stoneinapond
Veteran
Dial set to M. Go into menu. Top field should read CREATIVE MOVIE. Middle block.
GH2 and RED MX shooting on Super Power feature film: Check out the Kickstarter!
- Thread starter Kholi
- Start date
Dial set to M. Go into menu. Top field should read CREATIVE MOVIE. Middle block.
stoneinapond
Veteran
Not quite sure what you're doing but check your HDMI mode (4th icon down, page 3).
Barry_Green
Moderator
HDMI output is 60i. Recorded footage in 24pN.
Ahhh! That makes sense. Sweet.
Maybe that's why 24p @ 1/30 Shutter didn't look offensive to my eyes, either. Hmm
Really wish there was a 1/45th setting or a 1/3 EV step like on the Canons.
PappasArts
Veteran
Finally going to get a chance to run this as a B-Cam this Thursday on reshoots/pick-ups to cut into the feature.
Will post actual stills from the movie soon from the camera and lens combo.
All lens, and oh yeah, a little camera on the rear.... Totally cool Kholi!
Pappas
So this thread is definitely over a year old. Reminded myself about it when I started looking at the GH2 footage shot yesterday for pick ups on the feature.
The GH2 stuff we shot before the hack (over a year ago) and this stuff's night and day. Surprisingly, there'll be a lot of GH2 footage cut with the RED MX stuff, which you'll probably see in the next trailer.
We're also pretty close to being done FINALLY... after so long. No money = lots of time to spend trying to get it to the point of presentation.
Anyway, just an update. More soon.
The GH2 stuff we shot before the hack (over a year ago) and this stuff's night and day. Surprisingly, there'll be a lot of GH2 footage cut with the RED MX stuff, which you'll probably see in the next trailer.
We're also pretty close to being done FINALLY... after so long. No money = lots of time to spend trying to get it to the point of presentation.
Anyway, just an update. More soon.
PaPa
Major Contributor
oh, i wanted to ask. Checked out the kickstarter page, what did you guys use for lighting in some of those scenes? Specifically at 18 seconds in the video. Is that a huge LED panel that's like 4 feet by 4 feet?
Secondly, do you have any before and after stills of the grading process? You seem to have a very good hit on the exposure mark that keeps a lot of details but really made things pop in the final version.
Secondly, do you have any before and after stills of the grading process? You seem to have a very good hit on the exposure mark that keeps a lot of details but really made things pop in the final version.
y000. They're kino 4x4's with some diff taped on. Most of the time we used a pretty scarce setup. In fact, I think I can list everything we used on this feature aside from the two big finale days:
2~4 x 4Ft Kino's with Day and Tungsten bulbs
2 x Chimera Pankcake Lanters w/dimmers and 1000watt Tungsten Bulbs
3 x Litepanel Bricks
1 x Kino Car Kit with Day and Tungsten
1 x 1000 Watt Arri
2 x 300 watt ARri's
1 x 650 Watt Arri
1 x 150 watt arri
1 x 500 watt Mag Ballasted HMI
Hmmm I might be able to dig up some before and after shots from the trailer posted on the first page. But most of that is RED footage, so ya know. The next trailer will have GH2 material in it. If you still want the before and afters I'll post stills today.
mentatDUKE
Veteran
Me tew!
Congrats on getting close to completion.
Congrats on getting close to completion.
So the first set (before, then after) is a vfx comp--of course, that shows the first temp grade and what we ended up with. It's also one of my favorite shots in the movie. Funny thing is, now that I look at it, I kinda like the overall warmth of the first one more than the second one, which balances the white.
Set two you can see the limitations of RED MX's DR forcing me to decide which way to go, and of course I'm gonna let the car, sidewalk, etc blow out before I underexpose skin too far. Can't have it all, at least not yet. Had this been a year or so later, shooting Epic HDRx would've been an image saver.
Chose to desaturate highlights and go a bit warmer, so that the eye points away from the hot spots and onto the group. In motion, your eye is directed toward Mouse (grey shirt, glasses) because it's actually a camera move in. Works out well. Another one of my favorites.
Set three (Girl at the door) needed a lot of work. You can see where we ended up doing powers around her face so that we could bring the overexposed door and wall down. In motion it looks natural, but in the still it's pretty obvious. This is what happens when you don't give your DP any money to get proper grip gear...
As well, this is not the ideal situation for a boom mic as I learned. The cove drives reverb to the max, things sound hollow in this scene but we were able to fix it up pretty nicely. Just a word of advice!
I think that also turned out better than I had expected.
Set four is definitely one of my favorite shots. It's also a push in. Matty, again, had very little to work with but I think it turned out incredibut. The only thing we did to most of this scene/location was push the mids up and raise the highs a tiny tiny bit.
You can see DVXuser Geoff Reisner (Geoff_R) in the back pretending to be a bar tender. That's how many extras we DID not have that day.
Set 5's GH2 pre-hack with an 11-16/2.8 Tokina. That sky was gone on the MX as well, just not a pretty day to shoot. What we'll end up doing is keying it and throwing some light blue back there, then brightening the entire image. For now, it was just a shift in warmth.
Not sure how many more I can pull without it getting redundant but if I remember any I'll do so. Also, there'll be more stuff in the next trailer, GH2 Hack material included, so that'll be a bit easier to illustrate.
Set two you can see the limitations of RED MX's DR forcing me to decide which way to go, and of course I'm gonna let the car, sidewalk, etc blow out before I underexpose skin too far. Can't have it all, at least not yet. Had this been a year or so later, shooting Epic HDRx would've been an image saver.
Chose to desaturate highlights and go a bit warmer, so that the eye points away from the hot spots and onto the group. In motion, your eye is directed toward Mouse (grey shirt, glasses) because it's actually a camera move in. Works out well. Another one of my favorites.
Set three (Girl at the door) needed a lot of work. You can see where we ended up doing powers around her face so that we could bring the overexposed door and wall down. In motion it looks natural, but in the still it's pretty obvious. This is what happens when you don't give your DP any money to get proper grip gear...
As well, this is not the ideal situation for a boom mic as I learned. The cove drives reverb to the max, things sound hollow in this scene but we were able to fix it up pretty nicely. Just a word of advice!
I think that also turned out better than I had expected.
Set four is definitely one of my favorite shots. It's also a push in. Matty, again, had very little to work with but I think it turned out incredibut. The only thing we did to most of this scene/location was push the mids up and raise the highs a tiny tiny bit.
You can see DVXuser Geoff Reisner (Geoff_R) in the back pretending to be a bar tender. That's how many extras we DID not have that day.
Set 5's GH2 pre-hack with an 11-16/2.8 Tokina. That sky was gone on the MX as well, just not a pretty day to shoot. What we'll end up doing is keying it and throwing some light blue back there, then brightening the entire image. For now, it was just a shift in warmth.
Not sure how many more I can pull without it getting redundant but if I remember any I'll do so. Also, there'll be more stuff in the next trailer, GH2 Hack material included, so that'll be a bit easier to illustrate.
Oh! one more set
THIS is something we did a lot of solid work too. You can see where the windows are creating and shaping the existing light in an artificial way, drawing focus away from the right wall dead center to the reaction on Mouse's (blue jacket) face.
Aside from the obvious white balance change, we also lifted the lower end of the curve so it wasn't so crunchy.
I am NOT a fan of crunchy images... crushing darks is not favorable to me.
THIS is something we did a lot of solid work too. You can see where the windows are creating and shaping the existing light in an artificial way, drawing focus away from the right wall dead center to the reaction on Mouse's (blue jacket) face.
Aside from the obvious white balance change, we also lifted the lower end of the curve so it wasn't so crunchy.
I am NOT a fan of crunchy images... crushing darks is not favorable to me.
PaPa
Major Contributor
thanks for posting Kholi,
im curious about the grab where the three of them are in the park at the bench. Did you use curves for this? I'm wondering how you would have gone about doing some kind of S curve but still managed to darket the highlights while maintaining a smooth roll off. Noramlly i would see those highlights get brighter, but instead they get darker and more saturated, skin tones get a little lower, darks lower, and highlights get crushed a little. What's involved here?
im curious about the grab where the three of them are in the park at the bench. Did you use curves for this? I'm wondering how you would have gone about doing some kind of S curve but still managed to darket the highlights while maintaining a smooth roll off. Noramlly i would see those highlights get brighter, but instead they get darker and more saturated, skin tones get a little lower, darks lower, and highlights get crushed a little. What's involved here?
Hey Kholi, I'm curious, what kind of boom mic did you use to capture most of your dialog? I'm just barely getting into the whole audio side of things, and have an Oktava MK012. Have you personally edited audio? Been playing around in adobe audition and realized the eq settings are a lot like curves in grading. It's kinda fun, been trying to mimic that standard flat sound found in movies.
Oh... and when can I see your movie!? Will we be forced to endure a year of waiting to see which festival it gets accepted at, and the potential resulting distribution routes? I'll buy that bluray day 1.
Oh... and when can I see your movie!? Will we be forced to endure a year of waiting to see which festival it gets accepted at, and the potential resulting distribution routes? I'll buy that bluray day 1.
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Hmm. It would be much harder to explain via text but there are a lot of ways to do it. The shot in the park I remember the colorist turning highlights a different color, slightly desat, and then dropping the lower mids slightly while lifting the upper mids and highs. Basically, he used more than a curve. DaVinci's got a lot of options and tools to help things along.
But, if I were trying to do this in REDCINE X here's what it would look like:
Before
Baseline Curve
After
DaVinci Version:
Curve Adjusted
Blue Channel Curve (Adjusted for overall hue/balance):
It's also a bit of a per-camera situation, because with RC PRO I can go in and adjust FLUT (and well, everything) for a finer exposure base off the cuff.
Hope that helps a bit.
I'm not an expert, but these are the things I picked up over the years working with colorists and friends, I'm sure there's a better way to do this but I guess there are various ways to skin a hufflelump.
I am DEFINITELY not a sound guy, but I can ask my friend what mic he's been using, etc. I've never really extensively edited audio, but I can tell the difference between Mic's and whatever he's using, even in the worse situations, is good enough at our budget.
I don't think there'll be a festival run, to be honest. It takes too long and I PERSONALLY think it's a waste of time. If it happens, it'll be simultaneous to a very limited theatrical simultaneous VOD thing. Either way, after it's done it definitely won't be long before we get it out to the masses.
Thanks for the vote!
mentatDUKE
Veteran
How close will the BluRay window be to the VOD window (theoretically of course)? I prefer Bluray. Doc? Commentary? Special Features?