F3: Indie Horror Feature "Intrusion: Disconnected" being shot on Sony PMW-F3 -New Trailer

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Viddovation

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Indie Horror Feature "Intrusion: Disconnected" being shot on Sony PMW-F3 -New Trailer

So I know most of the hype is now geared to the F5/F55. But here's the trailer for an indie horror feature I've been the DP on, that's been shot on the Sony F3.


EDIT: For those who can't see the embed: http://vimeo.com/69348742


It's been an odd project, with principal photography spread out over almost two years - the first segment was done with the F3 shooting to SxS XDCAM-EX, using Zeiss ZF lenses. The more recent work was shot with the F3 to an Atomos Samurai and ProRes422 HQ, with LumaTech Illumina S35 PL Mount lenses. The final segment of principal will probably be on the Sony F35 with Arri Ultra Primes, using the Sony F3 as the B camera. The current trailer is all Sony F3 footage.
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Looks great. I like some of the flat lighting looks, and some of the more dramatic (higher contrast) shots.

How did you find shooting for consistent exposure over the two year period? Did you use any specific tools for exposure, what ISO did you use, when you shot to SXS internally were you using slog?

Lastly, when do you plan to wrap up the entire film?
 
We really haven't had to shoot in the same location much with the separation of time. We did have that once - for an interior and and exterior night scene, but those reshoots I just tried to remember where the lights had been before, improve where I could subtley, and expose for maximum lattitude.

When shooting SxS I used the Abel Cine Range picture profile - not SLog. I exposed for maximum range without losing the primary target. It was more by feel than science.

ISO, whenever possible has been native - 0db - which is 400 for Video and 800 for SLog if I recall. For night exteriors we had a very limited package, so particularly for wide shots it was necessary to boost the gain. For the wide jib shot of the girls running down the stairs I was in video AB Range mode, with 18db gain. For closer shots in the same scene I moved the lights in and dropped the gain. Of course, for that first shoot my wide lenses were f2.8 and f3.6. For the second shoot the LumaTech lenses were T1.3 across the set - so I wouldn't have need to do as much gain boost. The gain on the F3 is incredible though, and the trick I figure is - keep your night wides brief - set the scene - then move close, drop the gain, and stay tight if possible. Particularly if the wide scene has action, the audience won't notice the brief grain jump.

By the way - no lightmeter... I pretty much expose by the histogram. That, and a 24" 1080p Sony Production monitor.

I think the distinction between the low contrast, high key scenes, and the contrasty dark scenes works well for the genre. But - if I were being nitpicky of the work, I think the color grading isn't quite right on one or two of them. And of course, there may be some limits based on the SxS XDCAM-EX codec. I wasn't in the edit room, so I'm not 100% sure. I expect when they do the actual edit there will be more expertise dedicated to color grading than was available for the trailer.

I beleive the hope is to shoot out late fall or winter 2013. All depends on funding. A lot of this has been out of pocket for the producer - which is a large part of why principal has been so spread out.

I'll definitely let everyone know when it makes it to the finish line. I don't know how visible the final product will be in the marketplace, but with Tiffany Shepis in it, there's some hope of getting real distrobution. We'll see!
 
starcentral said:
How you liking Zeiss ZF's? I'm really thinking of a set.
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I sold my set of cinemodded Zeiss ZF lenses over a year ago to help make the move to Arri Ultra Primes.

Of course, the Ultra Primes are technically much better, but the Zeiss ZF lenses were great in many respects. They deliver a lot for the price. The largest frustration was that the whole set had mismatched maximum open apertures. The reversed Nikon gearing could be a general nuisance too - particularly with a fresh faced AC who hasn't worked them before. The witness marks on the Ultra Primes are a godsend.

I don't own the Illumina S35 lenses - they were a rental as my Ultra Primes were already locked to a different production when that shoot came up.
 
Viddovation said:
So I know most of the hype is now geared to the F5/F55. But here's the trailer for an indie horror feature I've been the DP on, that's been shot on the Sony F3.



It's been an odd project, with principal photography spread out over almost two years - the first segment was done with the F3 shooting to SxS XDCAM-EX, using Zeiss ZF lenses. The more recent work was shot with the F3 to an Atomos Samurai and ProRes422 HQ, with LumaTech Illumina S35 PL Mount lenses. The final segment of principal will probably be on the Sony F35 with Arri Ultra Primes, using the Sony F3 as the B camera. The current trailer is all Sony F3 footage.
Click to expand...

Could you please paste video URL a clip doesn't appear on iPad. Thanks!
 
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