F3: Masterchef Australia TVCs

Grug

Grug

Veteran
A couple of days after returning home from my Bollywood adventures, I had a couple of commercial spots to shoot for the enduringly popular Masterchef Australia with judge Gary Mehigan.

And as I was having a play around with them, I found it hard not to conclude that rumours of the F3's death, have been greatly exaggerated.

The old girl's still got it:

gVG2b10.jpg


APxqYaw.jpg


jCQ9AWG.jpg


Z36LcR4.jpg


vntYp8S.jpg
 
Last edited:
Good work, rich colourisation and lighting. Love those skin tones. Was it your decision to shoot with the F3 or the producer's? Or was it a B camera?

That practical that's sitting on the shelf behind Gary, what did that meter at? And the reflection of a light (another practical) in the green vase? Do you ever let these go over 100% IRE?

Thanks

Mick
 
Afterglow said:
Good work, rich colourisation and lighting. Love those skin tones. Was it your decision to shoot with the F3 or the producer's? Or was it a B camera?

That practical that's sitting on the shelf behind Gary, what did that meter at? And the reflection of a light (another practical) in the green vase? Do you ever let these go over 100% IRE?

Thanks

Mick
Click to expand...


The producers asked for the F3, but a little way into the day, I thought we'd really benefit from a second camera, and as my F35 lives in the same case, we ended up breaking that out as well and it took over A-camera duties. So the F3 started off as our A-cam, then got relegated to B-cam duties.

WIth the practicals (in the SLOG masters), the little pineapple thing on the top shelf was at 90 IRE, the bulb inside the green vase was clipped out, and the reflection in the green vase was at about 80 IRE.

I generally have major mental and emotional issues with parts of the frame clipping out (it's why the Alexa remains my go-to when I can get it) but I don't mind it quite so much when it's small specular things like a light globe in the background. And the F3 at least clips out pretty gracefully, so that's something else.

Cheers
 
So did the "fee structure" for breaking out a F35 change? It's not exactly like pulling out a gopro.

Thanks for info. I didn't even ask about lenses.
 
Yep, and they were happy to pay for the rental. Lenses were Zeiss CZ.2 Compact Zooms, 28-80mm and 70-200mm.
 
Nice work as usual Grug. How do you find working with the F3 and F35 togheter? Do you rate both cameras at EI500?
 
stokstad said:
Nice work as usual Grug. How do you find working with the F3 and F35 togheter? Do you rate both cameras at EI500?
Click to expand...

I find they make a pretty easy couple to work with. Both cameras are basically just sensor boxes, so both are recording 1080p SLOG 4:4:4 (12-bit with the F35 and 10-bit with the F3) to ProRes4444 on Odyssey7Qs, with matching Zacuto Gratical Eyes on both.

Because both cameras are recording SLOG/SGamut, I'm able to use matching LUTs across both cameras (on both the Graticals and the 7Qs) which makes monitoring a breeze. And working with ProRes again is a delight - why there are still no other drag-and-drop codecs out there, I have no idea.

I rate the F35 at 400 ISO and the F3 at 800. Generally I have the 70-200mm on the F3, so I just have the longer lens stopped down one stop. Otherwise, if I want the apertures matching, I just throw on one stop more ND on the F3 (which works out well because it means I only need to carry one set of NDs with me for the two cameras).

The F35 does keep a definite edge in image quality overall, but I've found I can match the two up pretty seamlessly in Davinci. For me, the big thing is being able to switch to the F3 when I run out of light. The F35 tops out at 800 ISO (for my tastes), but I'm comfortable running the F3 up to 3200 ISO (which is equivalent to switching out my CZ.2s for Master Primes on the F35!)
 
Sounds like a great setup. I do miss the look of my F3 actually. Its a luxury shooting with cameras that has a look close to your preference right of the bat. With the transfer from Sgamut to Sgamut3.cine you really have a great start. Do you still use that LUT workflow? Also, do you grade Sgamut3.cine or transfer again to another gamut?
 
Yep, I'm still using the same basic system. It's just so streamlined and easy that it makes the whole process about as fast as it can be. The LUTs I use vary a bit on a case-by-case basis, but I tend to move between the LC709A conversion LUTs I built in LUTcalc (SLOG/Sgamut>SLOG3/Sgamut3.cine>LC709A) and the Impulz LUTs designed for SLOG.

The LC709A conversions when I want nice, natural colour reproduction, and the Impulz LUTs when I want a more condensed colour palette.
 
Thats great, I used the same workflow plus a vanilla sgamut3.cine which turned out to be my favorite a lot of the times.
 
You must log in or register to reply here.
Back
Top