Click here to go to the first RED TEAM post in this thread.   Thread: Taylor Swift " Bad Blood " shot on Weapon by Christopher Probst

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  1. #101  
    Moderator David Battistella's Avatar
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    Christopher,

    just a quick question. You've said in the past you like to test the crap out any new camera, FW build combo ahead of time during prep. Anything you noticed different with the weapons compared to the "regular" dragons? Anything stand out for you that you can share?
    "Colors are the wounds of light."
    -William Blake
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  2. #102  
    Senior Member sam windell's Avatar
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    Hey Christopher,

    Can you go into detail on what type of lights were used on the boxing ring setup? Love how you used the harder sources in the middle and rigged the massive grids above to soften it out around the focal point.
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  3. #103  
    Senior Member Nick Morrison's Avatar
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    Can we all just applaud Chris for sharing as much as is? I think it's amazing. We are getting UNPRECEDENTED access to a filmmaker at the top of his game, making Zeitgeist level shit.

    This is a really special moment on RU.

    Just sayin'!
    Nick Morrison
    Founder, Director & Lead Creative
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    smallgiant.tv
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  4. #104  
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    Baller no doubt Christopher. Cheers.

    I personally fill my raw histogram and set the ISO just for the monitor. Seems like you do the same? How much do you use gioscope for exposure? Do you ever find yourself under the gun time wise and start shooting by eye knowing your ratios could be doctored later or are you always very precise? I ask because I do both, and generally dragon is so flexible it is all ok, but man when it's perfect you can go so far with it.

    What about framing, do you find the frames and director approve, vice versa? Both? Who else is voicing opinions on set, producers? Taylor? I wish I could shadow you for a week. Does anyone other than the director or gaffer give lighting critiques/opinions?

    Thanks again man, too much typing has already been wasted on the negative stuff.
    JAKE WILGANOWSKI
    Director of Photography / Filmmaker
    CINE-AUTOMATIC.COM
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  5. #105  
    Senior Member Brad Allen's Avatar
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    Quote Originally Posted by Christopher Probst View Post
    We capture the videotap feed live and use that to edit immediately as we shoot, and then the editor on set gets transcodes as they come on from the on set DIT and replaces the videotap with the transcoded footage, matching take and timecode manually. This has proved the fastest workflow for us and enables Joseph to edit the split second after the camera cuts to confirm the precise timing/matching he's after.
    This is a super impressive insight Chris - gotta love out of the box genius thinking like this. Still blowing my mind that a cut like this is 95% locked by the end of the shoot. Thanks for sharing.

    Any chance there is a mastered file that exists somewhere at 4K (or higher)? Would be interesting to know if we'll one day see it pop up when 4K delivery is the norm.
    Brad Allen

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  6. #106  
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    Thank you for sharing and especially the BTS info. Getting such topical beta is really great. Great looking video too!
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  7. #107  
    Senior Member PatrickFaith's Avatar
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    Hi Christopher,

    I'm shooting primarily with anamorphic master primes (having moved up from still glass), and want to move to a professional 19mm rail system for my new weapon that will go to 8k(i have never used a 19mm rail system btw).

    My Questions is I was thinking for my weapon to have most things connected to rail system rather then connected to the camera. Also with the anamorphics going to full height on the 8k, i will be getting new matte boxes. Do you have any suggestions or things you like to do when you setup a 19mm system(especially given the changes coming for the weapon)?
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  8. #108  
    Senior Member Nick Morrison's Avatar
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    I wanna go back to the spot, and find out why Chris uses CTB 1/2!

    Chris - is there a specific Kelvin you aim for? Both on set...and in-camera via filtration?

    Thanks!
    Nick Morrison
    Founder, Director & Lead Creative
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  9. #109  
    Senior Member Michael Jarvis's Avatar
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    I spread it around the creative team for the small label I work for. We all just totally dig it. Beyond the craftsmanship, I love your workflow. Thanks for sharing. I would love to be a fly on the wall and see how you and Joseph work on set and craft this vision (and others) with the talent. I love that you cut the thing right then and there. If you ever decided to make an "instructional - behind the scenes of pre - post production with Christopher Probst" ...I would buy that in a second as I'm sure many would.
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  10. #110  
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    Amazing job Chris - can you post a vimeo version or something beyond youtube - curious about the motion out of the weapon vs the Dragon vs MX sensor. Would love to see it not going thru the weird youtube compression land.
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