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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 :)

Had fun with the Mövi / stitched takes.

Björn Benckert

Björn Benckert

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Here is some swedish food commercials we did a few weeks back. All shot with the mövi and Epic MX and Epic Dragon and a cooke pancro 24mm. Interiors MX sweden and exteriors LA Dragon, a strange mix yes I know and no, there was no real reasoning behind mixing the two and use one in one place and so on, just using what was at hand... :)

Long version: https://vimeo.com/90850962


and some more info / versions here: http://www.syndicate.se/felix-spring-2014/

split screen:
https://vimeo.com/92833944

 
Andy Roberts said:
mindblowingly good. The tractor transition was seamless. No clue how you did that.
Click to expand...

Thanks, Jupp that one was quite a fiddle to get together, But in the end it sorted quite well, our 3D team had to take their camera merging tech to another level for that one... To explain shortly, it's all built upon one shaky mövi take of a toy tractor then it's another even more shaky take of a real sized huge tractor against bluescreen and a fixed back plate... then ofcourse another shaky take of the couple in the sofa and before that the computer... all 3d tracked and stich togehter... The office scene also has a back wall set extention as well as all windows.... will make a before and after / without 3d stabilizing etc in a little bit so stay tuned :)
 
Very good, Bjorn.
Love those seamless transitions using green/blue screen.
 
Eric Haase said:
Bjorn, How much did you have to post stabilize the Movi footage- not necessarily to make the transitions work but just for general smooth moves?
Click to expand...
We set the monitoring for 4k and hand the rest for look around... So on MX about 1/5 saved for stabbing... sometimes a bit more if needed for the transitions. Then on the LA material we recorded 6k with framing for 4k to have even more margin as we know the tractor scene would be done with quite low precision at shoot.
 
Björn Benckert said:
We set the monitoring for 4k and hand the rest for look around... So on MX about 1/5 saved for stabbing... sometimes a bit more if needed for the transitions. Then on the LA material we recorded 6k with framing framing for 4k to have even more margin as we know the tractor scene would be done with quite low precision at shoot.
Click to expand...

That makes sense. I did something similar on this Skechers commercial with the look around and recomposing in post but it was all steadicam.

http://www.ericjhaase.com/resources/Skechers_web.mov

Would you say that the Movi footage needed a lot of stabilization or only a little?
 
Eric Haase said:
That makes sense. I did something similar on this Skechers commercial with the look around and recomposing in post but it was all steadicam.

http://www.ericjhaase.com/resources/Skechers_web.mov

Would you say that the Movi footage needed a lot of stabilization or only a little?
Click to expand...


I stablized quite a bit and yes a mövi will never ever provide the same stability as a steadycam with good operator or a steadycam with one or two axis gimbal, it ofcourse gets most visable for fast motion moves with objects close to camera. But we figured we wanted to try it, I done so many of these films with steady and the mövi is a bit more easy to handle and we thought we would be more over tables and such so for those reason we just went with the mövi. I ofcourse wanted both and use what was best for each shot... but then there is a producer as always :)

Like the sketcher thing you did. Quite a few shots to match up :)


Nick Morrison said:
Beautiful work as always Bjorn. Love the transitions. How was it cutting btw MX and Dragon?
Click to expand...

Different DP's differnt lenses different sesnors and different filters in front of lens and indoor / exterior.. So there was not much that was keeped the same between the LA and stockholm shoot. And the Dragon material was shoot on higher ASA/ less exposure or poor blackshade as that material actually had far more noise in it. But in the end it's all so messed around with in post and one shot matched to to the next, then client input and down sampled to HD added grain etc. So then the difference of sensor is actually not a major difference. However I actually had our dragon on the stockholm shoot and shot some BTS stuff with it and seing it next to MX is quite amazing, the FOV and the DR and exceptional low light capabilites of dragon shines when shootiing side by side. It's like dragon looks good early during pre lighting then MX does not hold anything but noise but when all light levels and all are set they offcourse look quite the same, then the light span is covering the whole histogram of the MX and the bottom and top of the dragon is just not used.
 
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