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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 :)

NEW MUSIC VIDEO SHOT WITH Available light and 1 bounce board what do you think?

I've been thinking about doing the same,I much prefer the look of my fd's but seeing what the colourist simon astbury from unit could do with l series glass is making me think again
 
Thank you! Skin smoothing in baselight + good makeup artist and to be fair to greta she has pretty good skin.did you notice her eyes, the colourist did an amazing job on them
 
Excellent. Your concept as well? If not, talent to spare on that set. If so, the client was fortunate indeed.
 
Cheers fella, it's sort of mAde itself if you know what I mean:) it was a lot of fun being so free to shoot with just a rucksack kit
 
Hi Cameron. I thought I should add a few comments as we go here rather than Suresh have to do all the leg work.

I wrote the treatment for this video several weeks in advance of the shoot itself. I say treatment but I guess it was more a character based on the artist's part time job in real life. Greta had several people in her life that she wanted to include and these are the others that make up the cleaner's world. Other than this we really weren't too sure what we'd find when we got to each location. But I love to work in this way and so the camera just needed to follow suit.

Suresh and I had been working on many different configurations of the Scarlet for some time. It turned out that we HAD to shoot in one day and so we decided we need a really stripped down set up so that in a situation where I wanted to be responsive to a situation unfolding in front of me I could just put the camera where I wanted it,when I wanted it, without it becoming intrusive. The technology was always slave to the idea. Not the other way around. A lovely way of working. Keeping it simple the Scarlet's size and weight makes this possible.

I guess a simple lesson in having a clear vision from the start, knowing your tools well, having a super talented partner in crime and being open minded, always looking, to allow those unplanned moments to find a place in the world you are trying to create.

Thanks for taking an interest in the work.

Jamie Quantrill
writer/director/dop/editor
 
Thanks for the insight, Jamie. As could be predictied, both you and Suresh display a rare modesty that is only ever present in the geniunely talented. For you, this project was enjoyable. For most, it would be impossible. Your subtlety betrays you. You are gunslingers. Get used to it.
 
Nice! The night-time stuff was particularly of interest - very clean. How did you go about achieving these shots?
 
We walked in all the practicals ,used the bounce, opened up the lenses 35 50 and 85 and A did a bit of NR. To be honest those bits make me cringe. I think it would have been much better to light but
A) it was a challenge and I personally wanted to see what could be done without
B) it was 3am in the morning and we were very very tired :)
 
She performs very compellingly and was obviously coached in an interesting way - kudos to that. Her close-up by the window looks great too, I must say. The other characters are not clear - who are they and what are they doing and why?

I'm extremely curious - What kind of bounce board were you using exactly?

How did you film the car? It looks near the beginning like a crane-down from a very high altitude or a heli-drone shot. Is that the case?

Also, why was grading so short? Did you hire a pro grader?
 
the other characters are just being themselves, doing what they would be doing in that their own space. They were not actors but friends of greta so i feel they did an amazing job considering, especially greta's grandmother!! she is amazing!!!!! love her lots for doing this for us. We did have the luxury of working with greta before but the other characters and environments were all new, we had about two hours per location to work out what we were doing and do it. Like jamie said we had a loose idea but it was about reacting to what we saw and making it work.

We were using a 1.8 x 1.2 Collapsible lastolite so we had quite a few options with it. black, white, gold sliver etc ( my i also add I HATE FOLDING THAT DAMM THING!!!!!!!! )

The car shot was done @ 48fps 3k and stabilized in davinci lite - we were driving down hill hence the crane feel ( works great:) If i am completely honest i was filming in the passenger seat of the car on the way back from the final location so around 1:30am i think and i had forgotten to take the ND of:( thats why the footage is so dark, when we saw it in the suite it looked great, it was not intended for the video at all.


the grade was a favour from unit tv so yes it was short but Simon is so good he managed to do this in that time. I could not recommend using him enough.

let me know if this works , a few bts images https://www.facebook.com/media/set/?set=a.747803545245346.1073741826.299614616730910&type=1
 
thanks Kacey just watched your autism cut, looks great! what lenses did you use on that?

I would havev loved to have had a better lens choice for sure but the speed and lack of budget dictated the l series. to be fair i think they did a good job
 
Suresh Kara said:
thanks Kacey just watched your autism cut, looks great! what lenses did you use on that?

I would havev loved to have had a better lens choice for sure but the speed and lack of budget dictated the l series. to be fair i think they did a good job
Click to expand...

Totally agree, it looks amazing, I hope my point translated.

For mine, I shot the car park scene using a red zoom 18-50 on my R1 and Adam used his Epic and SuperSpeeds (If i remember correctly M3) for the restaurant :)
 
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