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Further experiments with the G12


Geoff Boyle
 

I’m a few weeks away but I will be publishing a series of tests that I’ve been shooting with the BMD G12

 

I’m shooting at 12K but with a 8K frameline.

I am using a shutter angle as small as I can so that each frame is as sharp as it can be.

Every shot is either handheld or resting on a fence post etc.

In Resolve I am stabilising the shots withing the 8K area so I have a huge amount of repositioning room. I’m using point stabilisation most of the time.

I’m then adding motion blur so that anything moving in shot looks “normal”

 

I had hoped to be finished by now but I’m using R17 and have suffered some of the “black grades” that are afflicting people.

 

As this approach can cause issues with Pans or tilts I’m trying to accommodate for that by using the extra room around the image to start biased to one side and then moving across the image in post. This can be combined with “real” pans & tilts to feather off starts and stops.

 

Is it time consuming? Oh yes 😊 but it’s time consuming at the cheap end of a production.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 


Guy Mastrion
 

This post work sounds intense and increasingly like aspects of animation too.  Props to you Geoff for digging in. I look forward to seeing all your tests.  
--
Guy Mastrion
Creative_Director_DP_Professor
www.linkedin.com/in/guymastrion
insta: gmastrion


patancillo@...
 

How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles.


Geoff Boyle
 

This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.

 

https://vimeo.com/485344718

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12

 

How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles.


Ben Allan ACS
 

This looks great Geoff.
Ben



On 30 Nov 2020, at 6:22 pm, Geoff Boyle <geoff@...> wrote:

This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.
 
 
cheers 
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076
 
 
From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12
 
How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles. 



Mitch Gross
 

Geoff, very impressive. Definitely shows the viability of such stabilization. 

Just for edification, could you post a high resolution magnification of a corner of the image, just to help see the point at which it may break down? I think it will hold up extremely well due to the sheer volume of resolution, but an 800x mag. may prove interesting. Or not. :)

Mitch Gross
New York

On Nov 30, 2020, at 2:22 AM, Geoff Boyle <geoff@...> wrote:



This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.

 

https://vimeo.com/485344718

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12

 

How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles.


Matthew Woolf
 

Looks great thanks Geoff!
Any chance you can post the before video as a comparison?

Thanks !

Matthew 

Matthew Woolf
Director of Photography 
www.matthewwoolf.com
+1 917 399 9565
+ 61 0466 834 239
US Agent: DDATalent +1 310 474 4585
Commercial: Juanita Tiangco
Narrative: Dan Burnside
Australia: AusCrew +61 (02) 9427 4444

Confidentiality Note:  This e-mail is the property of Matthew Woolf. It is intended only for the person or entity to which it is addressed and may contain information that is privileged, confidential, or otherwise protected from disclosure. Distribution or copying of this e-mail, or the information contained herein, to anyone other than the intended recipient is prohibited.

On Nov 30, 2020, at 04:20, Ben Allan ACS <benallan@...> wrote:

This looks great Geoff.
Ben



On 30 Nov 2020, at 6:22 pm, Geoff Boyle <geoff@...> wrote:

This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.
 
 
cheers 
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076
 
 
From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12
 
How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles. 



Geoff Boyle
 

I’ll be posting a large collection of before and afters, that was just a teaser 😊

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Matthew Woolf via cml.news
Sent: Monday, 30 November 2020 11:28
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12

 

Looks great thanks Geoff!

Any chance you can post the before video as a comparison?

 

Thanks !

 

Matthew 

Matthew Woolf

Director of Photography 

www.matthewwoolf.com

+1 917 399 9565

+ 61 0466 834 239
US Agent: DDATalent +1 310 474 4585
Commercial: Juanita Tiangco
Narrative: Dan Burnside

Australia: AusCrew +61 (02) 9427 4444

 

Confidentiality Note:  This e-mail is the property of Matthew Woolf. It is intended only for the person or entity to which it is addressed and may contain information that is privileged, confidential, or otherwise protected from disclosure. Distribution or copying of this e-mail, or the information contained herein, to anyone other than the intended recipient is prohibited.



On Nov 30, 2020, at 04:20, Ben Allan ACS <benallan@...> wrote:

This looks great Geoff.

Ben

 

 



On 30 Nov 2020, at 6:22 pm, Geoff Boyle <geoff@...> wrote:

 

This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.

 

 

cheers 
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12

 

How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles. 

 


Art Adams
 

As usual, it looks much darker on Vimeo than it does on my system.

 

Hi Geoff-

 

I wonder if that has to do with the old Quicktime gamma bug. When I was a freelancer I found that the X264 encoder got around this nicely:

 

https://www.videolan.org/developers/x264.html

 

I used this in conjunction with Vimeo for my DP website. (This is not an official endorsement, just suggesting this is worth a try as it may work for you.)

 

-Art

 

_______________________________________________________
Art 
Adams
Cinema Lens Specialist
ARRI Inc.
3700 Vanowen Street
BurbankCA 91505
www.arri.com 

 
aadams@...

Get all the latest information from www.arri.comFacebookTwitterInstagram and YouTube.






This message is confidential. It may also be privileged or otherwise protected by work product immunity or other legal rules. If you have received it by mistake, please let us know by e-mail reply and delete it from your system; you may not copy this message or disclose its contents to anyone. Please send us by fax any message containing deadlines as incoming e-mails are not screened for response deadlines. The integrity and security of this message cannot be guaranteed on the Internet.



Colin Elves
 

I think you should be able to resolve this by using the right quicktime tags on export.

On 30 Nov 2020, at 18:54, Art Adams <aadams@...> wrote:



As usual, it looks much darker on Vimeo than it does on my system.

 

Hi Geoff-

 

I wonder if that has to do with the old Quicktime gamma bug. When I was a freelancer I found that the X264 encoder got around this nicely:

 

https://www.videolan.org/developers/x264.html

 

I used this in conjunction with Vimeo for my DP website. (This is not an official endorsement, just suggesting this is worth a try as it may work for you.)

 

-Art

 

_______________________________________________________
Art 
Adams
Cinema Lens Specialist
ARRI Inc.
3700 Vanowen Street
BurbankCA 91505
www.arri.com 

 
<image440152.png>
aadams@...

Get all the latest information from www.arri.comFacebookTwitterInstagram and YouTube.






This message is confidential. It may also be privileged or otherwise protected by work product immunity or other legal rules. If you have received it by mistake, please let us know by e-mail reply and delete it from your system; you may not copy this message or disclose its contents to anyone. Please send us by fax any message containing deadlines as incoming e-mails are not screened for response deadlines. The integrity and security of this message cannot be guaranteed on the Internet.



Guy Mastrion
 

 Thanks for posting the appetizer .....  now for the main course
--
Guy Mastrion
Creative_Director_DP_Professor
www.linkedin.com/in/guymastrion
insta: gmastrion


Noel Sterrett
 

Great stuff Geoff. Love the high-tech windmills.


On 11/26/20 1:15 AM, Geoff Boyle wrote:

In Resolve I am stabilising the shots withing the 8K area so I have a huge amount of repositioning room. I’m using point stabilisation most of the time.

I’m then adding motion blur so that anything moving in shot looks “normal”

 



Noel Sterrett
 

On 11/26/20 1:15 AM, Geoff Boyle wrote:
I’m shooting at 12K but with a 8K frameline.
Great minds think alike.

David Fincher has been shooting  20% larger than what he needs to stabilize since "The Social
Network". He stabilized every shot in "Mank" that way.

https://www.nytimes.com/2020/11/19/magazine/david-fincher-mank-interview.html


Bob Kertesz
 

David Fincher has been shooting  20% larger than what he needs to stabilize since "The Social
Network". He stabilized every shot in "Mank" that way.

https://www.nytimes.com/2020/11/19/magazine/david-fincher-mank-interview.html

Interesting NYT article with some historical errors. This, for instance:

"Fincher moved to Los Angeles, was a founder of an influential production company called Propaganda"

Propaganda Films was around long before Fincher moved to Los Angeles - I had been shooting bluescreens for them on music videos for at least a year by then. Unless he did it remotely from the Bay Area at ILM, he had nothing to do with its founding as far as I knew. His presence, as his reputation grew, did keep them in business a lot longer than they deserved.

I got a call one afternoon from Tim Clawson, one of Propaganda's exec producers, who said they had this raw but highly talented kid from ILM joining the company as a director, he had his first gig with them directing a bluescreen spot for Chandon Champagne, and was I available to be on set to help him if he needed any help and in any case to make sure the footage was usable when it was done. It was the beginning of a few years of collaboration between Fincher and me on a bunch of music videos done on bluescreen, some of which are mentioned in the article. When he started to direct features, he decided he needed a fresh group around him that had nothing to do with his commercial/music video projects, and we both moved on.

An absolutely brilliant if somewhat anal guy who envisioned the finished product long before we started shooting, would hold a full crew meeting before the start on the first day explaining in detail what every setup would be, and you had better be paying close attention because if he had to explain a setup to you again after shooting started, you were almost always replaced. I loved his precision and attention to detail.

Aside from a deep and instinctive understanding of what film making was about, he loved the tech involved, asked many relevant questions, and shooting those music videos and occasional commercials with him those couple of years was one of the real highlights of my so-called career.

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor Extraordinaire.

High quality images for almost five decades - whether you've wanted them or not.©

* * * * * * * * * *


Feli di Giorgio
 



On Dec 4, 2020, at 1:39 PM, Bob Kertesz <bob@...> wrote:

David Fincher has been shooting  20% larger than what he needs to stabilize since "The Social
Network". He stabilized every shot in "Mank" that way.

https://www.nytimes.com/2020/11/19/magazine/david-fincher-mank-interview.html

Interesting NYT article with some historical errors. This, for instance:

"Fincher moved to Los Angeles, was a founder of an influential production company called Propaganda"

Propaganda Films was around long before Fincher moved to Los Angeles - I had been shooting bluescreens for them on music videos for at least a year by then. Unless he did it remotely from the Bay Area at ILM, he had nothing to do with its founding as far as I knew. His presence, as his reputation grew, did keep them in business a lot longer than they deserved.
-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California


Bob -

Did you setup the green screens for Fincher’s Rolling Stones music video “Love is Strong”?
They are walking around New York city as giants. Finished video was black and white.


Thanks

Feli di Giorgio

Visual Effects (Los Angeles) 


_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com


 


Bob Kertesz
 

Did you setup the green screens for Fincher’s Rolling Stones music
video “Love is Strong”?
They are walking around New York city as giants. Finished video was
black and white.
I did not.

But I did for the TV promo for the show Gladiators that ripped off the
concept. Immaculately mapped and laid out by our very own Mark
Weingartner. It featured the various Gladiators walking around the U.S.
in various locations.

I did do a Mick Jagger video with Fincher, though, when Mick and the
boys were having their little "I need to be a solo act" spat and Mick
released his own album.

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor
Extraordinaire.

High quality images for almost five decades - whether you've wanted them
or not.©

* * * * * * * * * *


Mark Weingartner, ASC
 



On 4Dec, 2020, at 15:36 34PM, Bob Kertesz <bob@...> wrote:

But I did for the TV promo for the show Gladiators that ripped off the 
concept. Immaculately mapped and laid out by our very own Mark 
Weingartner. It featured the various Gladiators walking around the U.S. 
in various locations.

Yeah, that was something, wasn’t it…    When the dates slipped I had to leave for Japan, so we laid out the entire job using the actual lenses and, I think we used Bill Taylor, ASC's video-tapped Fries viewfinder... and then I left the country.  Turned out pretty well:-)

When I teach I use that spot as a case study of scaling and of figuring out how to match plate perspective when you don’t have any info.

Mark Weingartner, ASC
Los Angeles-based DP & stuff




Feli di Giorgio
 

On Dec 4, 2020, at 3:36 PM, Bob Kertesz <bob@...> wrote:

Did you setup the green screens for Fincher’s Rolling Stones music
video “Love is Strong”?
They are walking around New York city as giants. Finished video was
black and white.
I did not.

But I did for the TV promo for the show Gladiators that ripped off the
concept. Immaculately mapped and laid out by our very own Mark
Weingartner. It featured the various Gladiators walking around the U.S.
in various locations.

Bob Kertesz


I see. Digital Domain did a good amount of work with Fincher around that time and I was curious if you had a hand in it.
Beautiful green screens by the way on that Stones project (Love is Strong). Hats off to whoever did them. Sure made our life easier. 

thx

Feli di Giorgio


Visual Effects / Los Angeles


_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com



Bob Kertesz
 

Digital Domain did a good amount of work with Fincher around that time
and I was curious if you had a hand in it.
I did a couple of projects at DD with Fincher, but not that one.

Here's the final American Gladiators promo spot from 2008, if you or
anyone else is interested in seeing it:

http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4
<http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4>

Two phantoms, and due to the high speed and depth of field required, far
more light than I had ever seen before or since on a stage - it was
blinding. The post team did a fine job putting it together, and I was
pleased with how it turned out.

Not having seen it for years, I just realized that the woman Gladiator
with the black hair is Gina Carano, with a recurring role on The
Mandelorian on Disney+ (and a role in Deadpool, among others).

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor
Extraordinaire.

High quality images for almost five decades - whether you've wanted them
or not.©

* * * * * * * * * *


Brian Heller
 

Back in the days of HyCams and film,
I did a bunch of work for Avco later Raytheon.

They had a room set up with hundreds and hundreds of PAR64 quartz bulbs run at higher than normal Voltages. 

The room had an interlock system to prevent the lights being turned on while anyone was in the space.  I didn’t have sufficient security clearance to ever see it in action, but just seeing it was amazing.   At the time they were filming things like sidewinder trigger mechanisms.

B


On Dec 7, 2020, at 2:41 PM, Bob Kertesz <bob@...> wrote:


Digital Domain did a good amount of work with Fincher around that time
and I was curious if you had a hand in it.
I did a couple of projects at DD with Fincher, but not that one.

Here's the final American Gladiators promo spot from 2008, if you or
anyone else is interested in seeing it:

http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4
<http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4>

Two phantoms, and due to the high speed and depth of field required, far
more light than I had ever seen before or since on a stage - it was
blinding. The post team did a fine job putting it together, and I was
pleased with how it turned out.

Not having seen it for years, I just realized that the woman Gladiator
with the black hair is Gina Carano, with a recurring role on The
Mandelorian on Disney+ (and a role in Deadpool, among others).

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor
Extraordinaire.

High quality images for almost five decades - whether you've wanted them
or not.©

* * * * * * * * * *