- Banned
- #1
Matthew Rogers
Banned
- Joined
- Mar 9, 2007
- Messages
- 1,497
- Reaction score
- 0
- Points
- 0
- Age
- 44
- Website
- www.macvilleproductions.com
So on Tuesday I get a late call saying that they need more crew here locally for a Ruby Tuesday spots shoot on Thurs/Fri. On Wednesday I head to the airport to pickup the RED tech that was flying with his RED for the shoot and I find out that it's actually Dino (kosmos3d) who's coming in! Wonderful to finally meet him after talking with him on here and seeing a ton of the stuff that's been shot with his camera.
The spots were for*restaurant*chain Ruby Tuesday (think TGI Friday's, Applebees) and were directed by Steven Diller and DP'ed by the amazing Richard Henkels (http://www.richardhenkels.com). The first day started off with getting a few shots in before the sky let loose. There's nothing quite like standing next to a bagged camera with a 4x4 floppy overhead while the*stream*around your feet seems to be rising an inch every minute. After the rain stopped, we moved across the street to do the reversal and then later to another location. As you'll see in the pictures below, we rigged #031 onto a JL Fisher with*bungees*to try and have a handheld look that was fairly steady. The entire shoot was done on three lenses, mainly an Optimo 15-40, a Angx. 17-102 for a few shots, and a 35mm super speed on one shot that I actually operated on (more about that later).
After a 18 hour day that included flash flood rain, blazing hot sun at times, 1 location move, and short meals, everyone was glad to be in one indoor location for the second day of shooting. The second's day shoot went much more smoothly as we did not have to fight rain and most of the setups in the*restaurant*were about 10' moves. *Our DP, Richard did an excellent job of really bringing out the nice dark colors and texture inside the restaurant. It was not an easy place to light because of the dark cherry wood everywhere, and especially hard when*wardrobe*is dressing talent in very light colors. BTW, much kudos to our grips who were very fast, but yet always were concerned about safety. So here's the most exciting part of the shoot for me. Around 12 AM (been shooting for about 13 hours) we get to a shot where the talent is coming from left into frame and then walking towards the camera, while the camera is moving backwards, along the salad bar delivering his lines and then off camera right. We get a 35mm SS and hand held unit up on the RED, put it up on the DP and try framing the shot. The first thing out of his mount is, @#$% the talent is too tall. He looks over at me and tells me that I am going to operate (he knew I had a RED as we had talked the day before about how I liked it and that it was also there as backup) because I was much taller than him. Needless to say that it was a very*difficult*shot as we were almost wide open I believe, the talent was walking fast, he was slightly shorter than me (I'm 6'4) but still too tall to make framing easier, and I was trying to make sure I didn't fall over backwards as I am booking it in reverse--all while trying to give a handheld look that's not showing every footstep. Much props to our 1st AC Ed on pulling focus with that shot. It makes me truly love a good focus puller. #031 performed without a single hitch the entire shoot. The only issues we had were having to switch between AC/Bat at times when the DP would have rather not had the camera rebooted. However, with the live output on startup now it only took a few seconds to get an image up for him.
As always, I can't wait for my EVF to get here. I probably won't use it that much when shooting indoors, but outside it will be wonderful. Make sure if you get the chance to work with Dino. He filled me in on quite a few things about the RED that I didn't know about simply because I had not run into needing certain configs on shoots so far.
I will try to get the spots up once I can get my hands on a copy of them.
Matthew
The spots were for*restaurant*chain Ruby Tuesday (think TGI Friday's, Applebees) and were directed by Steven Diller and DP'ed by the amazing Richard Henkels (http://www.richardhenkels.com). The first day started off with getting a few shots in before the sky let loose. There's nothing quite like standing next to a bagged camera with a 4x4 floppy overhead while the*stream*around your feet seems to be rising an inch every minute. After the rain stopped, we moved across the street to do the reversal and then later to another location. As you'll see in the pictures below, we rigged #031 onto a JL Fisher with*bungees*to try and have a handheld look that was fairly steady. The entire shoot was done on three lenses, mainly an Optimo 15-40, a Angx. 17-102 for a few shots, and a 35mm super speed on one shot that I actually operated on (more about that later).
After a 18 hour day that included flash flood rain, blazing hot sun at times, 1 location move, and short meals, everyone was glad to be in one indoor location for the second day of shooting. The second's day shoot went much more smoothly as we did not have to fight rain and most of the setups in the*restaurant*were about 10' moves. *Our DP, Richard did an excellent job of really bringing out the nice dark colors and texture inside the restaurant. It was not an easy place to light because of the dark cherry wood everywhere, and especially hard when*wardrobe*is dressing talent in very light colors. BTW, much kudos to our grips who were very fast, but yet always were concerned about safety. So here's the most exciting part of the shoot for me. Around 12 AM (been shooting for about 13 hours) we get to a shot where the talent is coming from left into frame and then walking towards the camera, while the camera is moving backwards, along the salad bar delivering his lines and then off camera right. We get a 35mm SS and hand held unit up on the RED, put it up on the DP and try framing the shot. The first thing out of his mount is, @#$% the talent is too tall. He looks over at me and tells me that I am going to operate (he knew I had a RED as we had talked the day before about how I liked it and that it was also there as backup) because I was much taller than him. Needless to say that it was a very*difficult*shot as we were almost wide open I believe, the talent was walking fast, he was slightly shorter than me (I'm 6'4) but still too tall to make framing easier, and I was trying to make sure I didn't fall over backwards as I am booking it in reverse--all while trying to give a handheld look that's not showing every footstep. Much props to our 1st AC Ed on pulling focus with that shot. It makes me truly love a good focus puller. #031 performed without a single hitch the entire shoot. The only issues we had were having to switch between AC/Bat at times when the DP would have rather not had the camera rebooted. However, with the live output on startup now it only took a few seconds to get an image up for him.
As always, I can't wait for my EVF to get here. I probably won't use it that much when shooting indoors, but outside it will be wonderful. Make sure if you get the chance to work with Dino. He filled me in on quite a few things about the RED that I didn't know about simply because I had not run into needing certain configs on shoots so far.
I will try to get the spots up once I can get my hands on a copy of them.
Matthew
