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Victoria's Secret 2010 Fashion Show Shot on Red

A

Albert Astorga Zepeda

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I could be mistaken but I think I saw reds on the Robo-Dollies on the sides. the one up front the catwalk I think it was a Panasonic HPX370. the Rolling shutter/Flash was horrendous on that camera.
Did anyone else noticed? or am I mistaken?
 
Disciplined & dedicated, but perhaps you should re-think your priorities just a little.
 
Sure....

Sure....

Liam Hall said:
You were looking at the cameras!!!
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They had two cranes, and a nice video Mixer?. I Liked the screen too. Does anyone know what are those cameras mounted on?. the are very fast. I think it took 20-30 Seconds Max for it to get from one end of the runway to the other. and it seems as they were pre programmed to turn int their way to the other side.
 
Albert Astorga Zepeda said:
I could be mistaken but I think I saw reds on the Robo-Dollies on the sides. the one up front the catwalk I think it was a Panasonic HPX370. the Rolling shutter/Flash was horrendous on that camera.
Did anyone else noticed? or am I mistaken?
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Now that's a true camera lover... the eye wanders
 
Are you guys talking about the show that was shot in New York at the Lexington Avenue Armory and just aired on CBS?
All 2/3" broadcast HD cameras plus... get ready... three Alexas. One from me, one from Hand Held Films, and one from TCS.
I know because I worked on it, pulling focus for the Steadicam with my 15-40 Cooke S4.
The cable camera was some kind of broadcast camera, stripped down to keep it low profile. Everything ran via fiber to a truck parked outside the venue, and I believe they rolled tape on each camera, rather than live-switched. Our Steadicam-mounted camera fed the truck via a microwave to the fiber.
We recorded to the SxS cards on the Alexas in addition to rolling in the truck. The Alexas were set up in Log C and the very talented Louis Rothenberg, DIT, made a nice LUT for them. The shader in the truck matched the broadcast cameras to Louis' LUT.
The biggest problem was the two operators on the Alexas were pulling their own focus on the Optimos that were on those cameras. They did their best but it's tough to operate AND pull focus at 290mm...
Anyway, there it is...
Cheers,
Harry
 
Harry Clark said:
Are you guys talking about the show that was shot in New York at the Lexington Avenue Armory and just aired on CBS?
All 2/3" broadcast HD cameras plus... get ready... three Alexas. One from me, one from Hand Held Films, and one from TCS.
I know because I worked on it, pulling focus for the Steadicam with my 15-40 Cooke S4.
The cable camera was some kind of broadcast camera, stripped down to keep it low profile. Everything ran via fiber to a truck parked outside the venue, and I believe they rolled tape on each camera, rather than live-switched. Our Steadicam-mounted camera fed the truck via a microwave to the fiber.
We recorded to the SxS cards on the Alexas in addition to rolling in the truck. The Alexas were set up in Log C and the very talented Louis Rothenberg, DIT, made a nice LUT for them. The shader in the truck matched the broadcast cameras to Louis' LUT.
The biggest problem was the two operators on the Alexas were pulling their own focus on the Optimos that were on those cameras. They did their best but it's tough to operate AND pull focus at 290mm...
Anyway, there it is...
Cheers,
Harry
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I was sure I saw a round LCD display in the back of one of the cameras mounted on one of the Robo-Dollies.
hey Harry what was the camera used at the end/Center on the catwalk?. I saw lots of Rolling Sutter/Flash on it.
Also would you happen to know what system they used for the cable camera? or was it a Robo-Dolly? I think I saw the aluminum tracks on the floor.
 
They did have some 5D's running but I'd be surprised if they used them in the final cut; they were locked off, and there were so many other cameras rolling... they had a camera operator down low, front and center, but it looked like he had the same broadcast camera as everyone else.
I was pretty busy so I did not really have time to chat up the guys on the rail cam. I did ask one of the techs if it was the Garrett Brown designed one they use for the Olympics and was told no. Is that one called "Robo Dolly"? It was SHOCKING how quickly it would zip back for a reset. It definitely ran on a track system on the floor.
Cheers,
Harry
 
Harry Clark said:
They did have some 5D's running but I'd be surprised if they used them in the final cut; they were locked off, and there were so many other cameras rolling... they had a camera operator down low, front and center, but it looked like he had the same broadcast camera as everyone else.
I was pretty busy so I did not really have time to chat up the guys on the rail cam. I did ask one of the techs if it was the Garrett Brown designed one they use for the Olympics and was told no. Is that one called "Robo Dolly"? It was SHOCKING how quickly it would zip back for a reset. It definitely ran on a track system on the floor.
Cheers,
Harry
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I know it was fast . the run must have been at least 50' and that thing would follow a model from the start, come back and be in time for the next model. all within 20 Seconds or so. that is cool.
Sorry but I have to ask. was the screen rear projection or what was it? I did not see enough room in the back for that.
oh and I think they did use the Canons in the broadcast. for about 5 seconds or so. I think. they where the ones stationary at the very beginning of the catwalk pointing towards the stage. they look somewhat like cam-poles. barely visible.
 
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The rostrum (or catwalk or whatever) was really long. Easily 150' or more.
I didn't pay attention to whether the projectors were front or back, but I think they were behind. There was definitely another 100' from the curtain to the other wall of the building. The armory takes up an entire city block; I'm sure that's one of the reasons it was chosen. It also has a ridiculously high ceiling that they attached all the trusses and rigging to. Probably 80', which is higher than most soundstages in NYC The staging was pretty impressive, considering everything was brought in.
Cheers,
Harry
 
The flashes your talking about, were added in post... I know... lame... And as Harry said, the 2 center camera's had a real hard time pulling the focus, so we had to cut around it. We used the HDCAMs, Alexa, Canon 7D, Go Pro's and EX3's in the final show....

Good times :)
 
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