F3: "Memo" Music Video Screengrabs
- Thread starter Grug
- Start date
Arthur Love
Member
Shots like these reinforce the fact that I'll only give up my F3 when I'm dead.
Tomas Riuka
Well-known member
Second Arthur.
Despite F5/F55 announcement, F3 is sooo amazing in the sense of clean image, sensitivity, that i will keep it for a loooong time to come. It's amazing piece which helps you create these stunning images.
Despite F5/F55 announcement, F3 is sooo amazing in the sense of clean image, sensitivity, that i will keep it for a loooong time to come. It's amazing piece which helps you create these stunning images.
John Andersson
Well-known member
The F3 is so obsolete these days that I'm amazed you managed to get footage out of it at all 
Looking great!
Looking great!
John Andersson
Well-known member
Keep on whispering because I will
CinemaElectronika
Well-known member
Very well done, my fiend! Congrats. Nice work.
starcentral
Veteran
Hi Grug, nice work I like the location and lighting.
Any details what lighting & modifiers were used, and you shot to pix right? What kind of grading / color correction issues did you have?
Any details what lighting & modifiers were used, and you shot to pix right? What kind of grading / color correction issues did you have?
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maranfilms
Veteran
good video, I'm not crazy about the box with lights their standing in, it feels like it's missing something. But thats just my opinion. Skin tones look good to. I really like the Bokah shots, they seem to work best for the location.
Grug
Veteran
Thanks for the kind words fellas.
For the 'Main Stage' setup, my key light was a 1.2k HMI fresnel, flagged to control the spill and positioned about 10' up and slightly to camera-left; that was then complimented by two 150w HMIs on either side of the setup flagged to highlight the two columns the girls are dancing on. The backlight for the performers on the stage was provided by a 700 LED panel running off a v-mount battery.
The opening shots of the singer walking towards the camera were lit mainly with a big softbox filled with tungsten-balanced flouros, with a 150w HMI in the background for the reverse shots.
The wider shots of the 'lightcube' were lit with a single 150W HMI mounted up in the ceiling, with a little extra illumination provided by the LED strip lighting. I didn't design the cube and wasn't very fond of the particular setup, so I moved the singer forward in front of the cube, and lit him again with a single HMI from up high, with a reflector down low to provide bounce back up into his face, and a dedo providing the side/shoulder-light (which turned in much prettier pictures).
The backlit window shots with the dancers were done with the 1.2k and the two 150w HMIs all blasted through the window, with the flouro softbox providing the key.
The outdoor shots weren't planned initially, but the supporting singer couldn't make it on the night that we had the warehouse, so we shot those bits a week later. They were all lit with two 700 LED panels gelled with -1/4 green, and powered by v-mount batteries.
As for the grading issues? They were mostly FCP6 pooping itself at having to handle too many filters and rendering out clips as bright blue without warning. I also had issues with the colour saturation driving up colour noise to the point of being too obvious, and then requiring noise reduction filters to smoothen them out - which then caused more clips to be rendered in bright blue. I think the grading I put into these clips pretty much took the camera to the limit of what it can output in 10-bit 4:2:2 - any more colour saturation and the colour noise would have just made the clips unusable.
It was all quite a headache, so much so that when I popped into a shopping centre on Sunday morning to get a quick watch repair done, I somehow walked out with an order for a pimped out iMac... :embarasse I'll be pairing that up with a copy of Resolve for all of my future grading.
We just recently finished a short film I shot on Resolve, and it really does make a difference to the speed, ease and control you need for good grading. So I think that's how I'll do things from now on.
Cheers, that's probably my least favourite shot too. The LED strips are just too scrappy-looking in sharp focus, that's why I pushed back for the prettier shots and they worked out much better.
For the 'Main Stage' setup, my key light was a 1.2k HMI fresnel, flagged to control the spill and positioned about 10' up and slightly to camera-left; that was then complimented by two 150w HMIs on either side of the setup flagged to highlight the two columns the girls are dancing on. The backlight for the performers on the stage was provided by a 700 LED panel running off a v-mount battery.
The opening shots of the singer walking towards the camera were lit mainly with a big softbox filled with tungsten-balanced flouros, with a 150w HMI in the background for the reverse shots.
The wider shots of the 'lightcube' were lit with a single 150W HMI mounted up in the ceiling, with a little extra illumination provided by the LED strip lighting. I didn't design the cube and wasn't very fond of the particular setup, so I moved the singer forward in front of the cube, and lit him again with a single HMI from up high, with a reflector down low to provide bounce back up into his face, and a dedo providing the side/shoulder-light (which turned in much prettier pictures).
The backlit window shots with the dancers were done with the 1.2k and the two 150w HMIs all blasted through the window, with the flouro softbox providing the key.
The outdoor shots weren't planned initially, but the supporting singer couldn't make it on the night that we had the warehouse, so we shot those bits a week later. They were all lit with two 700 LED panels gelled with -1/4 green, and powered by v-mount batteries.
As for the grading issues? They were mostly FCP6 pooping itself at having to handle too many filters and rendering out clips as bright blue without warning. I also had issues with the colour saturation driving up colour noise to the point of being too obvious, and then requiring noise reduction filters to smoothen them out - which then caused more clips to be rendered in bright blue. I think the grading I put into these clips pretty much took the camera to the limit of what it can output in 10-bit 4:2:2 - any more colour saturation and the colour noise would have just made the clips unusable.
It was all quite a headache, so much so that when I popped into a shopping centre on Sunday morning to get a quick watch repair done, I somehow walked out with an order for a pimped out iMac... :embarasse I'll be pairing that up with a copy of Resolve for all of my future grading.
We just recently finished a short film I shot on Resolve, and it really does make a difference to the speed, ease and control you need for good grading. So I think that's how I'll do things from now on.
Cheers, that's probably my least favourite shot too. The LED strips are just too scrappy-looking in sharp focus, that's why I pushed back for the prettier shots and they worked out much better.
I always throw up in my mouth a little bit when I come across people who entertain the notion that a newer camera makes an older camera obsolete. I know a guy who still shoots with a DVX100 and I tell you, his stuff looks better than most stuff you see posted on these forums shot with FS100, F3, AF100, C300 etc.
But I of course got your sarcasm and you have nothing to worry about Grug. Your old, tired, obsolete piece of a junk of a camera is still putting out amazing footage. Keep sweet talking in her years. Whatever you're saying is working.
maranfilms
Veteran
Whatever you're saying is working.
I agree, it's definitely making her highlights perky
starcentral
Veteran
Thanks for the detailed reply on the lighting, will need to read that tonight in more detail and post any follow up questions.
As for the grading and issues you had really pushing 10-bit 422 I would love a chance to see in jpg or even provided a few uncompressed original frames to have a look. I'm always curious to know what people's interpretations of "heavy grading" are. Without really seeing the original, its hard to know.
In the PIX thread I questioned the benefit of 444 since its derived from bayered sensor that doesn't have full dedicated RGB photosites anyway, but I'm also reading some older posts which do seem to indicate that 444 even on the F3 however its derived is better than 422.
Note: All music videos are a headache
As for the grading and issues you had really pushing 10-bit 422 I would love a chance to see in jpg or even provided a few uncompressed original frames to have a look. I'm always curious to know what people's interpretations of "heavy grading" are. Without really seeing the original, its hard to know.
In the PIX thread I questioned the benefit of 444 since its derived from bayered sensor that doesn't have full dedicated RGB photosites anyway, but I'm also reading some older posts which do seem to indicate that 444 even on the F3 however its derived is better than 422.
Note: All music videos are a headache
Grug
Veteran
Well this is rather nice, 4 days in from our release on Youtube, and the video's already up to 4,500 views
http://youtu.be/ZR8oiTc0aJ4
http://youtu.be/ZR8oiTc0aJ4
Grug
Veteran
The youtube version I linked to just above is in 1080p. :smile:
I saw that. This is why I asked if a real 1080p version is available. It looks more like blown up 1080p. On youtube it most always does. Is the original file uploaded on vimeo in 1080p?
Grug
Veteran
Ah, gotcha. I haven't got Vimeo+ yet, so only 720p on there. The youtube version follows their 8000Kbps H.264 1080p recommended encoding (though everything on youtube seems to get pretty mushy).
I'll probably be signing up for Vimeo+ pretty soon, so I'll post up a link to the 1080p version of it on there, when I do.
I'll probably be signing up for Vimeo+ pretty soon, so I'll post up a link to the 1080p version of it on there, when I do.