Just back from shooting a short

Cool. You got that FS100 rigged up like crazy, battled with the first pic...

Shooting in a graveyard, interesting. I gather that's not guerrilla? Last time I tried to do that there were concerns from the, uhm, clients.
 
No, not exactly guerrilla :)

The dynamic range on that bone yard was killing me.
Even the 7D for the BTS photos had a hard time handling it. Imagine what "fun" I had with the FS100.
I was so hoping for rain, or at least overcast - but we had no option.

Frank
 
Postmaster said:
No, not exactly guerrilla :)

The dynamic range on that bone yard was killing me.
Even the 7D for the BTS photos had a hard time handling it. Imagine what "fun" I had with the FS100.
I was so hoping for rain, or at least overcast - but we had no option.

Frank
Click to expand...

frank-

that is why others call what we do "work".

thanks for sharing the snaps.

be well.

rob
smalltalk productions
nyc
 
Yeah, thanks. We also shot some nice night city scenes, where the FS100 really shines (pun intended).

Frank
 
Hawaii shirt XXL, chinos and saddle shoes. :)

Actually I don´t know what you mean with "wearing"

Frank
 
Here we go:
FS100 on a Tilta rig, V-mount battery on a base that powers everything with different voltages, Hyperdeck Shuttle (abused as a HDMI to SDI transcoder), Samurai, TVLogic monitor, Crosziel mattebox, ND fader and hot mirror by Heliopan, and a Vinten 20 head on a Kesler Pocket Jib.

Vintage Zeiss medium format primes (80 and 120)
Samjang (Rokinor) 35mm 1.4
And a vintage Vivitar Series One (made by Kino Precision) 70-210, 2.8 for the long lense night shots.

BAR--_0_S001_S001_T063.MOV.Still001.jpg



Frank
 
Looks beautiful Frank.

Absolutely love the bokeh, especially on that first rack focus. I've put bids down on a dozen zebras, you'd think I'd have to win at least one of them. Should be in my hot little hands in the next couple of weeks. I've got my first M42 lens already on the way (a Helios that I only bought for the filters it came with - worth many times over the cost of the lens) but I'm definitely sold on those zebra Jenas now.
 
Nice work Frank. How treated is that or is it close to what came out of the camera? I'm curious to see the raw footage.

I notice the very hot highlights in the scene under the trees with the two women, more so than the sequence before. I guess you didn't have anything to get some light on them in those trees then? Or maybe the sun came out more!

Were you happy with the results you got? Very challenging scenes for the camera!

cheers
Paul
 
Yeah super bright day, under trees and a hot background, is a worst case scenario for every camera (and DP).
No way to protect my highlights without bringing in 8k HMIs. So all I could do, was lat them blow with grace.

I shot on G-log A and did the rest in color correction.
But I have a steadycam sequence ahead of me, where the operator walks over the grave yard.
From Shadow to super hot - I hope I´m able to get it right.

Here is some comparison between the original out of the FS100 and the final version.

Frank

P.S: as a side note, I just noticed, that a grab from the timeline gets redered different from the final rendering.
If you look at that white blotch between her shoulder and the cross in the still, no texture no detail, just cut off.
The same spot in the youtube flic (1:24) looks way different. Looks like some color space trans-coding is going on here.


Friedhof1.Still002.jpgFriedhof1.Still001.jpg
 
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Postmaster said:
Yeah super bright day, under trees and a hot background, is a worst case scenario for every camera (and DP).
No way to protect my highlights without bringing in 8k HMIs. So all I could do, was lat them blow with grace.
Click to expand...

No reflectors then? vastly underused lighting tool outside! There's a guy in Paris that created a whole lighting system based around mirrors and reflectors. I can't remember his name off the top of my head but some really great ideas for moving light around.

What are you editing in? Very often i seem to find that any kind of export from the timeline is clipped at the legal range, regardless of the output format (this is FCP X for example)

You did very well with what you had.

I quite like the camera original (a personal choice and i don't know how the shot balances in with the rest of the story) just remove the green cast from their skin, but i think the hot background emphasis the shade they're in.

Good luck with the steadicam shot. I've not flown my FS on it yet, i really ought to get some practise in soon.

cheers
paul
 
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