrait setting "Astia" I think. Had DR set to 400 and ISO at 800. Used the 10-24mm right around 14mm at a F4 or greater. Just had it on a photo tripod that I then pickup up and held with the actor's hand attached.

DLD, I was going for a naturalistic looking lighting look. Most of the window itself was all within legal limits, I knew we'd push the highlights in the grade, more so in my selects. None of the new cameras have that perfect Arri highlight roll off, so you need to help the sensor a bit by using a softening filter, I think we used a Hollywood Black Magic 1/4 for almost every shot in this piece.

Here are some de-lutted images so you can see how I exposed. Log3/2020/Production Camera/ISO 800

Screen Shot 2017-03-13 at 5.14.06 PM.jpgScreen Shot 2017-03-13 at 5.14.37 PM.jpgScreen Shot 2017-03-13 at 5.15.21 PM.jpg
 
Looking at the first two screen grabs, I thought it was going somewhere completely different. The skin tones in the grab make the girl look like a corpse(I thought it was going to be some type of 'don't text while driving commercial' just looking at them), but the commercial itself, she looks completely different, and obviously it has a much different tone and went somewhere different than I thought going in to it.
 
Great looking frames John. Mostly lit through the windows with big soft ambient fill from the front? Book light or ? Do you have a lighting plot or plan you could share?
 
I had just picked up the two Hive wasp 250's and really wanted to see if I could pull off the exterior source look.

For the kitchen setup I have both lamps oustide the window. One playing in the shot as our "sun source" causing the flare. The other is positioned outside the same window, but lower and further toward the right side of frame. It's hidden from view, but it's adding a stronger backlight to the subject and it's lighting our bounch card that I have acting as a key light. In the kitchen, just off screen right I have a 4x6 1/2 grid cloth with a few salt&pepper kinos pushing in through to add some fill light and shine to her hair.

Bedroom setup was pretty easy, one hive outside and the second one is snooted down with barn doors and punching into the ceiling directly above the bed.

Bathroom is the same lighting setup as the bedroom just a much smaller space.
 
Hive's are great! I got the two wasp par kit. It came with a dual ballast which I did have a number of problems with, but I was able to trade that in for two single ballasts and no problems since. Really great customer service. The Wasp250's draw around 275 oddly enough, but are equal to a 575hmi. They don't get crazy, I can handle them all day without gloves and you can restrike them as much as you want with no issues.

They have a color temp dial from 4600k-6000k then to a really deep moonlight blue. I had one lamp inside at a cooler temp and one outside with a warmer tint, really great for tuning in a little bit of color contrast.

I played with the 1000 for a bit in their shop, puts out a ton of light, they say M18 equivalent. If you've got room in your vehicle and the grip gear for it, it's amazing!
 
The spot looks good Jim. its thefirst example of something shot with a c300 Mk2 that I've seen in a long time that really looks buttoned up all the way through the grade. When I watched the spot I was thinking this could could be Alexa, could be Canon could be .... which I think is a good thing. Good work!
 
Thanks Mark. The mk2 isn't far off from the amira from my initial tests the DR is very similar, arri has the highlight roll off, canon has more detail in the shadows.

The big differences I noticed is the extra nuance of color on the canon. I shot a medium shot of a person with brown hair, the amira read all the hair as just a few tones the canon read it as more complex, perhaps due to the warmth of the canon image.

The arri wins hands down when you push exposure though. With the amira you can underexpose two stops and push the image in post and wind up with a decent gritty image. The canon you have to get the ISO/exposure right on set and obviously you can go higher in ISO with canon.
 
jm.gardiner said:
Thanks Mark. The mk2 isn't far off from the amira from my initial tests the DR is very similar, arri has the highlight roll off, canon has more detail in the shadows.

The big differences I noticed is the extra nuance of color on the canon. I shot a medium shot of a person with brown hair, the amira read all the hair as just a few tones the canon read it as more complex, perhaps due to the warmth of the canon image.

The arri wins hands down when you push exposure though. With the amira you can underexpose two stops and push the image in post and wind up with a decent gritty image. The canon you have to get the ISO/exposure right on set and obviously you can go higher in ISO with canon.
Click to expand...

based on lab tests done on cinema5d: C300 II - 12.3 stops (same with FS7), Arri - 14...
https://www.cinema5d.com/canon-measured-15-stops-dynamic-range-c300-mark-ii/

i have never ever seen anything similar to what Arri does with high lights.....
 
I'd recommend doing your own tests if you're interested. I put the two cameras next to eachother and matched the highlight points and found that the Canon had a bit more detail in the shadows in a real world scenario. The arri, no question, has more recoverable highlights.
 
You must log in or register to reply here.
Back
Top