Scarlet Extreme Low Light 48FPS -- Know No Violence!

[John Galeano]

very nice Ryan.. great work!

 

[Antonio Ribeiro]

Agreed Robert, this kind of loose disconnection doesn't work for everything. I feel like we barely got away with it because of the theme but it didn't help us, and it certainly wouldn't help a projet that didn't involve seizures, astral projection, what have you.

That's the trouble with music videos--you skate by with decisions that would never fly in narrative. It's very helpful to have these pointed out, thanks very much.

Thanks also Carey for the bit about emotion. We didn't spend enough time trying to feel for the character, trying to create sympathy and connection, trying to get inside her head rather then just film it in a pretty way.

Thanks for the positive comments too guys, much love.... shot entirely on Zeiss Contax lens.

The forrest scene is 95% the Contax 28 - 85 3.3-4 Zoom, I never thought I would use it for beauty but when you're running around with only minutes to shoot before the snow melts, she performs flawlessly.

Hi Ryan,

Great work and I am too very proud of this camera and will be posting images soon. But the biggest thing for me in your work is that you braved ahead with the Zeiss Contax glass and produced great material. This is something I am currently looking in and there are a good number of people out there converting old glass into film glass, which if you are on a budget is very, very important!

What adapter did you use with your Contax?

Antonio

 

[Vino Harris]

Dude don't erase my comments when people ask for the truth..if they can't handle it they shouldn't ask people!!!

 

[Ryan De Franco]

Vino, I don't think we're able to erase comments, and I still see the one from you. Did you post again? Due to one part arrogance, one part really wanting critical feedback, I've been checking every day. Are you sure it posted? Please post it again...

Best shots are in the woods but the rest of it has way to much going on. You went over board with the blur shots and due to the bad lighting you made the beauty of the movie and camera look cheap. Everything looked like you rushed it except the shots in the woods but the bright side is ...you had an idea and you made the short.

I agree with too much going on. It's a wild goose chase of a concept, what happens when a director submits 5 awesome treatments, each rejected, then you realize what they really want, abstract shit with a pretty girl, and you give it to them.

I agree with overboard blur shots. If I hear "... great! now throw it out of focus!" one more time I'm going to give up cinematography and work for the parks department.

I agree with bad lighting. We deliberately underexposed her night wandering, as I'd been reading Jody Lee Lipes' experience with severe underexposure and I wanted to stress test the camera. We shot this the day after it's arrival--stopped by UPS, picked up the monitor, unwrapped it in the car and went out to go film the bridge.

In the past, our street lights were German-made sodium vapor rigs or battery-powered HMIs--luxuries unavailable with an unsigned budget. A video I just did for Sony/RCA will hit MTV soon, it's all B2Pro beauty light for a "lit," "Hollywood" night exterior. But what I love about this sensor is that you can shoot ugly and it likes it. Awful fluorescents, metal hallide, low pressure sodium vapor... it loves working man's light. We created one look in Red Cine that looked like an awesome, beat-to-hell 16mm transfer, just with curves and gamma and ISO no film emulation; ended up going with something less harsh but I was amazed at how flexible the image is...

You say it looks rushed, but I like the energy that gave the final piece, just as I like the dim 2nd sequence. I completely agree that the blur shots--her picking city plants--look like shit. They were all filmed on Bushwick corner in about 25 minutes.

 

[Ryan De Franco]

Thanks for all the kind comments and also for tripling the hits the video was receiving on vimeo, you guys are awesome...

Cheapo adorama adapters, soon to be Leitax adapters from from David Lladó, cannot wait for the real deal to arrive this week.

All grading done in RedCine. The lock-off shot was the director's idea, and it really is as simple as you think, I felt guilty, I got to do nothing while she ran back and forth for 20 minutes...​

 

[Nick Morrison]

PS - just picked up the 28-85. I couldn't resist. I have the 35-70, but the USABILITY of a 28-85 is undeniable. I LIVE BTW those focal lengths. I'm all about primes, but...sometimes you don't have time. Your video made me pull the trigger. Such amazing imagery.

The 28-85 deserves its reputation as one of the BEST STILL ZOOMS EVER. Period.

The 35-70 may have its own magic, and deserves its own particular level of delirium...but for video, the 28-85 is just so much more useful. Look how much mileage it gave you!

Great job again. I just watched the video AGAIN and I marvel at how beautiful it is.

 

[Brian Pascale]

Yes there could have been less cuts, but it worked fine with them and so it is not wrong, just a choice. Since I am so immature, just got to say, the actress is not only really good, but also totally hot.

 

[Rob Ruffo]

Some very nice shots in there. Acting is exceptional.

My real negative is (occasionally) the grading in the street night scenes. They are not different enough to look deliberate, just enough to look off. Some have milky blacks, others not, others somewhat milky. This is very easy to fix.