Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

shut up and shoot that Scarlet

Matthew Scott said:
Thanks Dan :) Peter, man, that looks insane! How many of those still frames are actual steadicam shots? Can't wait to see this stuff moving, beautiful work.
Click to expand...

First three and the last one. But the actual total shot list contains about 70% steadicam work. We still have about two months to go before I can show the final motion piece, but here are few more frames from the same project, but different locations...:

A001_C006_0404XK.0001755.jpg


A001_C010_0404NQ.0001553.jpg


A001_C042_030981.0000000.jpg


A001_C017_0404JZ.0001155.jpg


A001_C020_0419HF.0000048.jpg


A002_C010_0309QP.0000025.jpg


A003_C019_04057O.0000019.jpg


A001_C018_0404UM.0000386.jpg


:sifone: Peter
 
Awesome, really looking forward to it :) Hey, you know you might be able to get better contrast with your super low-light shots if you played with the red channel? I'm guessing these aren't properly processed yet? They look great, but yeah, I reckon you could tweak the B&W on a per-channel basis to get better contrast where the light didn't permit.
 
Matthew Scott said:
Awesome, really looking forward to it :) Hey, you know you might be able to get better contrast with your super low-light shots if you played with the red channel? I'm guessing these aren't properly processed yet? They look great, but yeah, I reckon you could tweak the B&W on a per-channel basis to get better contrast where the light didn't permit.
Click to expand...

Yup - these are just quick pull-outs from RCXp - haven't touch the footage with Resolve yet. But many of the dark shots were shot that way on purpose as it is part of the story...

:sifone: Peter
 
Peter Majtan said:
First three and the last one. But the actual total shot list contains about 70% steadicam work. We still have about two months to go before I can show the final motion piece, but here are few more frames from the same project, but different locations...:

A001_C006_0404XK.0001755.jpg


A001_C010_0404NQ.0001553.jpg


A001_C042_030981.0000000.jpg


A001_C017_0404JZ.0001155.jpg


A001_C020_0419HF.0000048.jpg


A002_C010_0309QP.0000025.jpg


A003_C019_04057O.0000019.jpg


A001_C018_0404UM.0000386.jpg


:sifone: Peter
Click to expand...

Awesome work. I always wanted to work in Japan, it feels like there are so many things worth capturing, whether visually or spiritually.
 
Raphael Madeira said:
Awesome work. I always wanted to work in Japan, it feels like there are so many things worth capturing, whether visually or spiritually.
Click to expand...

That's the No.1 reason why I live here. No.2 is the easy access to camera related technology (after all this is the home of the big 5) - sometimes even exclusive, as sometimes they release some gear only for the local market. Most recent example is the mirror-less Canon EOS-M2...

:sifone: Peter
 
There's something about taking crappy happy snaps in the park with a cinema quality camera that just feels right sometimes.














​
:smiley:
 
Nice Les, lens?
 
Thanks Eric. I really like that lens. Leica Tele-Elmar - M 135mm.
 
Here's a recent film I shot and cut for XCAR. In addition to my single Red, budgets meant myself and my one co-shooter ended up having to use 8 different types of camera on the shoot and sadly matching them was pretty impossible, especially as we couldn't light car interiors or anything as they were driving at race speeds and it would be dangerous. Also I detest Gopros and their shitty dynamic range. And I don't think a 7D has ANY place being on a proper shoot in this day and age but them's the breaks.

Red Scarlet - Used Contax 35mm f2.8, 28-85, 50mm f1.7 and 85mm f1.4
Panasonic AF101 - w/Voigtlander 25mm f0.95
Canon 6D - Contax
Canon 5D mk3 - Contax
Canon 60D - Contax
Canon 7D - Contax
Gopro 2
Gopro 3


 
I thought that turned out pretty good Ben. Some nice shots in there showing off that low contrast look I've also seen in some of your stills. I found the 'story' engaging enough that the varying looks form the different camera's wasn't problematic. It might have even been a bit too refined for the subject-matter if you'd been able to light it better and shoot it all on the Scarlet. Thanks for sharing your work, was interesting to see.
 
Thanks Les. Ultimately I'm a bit frustrated by it because I think there's just enough there to show how good it could have been if I'd been able to make a few key decisions. But still, hopefully the Scarlet bits make it threadworthy :)
 
Was just looking through some footage and felt like posting this shot.



















​

:smiley:
 
Frames from last my last short I worked on.
No grading straight out of RCXP as stills.
Great DP Andrew Forbes making my Scarlet work :)





 
And these I dedicate to 'Xavier' and his '2012 Swimming Carnival Chops'. :biggrin:














​



(There's a swimming pool complex nearby that's used for inter-school swimming competitions among other things. I just like the image quality.)




​
 
Looks good Eric. Is the short available for viewing?
 
Les Hillis said:
Looks good Eric. Is the short available for viewing?
Click to expand...


the project is still fresh in the RED MAGS :)

I have to send it over to Director who's editing it.

I'll post as soon as I get a copy.

I'm hoping to grade it, depends on upcoming sched.

Les your frames are so inspiring :)
 
Thanks Eric. It's an amazing camera. Will keep an eye out for your film.
 
Pushing the limits of exposure and compression.
























​
:smiley:




​
 
Love the tones Les :)
 
You must log in or register to reply here.
Back
Top