A little one-day music video for Matchbox 20...- Epic Anamorphic

[Christopher Probst]

Haven't done a music video in probably 8 months! I miss them, but the budgets have been abysmal... That said, I love working with Rich Lee, so even with a pathetic one-day shooting schedule and a paltry budget, we scraped this together. Not earth-shattering, but a fun video nonetheless... I would have preferred the beginning half to be a bit darker, but the label commented that it was looking like a Lincoln Park video! Ugh!

Be sure to change the quality to 1080P...

 

[Matt Ryan]

Hey Chris, Nice work!

What was your lighting package like?

 

[Joseph Seuferling]

Nice work, Christopher! It has a very fun, playful quality which perfectly captures the mood of the song.
If you don't mind my asking, what lighting did you use in addition to the overhead fluorescents?

 

[Joseph Seuferling]

Ha, same question, Matt!

 

[Christopher Probst]

I did the entire job using only 4 lights. 2 Image 80s, a 4K HMI Par, and a VistaBeam.

 

[Nick Gardner]

What lenses did you shoot on?

nick

 

[Matt Ryan]

I did the entire job using only 4 lights. 2 Image 80s, a 4K HMI Par, and a VistaBeam.

Did you place them for the wide and stay with that the entire time? What were their placement since you have shots from almost every angle yet lighting remains consistent?

 

[Christopher Probst]

What lenses did you shoot on?

nick

Kowas.

 

[Tim Lüdin]

Great stuff as always. I just love your style.
Rock on.

Tim

 

[Kacey Baker]

I think it could have looked magical with your own color grade. Dam labels, what do they know.

 

[Justin Kirchhoff]

Really enjoyed the video. And Rich Lee is a legend. Great work Chris.

 

[Chris Henze]

Loved it!

I think this would have difficult to pull off with any other camera than an EPIC.

 

[Steve Sherrick]

Chris, great job as always.

At about 2:09 there is a ghosting effect happening above Rob's head. Is this in the original? Or is it a strange compression issue?

Also, were all of the ceiling flos replaced or were those the existing bulbs?

 

[Kirk.Attard]

nice work chris. Didnt get the feeling it was a quickie video. I think anywhere music videos are being turned around in a couple of days. We have to work around that. Good job. Love the lighting too.

You used a steady cam I suppose right?

 

[Christopher Probst]

I think it could have looked magical with your own color grade. Dam labels, what do they know.

I may still do a pass for my own copy...

At about 2:09 there is a ghosting effect happening above Rob's head. Is this in the original? Or is it a strange compression issue?

That is just his head blocking the lens from flaring out from the fluorescents above him... The tubes just produced a more general milking as opposed to a hard pin-source flare...

Also, were all of the ceiling flos replaced or were those the existing bulbs?

I stuck with the Cool Whites that were already there in that I wanted a touch of blue-green to begin with.

You used a steady cam I suppose right?

There was no Steadicam on this job, just dolly and handheld....

 

[Kacey Baker]

I may still do a pass for my own copy....

I think we'd all love to see your creative vision. Do it! Do it!

 

[Peter Dmitriyev]

Loved it!

I think this would have difficult to pull off with any other camera than an EPIC.

why's that? Just curious

 

[Ivan Kovax]

I loved the lighting effects when she rips the cables out of the wall... heh heh

 

[Chris Henze]

why's that? Just curious

For me the EPIC's form factor is so compact that it makes moving it with confidence really easy and fluid. Not that every camera isn't movable, just that for me the EPIC feels like an extension of my arm, like a DSLR but of course with much better quality. When I watched this piece, it looks like there's that extra special ability to move added to a faster pace of shooting which creates a certain feeling that I like. Just my personal observations.