DSR-450WS @Bonneville Speed Week

[Jeff Regan]

Here is a link to a five minute piece I shot at Bonneville Speed Week in Utah last month. I shot with the Sony DSR-450WS, 16:9, 24Pa, film gamma 1, knee off, detail off. Ferrari F40 Bonneville 2006

 

Jeff Regan

Shooting Star Video

www.ssv.com

Edited September 24, 2006 by Jeff Regan

[Jac Chesson]

Nice work, Jeff! The interviews looked great. As I was watching I was wondering how did you get the faces to look so balanced in the harsh sun. Then it dawned on me that the salt flats were acting like a giant bounce card! How perfect is that!

 

Anyway, nice work! Does turning the detail off minimize the "jitteryness" when shooting things w/ close set horizontal lines in 24p? I always seem to intercut conventional video footage w/ my 450s 24p video so I haven't yet had the courage to turn my detail all the way off!

 

Later!

 

Jac

[Peter J DeCrescenzo]

Great job, Jeff!

 

I'm curious what the typical ambient temperature was while you were shooting, and whether or not your cam was in some sort of protective "raincoat" to keep dust/salt out of the cam?

 

Sorry I haven't written much lately. I moved to Portland, Oregon this past week, so I've been preoccupied with planning and executing the move for several weeks. It's great to be in Portland!

[Phil Rhodes]

Hi,

 

Very nice!

 

Gift of a subject, of course...

 

Phil

[Jeff Regan]

As I was watching I was wondering how did you get the faces to look so balanced in the harsh sun. Then it dawned on me that the salt flats were acting like a giant bounce card! How perfect is that!

 

Jac, yeah, I brought 4'X4' silk, shower curtain and negative fill with me, didn't use anything. Never got to

shoot the faces at the time of day I wanted, but I am more convinced than ever that with film gamma, the

knee circuit is not necessary.

 

Does turning the detail off minimize the "jitteryness" when shooting things w/ close set horizontal lines in 24p? I always seem to intercut conventional video footage w/ my 450s 24p video so I haven't yet had the courage to turn my detail all the way off!

 

Yes, detail off helps tame a myriad of artifacts and most of the footage was natural looking. I haven't got

the nerve up to shoot with detail off for corporate work, but on this piece I wanted a '60's documentary look.

 

Some things I learned:

 

DSR-450WS doesn't have an extender lens file unlike my BVP-550WS's. This gave me white shading error

when on extender--no hiding it on the salt. I would have had to create a separate extender file and call it up

everytime I wanted to use the extender--what a pain that would have been.

 

Trying to make the 60i/4:3 elements match was not easy, my editor spent a lot of time trying different work flows with After Effects. I would like to try the Nattress plug-ins next time.

 

4:1:1 recording with red cars does not look good on DVD, ending up as 4:1:0 color space.

 

Peter,

 

Congratulations on your move, sorry we didn't get to meet while you lived in the Bay Area. Ambient temps

were in the '90's, so it wasn't as bad as it could have been, but that bounce from the ground made it seem

hotter. I didn't protect the camera except for keeping in shade when possible. I was also recording on an

nNovia hard drive the whole time, didn't have any issues with tape or drive. Best of luck in Portland!

 

Phil,

 

Yes, hard to aim the camera in any direction and not have a cool shot on the salt flats! Very cinematic part

of the earth.

 

Thanks for the feedback, everybody!

 

Jeff Regan

Shooting Star Video

www.ssv.com