Fredrik Callinggard
Well-known member
Hi guys,
I'm hereby posting a link to a TVC for coffee shot on Cuba with RED + anamorphic lenses. The H264 file is unfortunately from the SD version and I'll post a longer version (55sec) from 2K uncompressed as soon as I have it, but though you might be interested in seeing some.
It's posted on RED Relay but I don't think they managed to make a profile yet, so here's a download link.
http://www.redrelay.net/owners/0521/films/Nescafe_Gold_DK30-H.264.mov
The film was directed by me and shot by a very talented danish DP named Jens Jakob Thorsen
It's a coffee commercial for a brand I think most of you know of and it's essentially for Scandinavian market.
It was mostly shot with Lomo Anamorphic lenses (which behaves beautifully with nice flares etc). Some of the shots was made with Elite lenses (for 2 reasons. 1. When we couldn't go wide enough because of the characteristics of shooting anamorphic on a 16:9 sensor and 2. when we had to many straight lines in the image and we didn't want them to "bend").
It was shot wide open at all times - to use as much DOF, flare as much as possible and to get that little extra "softness" out of it being wide open. Why? Well I believe that it's the approach to go for if you want it to be more filmic. This is of course individual but I like it if it's not to clean and clear. I like it with the artifacts that you get from anamorphic and slightly older lenses.
Here's the specs:
Lomo anamorphic lenses 35, 50, 75, 100, 150mm
For close-ups we used 138mm Tiffen diopters
ND 1.2, 0.9, 0.6, 0.3 to fit the wide open criteria
Chocolate 2 (on most of the shoots - this is also individual but I find it to actually make a huge difference to actually color filter in camera, also on digital)
Tobacco 1 to color match to low sun conditions as closely as possible before telecine.
Elite primes 18,20,22,24mm. These were used in the factory - short snippets of the coffee jars as they go through the factory belt. The last "widest" shot with our actor is also made by an 18mm Elite, simply because the anamorphic was "bending" to much in that particular kitchen shot. The Lomo round 35mm tends to do that quite a lot (you can see it in the harbor sequence). It's said to be that the "square" anamorphic wide lenses does so but noticeable less, I therefor recommend to get a "square" one as well.
It was all shot on 16:9 4K redcode 36, converted to Prores for off-line and then put through the Lustre in 2K through DPX files. Yes the Prores convertion was hell because of the 16:9, but well worth it
As soon as I get the long version I'll post it from a 2K version instead of the SD version that this one is from, but for now I include a few pics in what we've come to call SUPERSCOPE, so you can see how wide anamorphic lenses frames become from a 16:9 sensor. I for one really hope it could become a new format !!!!!
Regards,
Fredrik Callinggard
I'm hereby posting a link to a TVC for coffee shot on Cuba with RED + anamorphic lenses. The H264 file is unfortunately from the SD version and I'll post a longer version (55sec) from 2K uncompressed as soon as I have it, but though you might be interested in seeing some.
It's posted on RED Relay but I don't think they managed to make a profile yet, so here's a download link.
http://www.redrelay.net/owners/0521/films/Nescafe_Gold_DK30-H.264.mov
The film was directed by me and shot by a very talented danish DP named Jens Jakob Thorsen
It's a coffee commercial for a brand I think most of you know of and it's essentially for Scandinavian market.
It was mostly shot with Lomo Anamorphic lenses (which behaves beautifully with nice flares etc). Some of the shots was made with Elite lenses (for 2 reasons. 1. When we couldn't go wide enough because of the characteristics of shooting anamorphic on a 16:9 sensor and 2. when we had to many straight lines in the image and we didn't want them to "bend").
It was shot wide open at all times - to use as much DOF, flare as much as possible and to get that little extra "softness" out of it being wide open. Why? Well I believe that it's the approach to go for if you want it to be more filmic. This is of course individual but I like it if it's not to clean and clear. I like it with the artifacts that you get from anamorphic and slightly older lenses.
Here's the specs:
Lomo anamorphic lenses 35, 50, 75, 100, 150mm
For close-ups we used 138mm Tiffen diopters
ND 1.2, 0.9, 0.6, 0.3 to fit the wide open criteria
Chocolate 2 (on most of the shoots - this is also individual but I find it to actually make a huge difference to actually color filter in camera, also on digital)
Tobacco 1 to color match to low sun conditions as closely as possible before telecine.
Elite primes 18,20,22,24mm. These were used in the factory - short snippets of the coffee jars as they go through the factory belt. The last "widest" shot with our actor is also made by an 18mm Elite, simply because the anamorphic was "bending" to much in that particular kitchen shot. The Lomo round 35mm tends to do that quite a lot (you can see it in the harbor sequence). It's said to be that the "square" anamorphic wide lenses does so but noticeable less, I therefor recommend to get a "square" one as well.
It was all shot on 16:9 4K redcode 36, converted to Prores for off-line and then put through the Lustre in 2K through DPX files. Yes the Prores convertion was hell because of the 16:9, but well worth it
As soon as I get the long version I'll post it from a 2K version instead of the SD version that this one is from, but for now I include a few pics in what we've come to call SUPERSCOPE, so you can see how wide anamorphic lenses frames become from a 16:9 sensor. I for one really hope it could become a new format !!!!!
Regards,
Fredrik Callinggard
