New NFL high frame rate TV spots

[Steve Gibby]

I just noticed an article in the New York Times about a new NFL commercial campaign featuring high frame rate footage of NFL players. The spots were shot with a Phantom.

Link: http://www.nytimes.com/2009/08/07/business/media/07adco.html?_r=1

Before I got my REDs, I produced/directed a 1-hour TV special behind the scenes at Super Bowl XXXIX in Jacksonville. Looking back on that, man would I have been stoked to have some serious overcrank capability like has been proposed for Epic

I have some very cool plans for the high frame rate capabilities of Epic for sports, nature, and TV commercial applications. I'll be one of the very first to receive Epic, and you can bet I'll be pushing the limits on high frame rates.

 

[Liam Hall]

I don't know how things are Stateside, but this side of the pond everywhere you look it's high frame-rates. It's the new zoom-in...

 

[Anson Fogel]

We second that

We second that

We shoot probably 70% of our RED footage of late overcranked - it was a huge motive for buying one in the first place - but 2K is just not quite satisfying quality wise. We await EPICX with overcranked beating hearts....

Anson Fogel
Forge Motion Picture
www.forgemotionpictures.com

 

[Steve Gibby]

When me and my crews have overcranked my RED One cameras, once 3k became an option, it has usually been 3k with a 23.98 fps project frame rate, then Varispeed to 48 fps, for a nice, smooth 50% slow-motion playback. RED 3k re-samples beautifully down to 1080p ProRes HQ. If my TV content was for Europe, I'd still shoot 3k, but with a project frame rate of 25 fps, then Varispeed to 50 fps, for a 50% slow- motion playback.

Before 3k was an option, when we overcranked, it was 2k at up to 120 fps. It was smooth, but IMO 3k re-sampled down to 1080p ProRes HQ looks much better than 2k originated footage re-sampled down.

With Epic we'll push it up as high as possible when appropriate...gonna be fun!

 

[Anson Fogel]

Yes but

Yes but

Agreed, we get the same results form 3K - 3K is certainly ideal, and go-to for us much of the time. Looks great (ok, real good) at 1080 HD out. However, for some action sports, like our current kayaking projects, 50-60FPS is not cranked enough. We need 100+, and could use more. Which means 2k. I've got other threads heavily debating and working through getting the best 2K R1 results...but its just not great. Usable, yes. But 120+ FPS at 4K? I get all goosebumpy thinkin about it.

As you, we have many ideas/dreams about highly overcranked action sports stuff, in 3k+, in a form factor that can be moved in backpacks easily, stuck on moving objects, oooohhhh yessssss.....

 

[Steve Gibby]

Definitely Anson...

Clear back in August/September 2007 when I got my REDs I shot a lot of 2k overcranked. It was OK, but like you said not exceptional. RED Team coming out with 3k gave us a lot better quality - but still not as high of frame rates as we'd like and need.

Action sports, and its companion genre adventure travel, have been some of my core areas of production throughout my career. For those applications, the high frame rates of Epic and the smallness, simplicity, and mobility of the fixed lens Scarlet (with a 2x extender and wide converter available), both have me salivating. Scarlet fixed lens for the run n' gun, and Epic for the overcranking - that's a potent mobile hybrid EFP combo

 

[Anson Fogel]

That is precisely the ideal combo form our perspective as well, with us shooting mostly action and adventure travel as well.

Thanks again for all your posts here - I have closely followed many of your posts, and have used much of your specific advice over the past 18 months - love my arrow 55 head, solo and sprinter sticks....canon lenses....the Gibby inspired lists goes on and on. Thanks.

One question - have you shot Red 2K with 16mm or 2/3" lenses and compared to canon/PL? Was an experiment we ran. Also compared S16mm film at 100FPS to Red 2k....superficially.

 

[dino g]

some of those spots were shot by chivo using 3 phantoms at the new stadium in texas. i workes with his first the week after they were shot.

 

[Steve Gibby]

Anson,

Thanks for the kind words...happy to help

Yes, I've owned a RED B4 adaptor since September 2007. With it I've shot 2k using the following B4 HD EFP/ENG zooms: Fujinon 16x6.5, Fujinon 22x7.3, Fujinon 42x9.7, and Canon 40x.

All those are excellent glass, so the results were as good as you could expect with that type of lens on R1. The RED B4 adaptor spreads the image optically the 6% needed to cover 2k. In comparison, I also shot RED 2k using a RED 300, Nikon 400, and my Century PL mount converted Canon 150-600. As expected, the RED 300, Nikon 400, and Canon 150-600 footage was slightly more crisp than the high end B4 lens footage - which is partially attributable to the extra glass in the RED B4 adaptor - which is very good glass - in short, there is simply more glass for the light/image to pass through, creating a little added softness to the results.

I haven't used any S16 lenses on my REDs...

 

[Steve Gibby]

some of those spots were shot by chivo using 3 phantoms at the new stadium in texas. i workes with his first the week after they were shot.

Very cool Dino...looking forward to checking those spots out. I've always liked NFL Films slow motion work - and these new TV spots should take that to another level.

Are you trading RED #31 into Epic X, or are you waiting for FF35 Epic? I'll be trading my RED #8 into Epic X, then upgrading to FF35 Epic when they are available. Bring on some serious overcranking...I'm ready...

I'll also get Scarlets as soon as they're available...got some cool plans for those.

Jim has always taken very good care of us early RED One adopters, and will definitely be doing so for those of us who are upgrading to Epic and Scarlet - and I'm sure you'll agree it is much appreciated on our end