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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 :)

Lexus Super Bowl ad… Dragon and Master Anamorphics

Christopher Probst

Christopher Probst

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Shot this many moons ago, but it's now seeing the light of day as a Super Bowl spot… no complaints here...

Dragon cameras, Low Light OLPF, Master Anamorphics, a winning combination if you ask me.


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VERY NICE WORK...
 
Looks great Christopher!

It seems like some prime situations under which we'd see the 'cmos smearing' issue raise its head.... But for the most part I'm not seeing it here. Did you have issues with those high contrast light sources in frame?
 
PatrickFaith said:
Very nice, that looks like mostly a 50mm MPA? Where you able to use a 35mm MPA ? I'd like to know if the FF coverage of the 35 at t1.9 is about the same as 50mm t1.9.
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We certainly did use the 35mm in the spot. Coverage is the same and amazingly distortion free.

As for the CMOS smearing question, I really don't experience 99% of the "issues" that people fret about here. Just like any film stock prior to digital, you have to learn the medium you are shooting on and how to best control your work in that capture technology in any circumstance. In this case a Dragon sensor, some other job, maybe a Phantom, or maybe an Alexa.
 
Christopher Probst said:
As for the CMOS smearing question, I really don't experience 99% of the "issues" that people fret about here. Just like any film stock prior to digital, you have to learn the medium you are shooting on and how to best control your work in that capture technology in any circumstance. In this case a Dragon sensor, some other job, maybe a Phantom, or maybe an Alexa.
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Totally agree Chris... I bring it up because the conditions of your shoot are seemingly exactly what would make this particular aspect of this particular capture technology 'fret.' (direct light sources with defined edges on a dark background). My suspicion here is that with the low iso of 320 that some of that magenta is getting crushed in the bottom end (a good reflection of 'controlling your work' based on the circumstances on your part).

Its certainly something that has been giving a number of our rental clients cause for concern and I'm interested in how people are mitigating its occurrence, that's all....
 
Jeevus!!
 
Andreas Mendritzki said:
Totally agree Chris... I bring it up because the conditions of your shoot are seemingly exactly what would make this particular aspect of this particular capture technology 'fret.' (direct light sources with defined edges on a dark background). My suspicion here is that with the low iso of 320 that some of that magenta is getting crushed in the bottom end (a good reflection of 'controlling your work' based on the circumstances on your part).

Its certainly something that has been giving a number of our rental clients cause for concern and I'm interested in how people are mitigating its occurrence, that's all....
Click to expand...

I had 144 4' single Kino Flo tubes strapped to all of those columns. I would NEVER shoot directly at those at ISO 2000… That just doesn't make any sense to do so, I would have to wrap each tube in ND.9 or ND1.2!!!! What is the point of that. Half of the struggle with shooting a dark scene is making it look dark without grossly underexposing your "neg"… Raw is still raw, protect that.
 
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