F3: Industrial ad "The Lifter"

B

badlaa

Well-known member
Here's a commercial we shot couple of months ago to advertise the versatile use of Hydroline pneumatic components in various fields of industry. There'll be two more videos demonstrating the same technology used in mining and forestry operations.

Recording format: S-log 4:2:2 10bit Dnxhd to Hyperdeck shuttle. Lenses: Red 18-50mm & 50-150mm. The ending shot is from Cinestar 8 multirotor equipped with Pocket cinema camera. For lighting we used two 2,5K Arri Maxes (which you can see in the shots) with full Straw to bring them closer to the available industrial lighting. Then we made some additional shine for the containers with smaller 800w HMI units. There's also many 1K work lights rigged to the background. Again the F3 was a joy to use other than inside the truck :D

Check it out:
http://vimeo.com/94520024
 
Really good! Your lighting setup was fantastic. Loved the smoke and feeling of power and ruggedness you get through the camera movement. Thanks for sharing!
 
Very nice! The machine feels like a powerful monster from a sci-fi film! Please post more when they are available.

How did you find the RED Zoom 18-50 on F3? Does the /i technology work well with your F3?
I need a zoom lens for run and gun situation on F3 and had been reading a lot on the Red zoom 18-50 and 17-50 in REDuser. I can afford a RED 18-50 with broken /i pin now or save up a little more for the 17-50. 18-50 is famous for bad mechanics and inconsistent quality, while 17-50 which cost double is more durable and better in every sense.
 
Lucas Kao said:
Very nice! The machine feels like a powerful monster from a sci-fi film! Please post more when they are available.

How did you find the RED Zoom 18-50 on F3? Does the /i technology work well with your F3?
I need a zoom lens for run and gun situation on F3 and had been reading a lot on the Red zoom 18-50 and 17-50 in REDuser. I can afford a RED 18-50 with broken /i pin now or save up a little more for the 17-50. 18-50 is famous for bad mechanics and inconsistent quality, while 17-50 which cost double is more durable and better in every sense.
Click to expand...

Buy Once, Cry Once.



Save up for the 17-50mm.
 
Thanks for the kind words!

Bill Totolo: I used macgregors s-log to cineon LUT in davinci resolve for de log and graded every clip individually from there on.

Lucas Kao: The Red 18-50mm is a really nice entry level PL zoom. It's relatively sharp even wide open and I love the fact the lense focuses really close, it's almost a macro lense :) The mechanical quality isn't so great and the focus, zoom and aperture rings are all too stiff for my taste. Also this lense is not par focal which really is a shame and makes focusing really hard sometimes and for this reasing you obviously cannot zoom during a shot. The built in i technology is great for getting faster sense of the current aperture, of course this isn't a big deal if you have an assistant. I normally operate by myself and that's why I really appreciate seeing the aperture reading on my monitor. And I second what Grug said, get the more expensive and superior 17-50mm! But I'll have to say that for 2500$ used the older brother 18-50mm with all it flaws really is a great all around performer.
 
Very nice work, i was waiting for the arm to turn into a transformer. Were you shooting 60fps for any of those shots or was it all realtime? The way the fog moved almost had a slow mo look to it.
 
yachacha said:
Very nice work, i was waiting for the arm to turn into a transformer. Were you shooting 60fps for any of those shots or was it all realtime? The way the fog moved almost had a slow mo look to it.
Click to expand...

Thanks! All shots were actually realtime. We tried to keep the camera crane moves as slow and elegant as possible so I think that's one reason for the slow mo look. Also the machine moves slowly.
 
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