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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Another Ariana Grande Vid...

Christopher Probst

Christopher Probst

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This just dropped tonight (2/7) but we shot it at the same time we did the 7 Rings video before the holidays... Same Monstro cameras, Atlas A and B set Orion Anamorphics and same crew...

Check it...


 
Christopher,

Another Great looking Video, you make it look too easy. Which lenses From the A set and Which Lenses from the B set did you use?
 
All the A, and only had the 32mm and 80mm from the B set... 50mm wasn't ready in time.
 
Amazing, as usual Chris. So well polished.

What was your LED lighting package used on this?
 
Michael Wahba said:
Amazing, as usual Chris. So well polished.

What was your LED lighting package used on this?
Click to expand...

+1 on wanting to know more about your lighting. I’m consistently impressed by you and your crew’s work. Great job!
 
Chris, hows the 32 in this b set? any idea which shots are identifiable from the 32? Great work man. Love the monstro and atlas combo. Ive been shooting on my A set for a bit now and am still very in love with those lenses.
 
Obviously you like the Atlas lenses. How do you find them wide open? I have had several people I trust say that they are unusable wide open, but I question that and wonder what they are comparing them to. What stops were you shooting on this?

As always, lovely work.

Nick
 
Looks amazing. Noticeably sharper than the last one too. Is that from shooting at a higher t-stop or new focal lengths or what?
 
My feeling on the Orions is this... In order to build an economical anamorphic solution, Atlas needed to go with nothing too exotic like a Master Anamorphic in terms of optical design... That means no aspheres for example. So the speherical component is a straight forward design looking at a group of cylinders and then focused with again, basicn, non-aspheric variable diopters in front. MOST anamorphic lenses don't even open to a T2... So they COULD have limited the lenses to a T2.3 or a T2.8 and it wouldn't have been that far out of the norms for anamorphic glass. I find that the wider lenses do get a bit softer wide open, like the 32mm and the 40mm, but it depends on the look you are going for as to be "unusable". If you are going for a softer, creamier feel, sure, open those wider lenses up and you're capture some of that character. Otherwise, treat them more toward a T2.8 lens and you're fine. The longer focal lengths, from 65mm and up all perform great even wide open...

For me it's about being realistic in your expectations. These lenses far out perform their price point. Optically, they are very similar in design to Hawk anamorphics, lenses which cost 7 or 8 times as much. I adopted this philosophy on the last two Ariana shoots and I think the results speak for themselves. They are pretty incredible lenses in look and mechanically way beyond what you'd expect for a "budget" lens.
 
Noah Yuan-Vogel said:
Looks amazing. Noticeably sharper than the last one too. Is that from shooting at a higher t-stop or new focal lengths or what?
Click to expand...

Most of the softer shots on the first Ariana Grande, Thank U, Next, was more of a function of the focus puller and every shot being on Steadicam than the optical performance of the lens... Of course, the same rules apply as I noted above, but then human error is also a "thing" as well.
 
Great notes on the Atlas. I was very pleased using my A set on a recent shoot and for the cost, it’s tough to beat.

Definitely want to hear more on the lighting package used on these! Thanks Chris for your time!
 
Thanks for that. Pretty much what I was thinking. I tend to like the artifacting, soft on the corners, etc, so I'll have to give them a shot next chance I get.

Cheers,

Nick
 
Christopher Probst said:
My feeling on the Orions is this... In order to build an economical anamorphic solution, Atlas needed to go with nothing too exotic like a Master Anamorphic in terms of optical design... That means no aspheres for example. So the speherical component is a straight forward design looking at a group of cylinders and then focused with again, basicn, non-aspheric variable diopters in front. MOST anamorphic lenses don't even open to a T2... So they COULD have limited the lenses to a T2.3 or a T2.8 and it wouldn't have been that far out of the norms for anamorphic glass. I find that the wider lenses do get a bit softer wide open, like the 32mm and the 40mm, but it depends on the look you are going for as to be "unusable". If you are going for a softer, creamier feel, sure, open those wider lenses up and you're capture some of that character. Otherwise, treat them more toward a T2.8 lens and you're fine. The longer focal lengths, from 65mm and up all perform great even wide open...

For me it's about being realistic in your expectations. These lenses far out perform their price point. Optically, they are very similar in design to Hawk anamorphics, lenses which cost 7 or 8 times as much. I adopted this philosophy on the last two Ariana shoots and I think the results speak for themselves. They are pretty incredible lenses in look and mechanically way beyond what you'd expect for a "budget" lens.
Click to expand...
I think the video looks excellent. My only complaint, I understand they want perfect skin but they should leave some high frequency detail in here. "Crok beauty" is the matchbox to tell the flame guys to use, takes away bad skin but somehow leaves the wanted details in there.

Also agree about the Atlas lenses. I understand it's important for them to make em fast as posdible to sell well. But to me Ana's on a large sensor starts to shine at 5,6 or so. On Monstro full hight wide open fast Ana's gives more focus fall off then most would ask for.

The amount that Monstro need to stop down to get a similar image as helium took me some time to get used to. The large sized sensor really make it so that if you liked wide open before, you now should close down a full stop more.

https://vimeo.com/315452305

Above is just an example where I think we went a bit to far open. Using Tokinas wide open on FF Monstro. On helium it would look way different.
 
Loved it, think the sharpness is spot on, it just doesn't need to be sharper. Its a "human" narrative MV, not an Apple TV screensaver. Those were shot on Red also , right?

Love the subtle lighting in the sunset/dawn vista+talent shots. And you really did get Ariana's best angles here.
 
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