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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 :)

I Love You But I Lied CAMPAIGN - Shot on Epic MX

Nick Morrison

Nick Morrison

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Hey gang, here's another campaign we banged out this spring. Shot on Epic MX.

I wrote/directed, and oversaw post.

Jake Blackstone graded our dailies - as always!


Our shoot was 100% BTS (Behind the Scenes) - not as sophisticated as other projects, but still fun! Series itself shot at breakneck speed on an FS700 with a speedbooster and assortment of eos glass (Canon, Zeiss, Tamron).

We shot down and dirty on Epic MX and Scarlet MX, with Contax Zooms most of the time (28-85, 80-200).

Majority of interviews are Contax 135 f2 and Contax 180 2.8 (all shot down a hallway at production company HQ).

A lot of night B-Roll was 135 f2 as well.

No filtration.

"I Love You But I Lied" is one of the most popular shows in Netherlands right now. This is first US version. The show is 100% cray cray!


I LOVE YOU BUT I LIED - BTS 60
https://vimeo.com/128346861




I LOVE YOU BUT I LED - BTS 30
https://vimeo.com/128346893




I LOVE YOU BUT I LIED - TWITTER SPOT
https://vimeo.com/128346894




I LOVE YOU BUT I LIED - MARATHON SPOT
https://vimeo.com/128346895
 
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really amazing job - NIck - beautiful look. Great work!
 
Nice
 
MX again. What is it with you and Jake Blackstone? Didn't you learn anything from the last time?

You'd better stop it or people are going to figure out what you're doing.
 
PatrickFaith said:
I just love this reality/improve concept. I love the voice phrasing clips you used, one part this guys just says "wow" ... which i think reflects the show and actually the concept.
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Hey Patrick, yeah the concept is amazing right? They are REAL STORIES (from Netherlands) acted out by improvisers to make the performances feel more genuine. They also shot it really Dodgme (no lights, no makeup, etc) which added a lot also. I was very impressed! Cast and crew were awesome to work with, too!
 
Mark Phelan said:
MX again. What is it with you and Jake Blackstone? Didn't you learn anything from the last time?

You'd better stop it or people are going to figure out what you're doing.
Click to expand...


Haha, agreed. MX is still an amazing sensor!!
 
Roddy Blelloch said:
Nick, very nice. How did you approach low light shooting? ISO?
Click to expand...

Hey Roddy, thanks! At night we shot 1280 on a Contax 135 f2. We were about 15ft back from crew, so the 135mm was a must. Jake denoised a bit in the grade.

If you look at the Director's interview in the :60, you'll notice it doesn't look great - thats because it was actually 3200-4000 iso! We were using a lot of natural light, and as the sun set we lost a ton of exposure...it was almost dark. All happened so fast (in mid interview) there was no time to relight. DP wasn't sure it was usable. But Jake did an amazing job making it work. Keeping the compression low helped. But its also a tribute to shooting RAW at high resolution. There was enough "there" for Davinci to hold onto and denoise. Shooting f2 on the 135 also helped.

In lowlight we tend to keep glass at f2 or 1.4. We have zooms, but try to stay on fast primes when we know exposure may be an issue. All RED sensors seem to crave light, so even in "lowlight" makes sense to feed beast as much as possible - every little bit helps.

My clients did a RED shoot recently (not with us)....MX...shot 1280 on 2.8 Zooms...at 96fps....they were at least two stops under. Histogram was deep left, stop lights full. Amazing how much cleaner signal may have been if they'd shot at T2 on primes @ 60fps.

Not sure if this helps....but feed the beast as best you can...in every situation!

Best
 
Glad to see your success Nick and Jake.
 
Roddy Blelloch said:
Very helpful. I'm new to Red and found the MX is a "fool for light." But it handles even the subtlest light so well. Thanks for sharing.
Click to expand...

My pleasure. And yes, lots of light...totally agree! And don't forget to trust the histogram, stop lights and goalposts.

I know it sounds basic, but this one small page on RED.com is amazingly insightful and relevant:

http://www.red.com/learn/red-101/red-camera-exposure-tools

I go back to it often, just to remind myself of what good histograms/exposures should look like...
 
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