Further experiments with the G12
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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 Become a CML Patron https://www.patreon.com/bePatron?u=43292735
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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
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patancillo@...
How are you dealing with lens distortion on the reframing/repostioning?
Claudio Rocha East Los Angeles.
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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.
cheers 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?
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Ben Allan ACS
This looks great Geoff.
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Ben
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Mitch Gross
Geoff, very impressive. Definitely shows the viability of such stabilization.
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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:
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Matthew Woolf
Looks great thanks Geoff!
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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:
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I’ll be posting a large collection of before and afters, that was just a teaser 😊
cheers 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 +1 917 399 9565 + 61 0466 834 239 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.
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Colin Elves
I think you should be able to resolve this by using the right quicktime tags on export.
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This guide is useful: https://www.thepostprocess.com/2020/07/17/color-on-mac-displays-from-davinci-resolve-to-the-internet-with-quicktime-tags/ Colin Elves Director of Photography Bruxelles
On 30 Nov 2020, at 18:54, Art Adams <aadams@...> wrote:
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Thanks for posting the appetizer ..... now for the main course
-- Guy Mastrion Creative_Director_DP_Professor www.linkedin.com/in/guymastrion insta: gmastrion
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Noel Sterrett
Great stuff Geoff. Love
the high-tech windmills.
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On 11/26/20 1:15 AM, Geoff Boyle wrote:
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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
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Bob Kertesz
David Fincher has been shooting 20% larger than what he needs to stabilize since "The Social 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.© * * * * * * * * * *
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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) _______________________________________________
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Bob Kertesz
Did you setup the green screens for Fincher’s Rolling Stones musicI 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.© * * * * * * * * * *
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Mark Weingartner, ASC
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
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On Dec 4, 2020, at 3:36 PM, Bob Kertesz <bob@...> wrote:
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
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Bob Kertesz
Digital Domain did a good amount of work with Fincher around that timeI 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.© * * * * * * * * * *
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Brian Heller
Back in the days of HyCams and film,
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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:
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