visugeek
Well-known member
Hello DVXuser folk!
This is the first project that I've posted up here even although I've been on the board for several years. I'm usually working on other people's projects and not at liberty to talk about them. Since this one is mine outright, I don't have to worry about anyone getting upset.
http://www.crashthesuperbowl.com/#/gallery?video=13535
We shot with a 7D as the A camera, and a 60D as the B-Cam. The opening tilt down is a pan and tile VFX shot with 5K 7D stills from the interior of the Los Angeles Theater in downtown L.A. and video from the stage of a smaller theater, Stage 52 composited together. There are 2 other similar comps in the commercial, one being out of focus at the end.
The 7D had the technicolor cinestyle profile, and the 60D used Neutral with sharpness, contrast, and saturation dialed down. Clips were trans-coded using M-peg Streamclip to DNXHD 1920-10bit to keep the full dynamic range, then Editing was done in Premiere CS3. My box still has XP64, so the newer Premiere won't work on it.
I operated A cam and Directed while Christopher Lockett ran B-cam and was the Gaffer/co-DP.
The biggest hurdles for the shoot was finding a reasonably priced theater location that was available for our weekend in question. The minute you say the word "filming" in L.A., people see dollar signs, even if it's a contest entry. Theaters were hundreds of dollars to rent to put on a live performance, but if you want to shoot something the price can triple or quintuple!
For the Audience shots we used a 1K 2x3 soft box of Chris' that had a dimmer on it dialed down to about f2.4 at 320 about 50% of it's output. The rims were 650's with silk flags to soften them and make them larger sources. White balance was set to 3200k which gave a nice amber when the soft box was dimmed down. We lit for f2.4, but shot at 2.0 to keep the noise down being careful not to let the highlights go too hot.
For the stage we were able to use many of the existing lights in the theater, and move or readjust some to create rims and separation for the actors dressed as ninjas and pirates.
The set flats were built by myself and a friend, Michael Forbes the week before the shoot. I choose to build them as more traditional theater flats with Muslin skins and 1X3 frames for authenticity, and so that the pirates could cut their way through one of them to get onto the stage when they make their entrance. Plus I hoped that they would shake a bit as the action happened, adding to the chaos as the invading Pirates and Ninjas ruined the Opera.
Total prep time once we finally got the theater locked in and insurance squared away was about 10 days. I delivered a deposit check on the 3rd, and we were there shooting on the 13th. It was a busy 10 days in between.
I would love to hear what you guys think, good, bad, or anything between. It was a great experience to be working on my own project and not on something for a client for a change.
Cheers!
Visugeek
This is the first project that I've posted up here even although I've been on the board for several years. I'm usually working on other people's projects and not at liberty to talk about them. Since this one is mine outright, I don't have to worry about anyone getting upset.
http://www.crashthesuperbowl.com/#/gallery?video=13535
We shot with a 7D as the A camera, and a 60D as the B-Cam. The opening tilt down is a pan and tile VFX shot with 5K 7D stills from the interior of the Los Angeles Theater in downtown L.A. and video from the stage of a smaller theater, Stage 52 composited together. There are 2 other similar comps in the commercial, one being out of focus at the end.
The 7D had the technicolor cinestyle profile, and the 60D used Neutral with sharpness, contrast, and saturation dialed down. Clips were trans-coded using M-peg Streamclip to DNXHD 1920-10bit to keep the full dynamic range, then Editing was done in Premiere CS3. My box still has XP64, so the newer Premiere won't work on it.
I operated A cam and Directed while Christopher Lockett ran B-cam and was the Gaffer/co-DP.
The biggest hurdles for the shoot was finding a reasonably priced theater location that was available for our weekend in question. The minute you say the word "filming" in L.A., people see dollar signs, even if it's a contest entry. Theaters were hundreds of dollars to rent to put on a live performance, but if you want to shoot something the price can triple or quintuple!
For the Audience shots we used a 1K 2x3 soft box of Chris' that had a dimmer on it dialed down to about f2.4 at 320 about 50% of it's output. The rims were 650's with silk flags to soften them and make them larger sources. White balance was set to 3200k which gave a nice amber when the soft box was dimmed down. We lit for f2.4, but shot at 2.0 to keep the noise down being careful not to let the highlights go too hot.
For the stage we were able to use many of the existing lights in the theater, and move or readjust some to create rims and separation for the actors dressed as ninjas and pirates.
The set flats were built by myself and a friend, Michael Forbes the week before the shoot. I choose to build them as more traditional theater flats with Muslin skins and 1X3 frames for authenticity, and so that the pirates could cut their way through one of them to get onto the stage when they make their entrance. Plus I hoped that they would shake a bit as the action happened, adding to the chaos as the invading Pirates and Ninjas ruined the Opera.
Total prep time once we finally got the theater locked in and insurance squared away was about 10 days. I delivered a deposit check on the 3rd, and we were there shooting on the 13th. It was a busy 10 days in between.
I would love to hear what you guys think, good, bad, or anything between. It was a great experience to be working on my own project and not on something for a client for a change.
Cheers!
Visugeek