EX1 movie KERBEROS frame grabs

K

Kely

Active member
Filming and production continue with low budget hiccups on the feature film KERBEROS. Here are a few frame grabs from two (visually) posted night scenes. Both were shot on the EX1 stock lens, a couple of 1K's, couple of 500's.

Edited in Premiere, CC and grading in After Effects, exported as uncompressed TGA's, and presented here at 50% size and jpeg quality of 10.

KERBEROS frame exports

kely

http://www.kerberosbites.com
http://www.youtube.com/watch?v=6_dTvvhzddo

back to work for me!
 
Nice.

One general comment on your camera operating (visible in the movies, not the stills): I think in general you should frame your faces a bit higher - there's way too much cutoff on the top.

Or you may want to change the crop when you convert from 1.78 to 2.40. Perhaps something closer to a "common top" extraction would look better.
 
Hello Kely!

Every time I watch stills or clips of this movie I'm impressed with the DR and the shallow DOF. Not that everything gets thrown out of focus but the circle of confusion is so shallow that you get fairly an impression of depth in the shots. Some stills though show an considerable amount of grain (looks like film stockt to me :) )

Did you shoot with a mattebox and NDs?

Did you use gain sometimes?
 
details

details

Thanks to you both and the enthusiasm of this forum. I am still learning, and this board is really productive.

First, to the composition and headroom (or lack of). If 10 years ago - or even 5 - I might have agreed with you. Obviously, it is a choice and part of that is based on my own ascetics and partly on the context and relationship of the characters and their polarity to each other as well as to the overall structure of the story. Over the past couple years especially, I have watched the headroom on major hollywood films with the biggest of stars, composed in similar fashion. Some of it has been surprising as I have really started watching for it. There is also a big part of this particular story I want the viewer to be trapped with the actors, to be pulled into their emotional and fear levels and not allow the viewer to escape until I let them. Whether it works some or most of the time remains to be seen but it is part of a conscience effort on my end. Still, I appreciate the comments and of course will be re-examining my efforts to make sure I'm doing it where I feel it is justified and not just a mistake (I make plenty of those!)

Second; I wish I had time, money, and the expertise of myself and my commandeered camermen to take advantage of the lens adapters and prime lenses, follow focus, matt boxes and a few 'in front of the camera' filters. I do take time for the composition and light, and there are many many compromises, but honestly my primary concern has been on the acting. It's extra tough sometimes in that I am the many times the guy in front of the camera (short haired guy)

Part of the apparent shallow depth of field is from the composition and the staging of objects (and people) in depth. This includes relative object size and color and light as well. Part of it is the lens itself which does a pretty good job on its own. And last is some of the post processing I do which includes using post diffusion filters which help soften the skin details and allow the skin tones to 'glow' - an effect I use more of on the women of the movie. It also partially blows out the highlights and strong lights which adds to the illusion. The amount and degree I use it is very very deliberate, and part of an overall look that like.

I do not use gain, the camera stays at -3db, and since I am doing my best to emulate a cinematic 'film' look - I like the grain, sometimes emphasize it in post, and find the EX1's grain structure quite similar in appearence to actual film grain as well. Especially on dark, night shoots, where a film shoot would utilize high speed film and tend to show a stronger grain. I am not trying to fool anyone and pretend I shot on film, but rather to let the story be accepted as a movie and judged as any other without any preconcieved ideas that come from the moment someone knows they are watching a 'video' drama. Also remember film 'frame grabs' will usually show a lot of grain, some of which will get lost when its back in motion but can be seen or perceived almost subconscienly.

I realise that these cameras can do much more than I am asking them to and in the right hands, would or could be much sharper and or/more clear.

The clips and stills I post are for exactly what they seem to be doing: allowing people to examine, critique, and discuss in hopes that they help inform others as they pursue their own projects.

respects and thanks

kely
 
Thank you, Kely!

So you didn't even use a mattebox. I suppose therefore you couldn't always shoot with the iris wide open, which would be crucial for the most shallow DOF possible. The more I'm impressed with the results.

I like your philosophy to concentrate on acting and getting the best out of a minimal equipment. That's where independent cinema is at its best IMO. :thumbup:
 
Good job Kely I like the look of this film
let me know when its done I will buy a copy.
Your work is amazing to me !
go go go EX1 .
 
Poster up - frame grab from EX1 KERBEROS

Poster up - frame grab from EX1 KERBEROS

EX1 strong enough I was able to pull a poster from it... of course it's a gritty movie and gritty story - so the design was meant to reflect that.... be awhile before the movie is out, just making a fest strategy now, but the film is done (finished the mix and score in London), and the poster is just now up! http://twt.mx/RkQ
 
joe 1008 said:
So you didn't even use a mattebox. I suppose therefore you couldn't always shoot with the iris wide open, which would be crucial for the most shallow DOF possible. The more I'm impressed with the results.
Click to expand...

The camera comes with a decent mattebox so there really isn't a requirement for an aftermarket mattebox.

Similarly with two internal ND filters, plus -3db you can have any level of darkness you need indoors.

One more ND filter for bright light outdoors and you can use any aperture you need at any time.

Generally you'll want to be a stop or two off maximumm aperture anyway if you're after maximum picture quality.:engel017:

Kely, it looks great! Well planned and shot.
 
Thanks guys! I'm sure I'll be checking into whatever the newest latest greatest cameras are soon, but the great thing is the more I work and struggle to create what I want now, the cameras, the software, and people's perceptions are constantly changing to make it easier. Still, search for your own limits, and then shatter them! Fight for better stories, better acting, better sound, and higher production values. The one great thing about indie film is there really no reason - or excuse - to settle. Keep making movies my friends!
 
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