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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 :)

Red Around The World

Mark Toia

Mark Toia

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Hi Guys, just sharing some work.

http://www.zoomfilmtv.com.au/mark/gr..._global_a.html
http://www.zoomfilmtv.com.au/mark/gr..._global_b.html

Sorry about the small h264 movie size.

We shoot 6 countries in 9 days, on the RED of course
Cost worked out to about $120,000 less by not shooting film.
This savings worked into clients budget perfectly and the Client loves the results.
The ad was mastered 2:1 2k, it's being played in Cinemas (burnt to film) and on HDTV.
Pictures came out exactly as planned. if not better.
Client also used images from the AD in PRESS, Billboards, WEB. The printed up perfectly.

What was nice, I didn't have the normal 40 person circus following me around.

JIM & RED team.....Thankyou.
 
Mark, I really admire your work... ever since your T-Rex lens footage.

These spots were gorgeous, any stories that you want to share on the technical end or (even more important) your approach to execute these spots using Red would be great.

So, where do I sign up for the 'Big T Cultural Exchange/Ultimate Badass Program"? Your Yamaha spots, like the "Journeyman" and "Robbie Bolger"... are you kidding me? Unbelievable. I can bring a full Red/ET/EVF kit, a Mirus (when released... #24) and a bag donuts.:) Let's go!

Very cool work.

Cheers,

Andrew

ps- links worked in the Red One section.
 
beautiful spots. very impressive.

quick question:
what aspect ratio did you finalize the spots at? they appear wider then 16:9 but not quite 2:35 full scope.. and if you did indeed go with a non standard ratio, what was the procedure when burning them to film? did things have to get cropped from what you originally intended?

thnx,
e
 
Andrew Benz said:
Mark, I really admire your work... ever since your T-Rex lens footage.

These spots were gorgeous, any stories that you want to share on the technical end or (even more important) your approach to execute these spots using Red would be great.

So, where do I sign up for the 'Big T Cultural Exchange/Ultimate Badass Program"? Your Yamaha spots, like the "Journeyman" and "Robbie Bolger"... are you kidding me? Unbelievable. I can bring a full Red/ET/EVF kit, a Mirus (when released... #24) and a bag donuts.:) Let's go!

Very cool work.

Cheers,

Andrew

ps- links worked in the Red One section.
Click to expand...

What do you want to know, just ask.
I mentor alot of young film makers I enjoy it, I enjoy it even more when they actually listen and do.
RED is the simplest, best capture medium i have ever used, but at the end of the day RED is just a camera, more focus has to be put into creativity not formats.
Content wins, not sharpness or colour tones.

I'm a sucker for chocolate.

If you get stuck, just email me. Happy to share.

cheers Andrew
 
fannyslacks said:
beautiful spots. very impressive.

quick question:
what aspect ratio did you finalize the spots at? they appear wider then 16:9 but not quite 2:35 full scope.. and if you did indeed go with a non standard ratio, what was the procedure when burning them to film? did things have to get cropped from what you originally intended?

thnx,
e
Click to expand...

I always finish my ad's in the original 2:1 aspect ratio, I just like it wide.
The client in this case wanted 16:9 for TV, we just cropped the master and put it onto HDSR tape as a 16:9. Very simple.
To cinema, we are leaving it 2:1, the film burners will transfer as that.
Saw the print yesterday, looks perfect, Sharp as a tac! Awesome colors.
As good as normal cinema release print.
 
Good stuff!
 
Awesome work man, I just sent it around the office.

How big was your crew? What additional gear did you take with you or was it mostly available light with bounce etc?

Any color grading done outside of footage processing/curves? (ie: power windows etc.)

Lenses?

How much pre planning went into it re: locations etc?

Keep posting!

Cal
 
callan said:
Awesome work man, I just sent it around the office.

How big was your crew? What additional gear did you take with you or was it mostly available light with bounce etc?

Any color grading done outside of footage processing/curves? (ie: power windows etc.)

Lenses?

How much pre planning went into it re: locations etc?

Keep posting!

Cal
Click to expand...

Crew in total in each country, 9 to 12. I had 2 fly in with me.

We took all our gear, lenses, 2 RED's , all in 4 bags as carry on. I don't trust freight when your bouncing from one country to the next so quickly.

Shot all available light, no lighting, no bounce, no fill, just bought up the darker areas during grading. heaps of range in the darks to do so.

Grading was done in FCP, a tiny bit of cleanup in INFERNO, Power windows...not so much.
Pretty simple actually.
Over all the RED camera had great a contrast ratio, so we lost nothing.

Lens...18 50 RED, Ziess MkIII superspeeds for night work.

Huge amount of planning...We had 8 days to produce, My team of producers did a great job.
Helps when you shoot around the world alot.
 
Noice work Mr T, very noice indeed.:sarcasm:

Questions about two shots if I may.

First, the backlit interior where the guy is exiting the house in Greece - any comments on the blowout in the door frame? It looks to have held up amazingly.

Secondly, the shot where the Asian girl turns to camera with the lights out of focus in the BG. I think I detect a little bit of jaggies in her fringe - how does the original RAW look? How much has the web compression contributed to the jaggies in your opinion or am imagining it all?

All in all very impressive work from both you and the RED. And B16 IMPROVES on this!!
 
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