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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 :)

branding/commercial shot on scarlet-x 00235

Ryan Hamblin

Ryan Hamblin

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Age
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Location
Nashville TN
Website
www.alrrp.com
Latest branding video I directed... no HDR, just me my scarlet, models and some good friends holding reflectors. casual shoot... maybe a few beers.
https://vimeo.com/45534004
 
thanks for the kind words y'all. fan of just about everything you post Gunleik. Obviously there is a heavy grade on this piece to meet the vibe, but it was shot on some really cheap glass. Tamron 17-50mm zoom, and the tamron 70-200mm zoom. all at a 2.8 or a 4 with Formatt Hot mirror ND combo's either a 1.2 or 1.8 ISO was mostly at 400-800. I don't think it was at anything other than that. Vimeo compression really doesn't do the detail in the image justice, but what can ya do? all shot at RC 6:1

Thanks again and if there is any other specks ya wanna know just hit me up... Ill try and supply
 
Thanks.

Liked the look.

Silly to say, but there was a moment, where the girl looks into the camera at the end that kinda... unballanced it a little bit to me... The rest was so one thing, and for a little moment, it was... something else....

Dunno if that was intentional or not.

(been contemplating whether I should say this elusive sentence now for 30 minutes... Hahahahahaha!)

Not bad or good really, just odd. Not sure if that's what will make me remember it, or not.... :)
 
Yeah im not so much a fan of that shot in the minute piece... it is the ending shot for the 30sec spot and it works great... we were just kinda outta footage for the 1 minute piece ha. there is the honesty of that piece.
 
yeah it was a buddies company... so we had like 4 hours to shoot out at this farm... and it was always intended to just be a 30, but then it just felt like the edit should breath for fashion blogs etc... so then well the 1 min was presented to me by my editor and it worked... except that shot... but shhhhh yer the first to notice. ha... europeans... all that attention to detail. ha
 
Ryan Hamblin said:
Yeah im not so much a fan of that shot in the minute piece... it is the ending shot for the 30sec spot and it works great... we were just kinda outta footage for the 1 minute piece ha. there is the honesty of that piece.
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I don't know Ryan.

For me, the :60 doesn't feel like 60 seconds. The pace is such that it feels shorter for some reason. I might feel differently after seeing the :30, which might feel like a :15.

The shot of her looking into the camera stood out to me the first time I watched it but I remember thinking it should be ending after that shot because it was so "something else" as Gunleik put it - and it did.

So, I guess it feels like a visual period (.) at the end of a statement rather than ellipses (...), which I think I'm okay with on this piece. I wouldn't have missed that shot if it wasn't there but I can reasonably rationalize its existence, so I don't mind it.
 
Loved the look in general - I think its superbly executed - High fashion magazine stuff- I think you can pull some really nice frames out of the 4k edit.

Just one questiion ryan. How difficult or time consuming was it to pull focus on such glass? - I think you did a wonderful job with focus - I'm still contemplating if I'm to save for cp'2/rpp's or go for the zf2's (Thats why i'm asking).
 
I don't know Ryan.

For me, the :60 doesn't feel like 60 seconds. The pace is such that it feels shorter for some reason. I might feel differently after seeing the :30, which might feel like a :15.

The shot of her looking into the camera stood out to me the first time I watched it but I remember thinking it should be ending after that shot because it was so "something else" as Gunleik put it - and it did.

So, I guess it feels like a visual period (.) at the end of a statement rather than ellipses (...), which I think I'm okay with on this piece. I wouldn't have missed that shot if it wasn't there but I can reasonably rationalize its existence, so I don't mind it.
Click to expand...

Appreciate your out look on it. The shot doesn't kill the piece for me, but I know that in my mind its a bit of a mistake... at least for the 1 min. It really was the period that ends a statement for the 30 so I am glad that feeling is conveyed. I'm glad it still works for you in the minute as well, as I said its certainly not a deal breaker. Thanks

Loved the look in general - I think its superbly executed - High fashion magazine stuff- I think you can pull some really nice frames out of the 4k edit.

Just one questiion ryan. How difficult or time consuming was it to pull focus on such glass? - I think you did a wonderful job with focus - I'm still contemplating if I'm to save for cp'2/rpp's or go for the zf2's (Thats why i'm asking).
Click to expand...

Thanks... I was really pumped at what I was able to create with this piece... on very little ya know. Thank you guys a ton. Yes we did pulled lots of stills from this, with a bit of a cleaner grade to them for use on the companies website and print promotion etc...

As for difficulty on pulling focus on those lenses... well difficulty is a relative term. On this shoot I didn't use a follow focus or anything and just pulled by sight with my hand on the barrel of the lens. I have been doing this for 5 or 6 years though... sometimes even with cine lenses. I guess what I am getting at is if your practice something it eventually becomes second nature. Is it technically more difficult than with a follow focus and a cine lens... yes. I missed focus probably 10 times or so in a 4 hour period. I got the job done and wasn't frustrated. It honestly usually gave me a good excuse for getting something else I wanted out of the actors and getting to blame the mistake on myself so they still were confident.

For stuff on dolly etc... I always put a gear ring on my primes and use a follow focus, or rent cine lenses if a proper DP is shooting and requests that. That being said I sold all of my cine lenses and just have cheap still glass for my day to day shooting and rent the expensive stuff when the DP wants it or the client etc... You can get a ton of lenses that offer you a lot of options if you go the stills route... and except for the extremely high end cine stuff I would argue you get as good as or better image quality out of many full frame still lenses.

I can't tell you what to do, but I will say that I do no regret for a second ditching my cine stuff and having a small rig. This TRVLR piece really sold me on that as well. I don't have to have a matte box just screw in filters. Keeps things small and mobile. I really like it too when its a bigger job and I can walk around with it as my directors finder to give the DP an idea of a shot I want and then I have a second cam to operate during all the takes. I really prefer a camera in my hand when I'm directing.

Most important thing to do is buy some lenses, any lenses and just go shoot.
 
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