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 :)

TVC shot on ANAMORPHIC LENSES and some with Elites

weirdcrew said:
It was shot wide open at all times - to use as much DOF, flare as much as possible and to get that little extra "softness" out of it being wide open. Why? Well I believe that it's the approach to go for if you want it to be more filmic.
Click to expand...

Very well done. I love the softness and the flares are beautiful.
Nice work!!
 
Justin_Kirch said:
Great images....you inspired me to buy an old school LOMO lens.
Click to expand...

Cool!!! Just remember that any old lens needs TLC. Anamorphic lenses are very complex so be sure you have a technician that can take care of them. I'm lucky to have some of the best in London.

ibloom said:
Holy sh!ti

I'm on the ceiling now!! I had no idea!!

Your the man now govna. The new build is up, just for you. I hope to meet you at NAB.

Ian
Click to expand...

I'm glad to hear that but I only used your software so I think we all know who's the man :wink:

I would have loved to hook up @ NAB. I'm an extreme geek but never come around to go. Unfortunately I'm busy shooting a crazy project in Mexico.

Haskell said:
Wow, impressed! Correct me if I am wrong but part of this was shot in cuba? Or is that the name of your camera? lol...sorry for the miss understanding but I plan to do a lot of work in Cuba with my RED so I am interested in your experience there with it. Congrats on the fine work, look forward to meeting.

best

Clay
Click to expand...

Yes it was shot in your wifes, maybe you as well??? Lovely homeland. All of it except for the factory and kitchen, which was shot in Schweiz and Denmark.
If you ever need a DIT in Cuba I can recommend a great Mexican/American that we used, Alejandro. He did a great job, thanks.

Haskell said:
oh and...any idea of where I can pick up a lomo anamorphic>?
Click to expand...

As said, www.anamorphic biz has them. Expensive, but then probably in very nice shape. Otherwise you'll find them on ebay or ask these guys for them http://www.rafcamera.com


Kind regards,


Fredrik Callinggard
 
sparkhope said:
Fred,

I'm speechless. Heck images like that will leave spielberg second guessing his relationship with film. You've really raised the bar. Thank you.

Now...would it be sacrilegious to ask you to post some uncorrected footage? plz.

thanks
Click to expand...

Sure no problem. What files do you guys want up there?

We have to ask JJ (Jens Jakob) though... I mean we don't want to embarrass him with out permission :bleh: (Just kidding - they look brilliant as redcode as well)
 
Fred!

I adore the complexity of the compositions and the clever use of movements from frame to frame and the whole concept is pretty F-King smart, The details from the ticking clock arm redirecting focus and the reflections on the stove in the kitchen, to use the entire frame as a canvas, like the guy reaching over the edge of the ship in the harbor, really fun!

You did the Photography on "Dirigent"? I have seen it and its amazing, how is it for you to direct and let someone else be the DOP for a change? How does that collaboration work? Do you have a lot of control over shots or concentrate on other things and let Jens have a bit of Svängrum?

BTW thanks for your guidance when I needed it. Situation is now under control and I hit the ground running in a couple of weeks when my camera arrives.

Tusen Tack!

DogDay.

P.S. Ironically this is my coming of age post #100 ( To you ) since I go from *Member to *Senior. The 1st circle is complete.
 
dogday said:
You did the Photography on "Dirigent"? I have seen it and its amazing, how is it for you to direct and let someone else be the DOP for a change? How does that collaboration work? Do you have a lot of control over shots or concentrate on other things and let Jens have a bit of Svängrum?.
Click to expand...

He most probably hates my guts hahahaha. I try to not interfere to much and yet I still most probably do. I do though think he did great job with this. It's interesting to be out with this camera. I've never shot digital only film and RED is in between. Thankfully I've shot RAW and JJ is very experienced in more or less any format.


fred
 
Looks amazing! Any chance of seeing a few secs of raw footage from each section (even a .264 from a proxy) so we can see just how far you took it in post? That would be extremely useful.

Great Job!

jim
 
Lets just put it this way: This director knows his shit.
And let me warn any of you wanting to shoot ana...be sure to get a squeezebox(and a downconverter) so u can monitor the squeezed image if operating complicated(or any kind of)moves. Operating unsqueezed is a bicth. Never again
I did it on the harbour crane move and my operating sucked. Thanks to Fred for omitting that part in the final cut.

Jens Jakob
DP
 
Jens Jakob Thorsen said:
And can we please all together push Jim for FULL sensor ana crop so we can use the full hight of the 4,5K sensor to get as many pixels for ana as possible.

JJ
Click to expand...

I second that....and if you can squeeze it already in camera so we don't have to downconvert :biggrin:

I think that my take will be to shoot 2:1 ana's and then for the wider range use Vantage's modules for 16:9, whatever that will be. That way you'll get best of both worlds IMO (of course you'll loose some resolution with 2:1 ana's but it's not that significant, again in my IMO). I also hope that we might start using "Superscope" because it looks really awesome that wide.

fred
 
weirdcrew said:
Sure no problem. What files do you guys want up there?

We have to ask JJ (Jens Jakob) though... I mean we don't want to embarrass him with out permission :bleh: (Just kidding - they look brilliant as redcode as well)
Click to expand...

A couple of seconds from each location would be great.

-The opening sequence is hands down my favorite red footage to date. The warmth is palpable.

Great job.
 
sparkhope said:
A couple of seconds from each location would be great.

-The opening sequence is hands down my favorite red footage to date. The warmth is palpable.

Great job.
Click to expand...

Sure will do. I'm in Mexico for a recce right now so I'll do it when I get back after the weekend.

regards,


Fredrik
 
Thanks Fredrick, I will add you to my contacts for sure and may hit you up for the DIT as well.

Off topic: Curious how the cuba custom officials reacted to the RED camera when checking in since they often confiscate questionable electronics at the gate :) Raul does seem to be lifting many restrictions lately so perhaps there is less red tape, no pun intended. I only ask cause the last time I shot a short film in Cuba I was hauling DVX100 gear and ran into some issues but mostly audio gear related as they felt it was could be used in reconnoissance work.

Do not hesitate to me know if you ever need another hand down there or even in the since of a PA or guide. Although I am not from Cuba myself, my wife is and we have close ties, I look forward to working down there and very very excited about your results. Beautiful color grading as well, it really captures what the actual lighting and magic hour feels down there. Bravo.
 
weirdcrew said:
1377_1207930493.jpg

1377_1207930528.jpg

1377_1207930551.jpg

1377_1207930568.jpg
Click to expand...
Links down.
 
Note about LOMO scope lenses

Note about LOMO scope lenses

Just a note for anyone who might want to use some LOMO scope lenses, the backfocus will probably vary from one lens to another and be off on infinity.

To get them usable, you need to set up a flashlight bulb at two meters (rather than using a collimator and the inf mark), and set the lens on its two meter mark, then adjust the backfocus until you get a small round spot rather than an ellipse wide open. That will work if the witness mark for the focus is correct, if the lens has been goofed with the mark may be off, in that case you need to adjust both the focus ring and the back focus until you get the smallest spot size (then put tape on the lens and mark where the two meter number is with a new line to focus at).

I can see why some people may comment that LOMO seem soft at stops larger than f/5.6, the backfocus is very critical to get a sharp image. Also on the square ones the front elements of the 50mm and 80mm are aligined with small plastic strips, that are probably almost impossible to put back in right if you make the mistake of taking the lens apart for cleaning. If you get a soft lens, it might be possable to have someone who knows what they are doing align the elements, focus mark and backfocus, but that is probably something that only a few skilled people could do and would take a video camera or something on the lens to see what is going on when you twist the cylinder elements.

Stopping the scope lens down can compensate to some extent for the prime and scope parts being out of "sync" because the back focus is off, but adjusting the focus ring will not make up for the back focus being off like it would in a regular lens or even a zoom lens. If you want good sharpness wide open the scope lens needs to be in good shape and fit to the camera within 0.0002" or better especially at 4k. On the RED ONE (tm) you need to adjust the backfocus for the thickness of the sensor cover glass, the OLPF, and any IR filter behind the lens.

Its not really the lens'es fault since I think the lens sets were (or should have been) fit to their own camera originally, and you may get mixed sets on the used market.
 
You must log in or register to reply here.
Back
Top