more damn footage - Freezer Burn DVX Feature

A

acoreasc

Well-known member
actually - this the first footage I have been able to get from the production of this feature film shot in Connecticut in October/November of 2005. Oh - there is one push-in with the microphone in the shot - mistakenly sent the wrong take on that one, so it will not be in the movie, thank God! Not a trailer, just a preview of footage. No final coloring here - still a lot of work to do in post, but my brothers and sisters opinions on this board are always very important to me so take a look at this Sci-Fi romantic comedy and give me a heads up - it is a large file though so this constitutes a fair warning. Good shooting everyone!

http://homepage.mac.com/acoreasc/iMovieTheater19.html

Sincerely,

Adrian
 
Wow...the images were excellent. Cinematography looked great. WAY too many dolly/crane shots. It seemed as if literally every other shot was a dolly or a pan.
 
i persoanlly loved the dolly crane shots, even at excess, still added soo much flavour to your trailer. very well shot.
 
Love the look of the actors. Colours looking great, especially outdoor footage, did you use lighting or is it all natural?

Especially love the colours in the shot where he's coming down the steps getting into his car. And the greeny look where he's wheeling the machine through the hall way.. did you do that in post or with white balance?
 
There was a whole lot of great stuff in there and I'd really like to see the final product when its done. It felt like you had pretty good actors and the cinematography looked awesome as well. The music was a good choice too.
 
Beno - outdoor lighting is mostly softened with 4x4 frames with light grid cloth or 216, 252. Fill side is usually a piece of reflective B-Board with a frame of Hampshire frost or opal in front of it. I really try and mold outdoor light as much as I can, as I think it just makes the lighting feel more polished and "cinematic". The green look in the hallway is a combination of white balance, camera settings and the nature of the flourescents at the location. The "steps" location had a large mercury vapor source above the hanging truss. I used smaller sources around the location to highlight pieces and a diirectional soft source for the actor's front light.
 
The colors are breathtaking! I also viewed Adrian Correia's Reel and I am really impressed with the work. I'd love it if you would give an explanation on how you're achieving your colors.
 
John_Hudson said:
I'm intesreted based on this reel alone. Nice job so far!

(Slim? Too many dolly and crane shot's ? )
Click to expand...

I thought like every other shot was a dolly or crane shot. Are you saying they weren't dolly/crane shots, or are you saying you basically can't have too many of those types of shots? I'll watch it again, maybe the egg nogg got to me.
 
man what incredible looking shots!

really loved the birds in that sunset shot

perhaps there were in fact too many dolly and crane shots, but if they were motivated then i dont mind

nice work
 
I agree with Smithouse, the footage looked amazing, a thousand congratulations!

congratulations!

congratulations!

congratulations!

congratulations!

congratulations!

congratulations!

congratulations!

ok im done.
 
Smithouse - they are taking it out to your neck of the woods to finish editing at USC so you might see it before I do! Oh and Smithy...best signature ever - where the heel is that line from?
 
Looks really good!!!

Looks really good!!!

What were you compression setting details? Those colors were also stunning.
 
wow, this is a great piece of work! Every single outdoor shot involving the sky was exposed just right and looked great! The closer shots looked very well lit and the colors were pleasant. Yeah, there seemed to be one too many dolly/crane shots, but most of them were very smooth and fit well. I'd love to see the final product!
 
the files are usually pretty damn big, but if a producer is only going to get the chance to see this one time then I want it to look the best it can. I compress in FCP 5.0 with the H264 preset with the best possible depth and two pass VBR with the bit rate between 6.5 to 7.5 I always shoot with a polarizer in front of the lens for more saturated color and a deeper contrast, but I always end up dropping my overall exposure in the blacks, mid and highlights. Of course, properly measured exposure is the biggest key. No amount of CC will help shots that are not properly exposed. Also, extensive preparation during my tech/location scouting is key as it helps me schedule and determine the best time and direction to shoot given scenes - it makes capturing cinematic depth in exposure that much easier.
 
oh TPR - it was a Kessler crane - I wasn't that crazy about it, but we also didn't have an terribly difficult moves so it worked out.
 
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