miggs music video

Matt Garrett · November 12, 2008

Just playing around with some grabs from Monday's shoot.

Much thanks to Stan Paik and Sam Druckerman and my lovely crew that helped pull this off on a pretty meager budget.

Director: Tim Hyten

DP: Matt Garrett

Gaffer: David Carstens

First AC: Dave Christenson

B Cam: Stanley Paik

Art Dept: Jeremy Cisneros

Shot with elites 32mm, 75mm, and 180mm from slow motion inc (who were awesome)

and lomo 50mm

all shots were shot at 640 asa and processed at 320

Lit with 3 9light maxi's, some 2k zips, 2k's, 1k's, and two 4ft kinos.

Bruce Taylor · November 13, 2008

Nice work, Matt!

Did the Lomo and the Hawks match well enough?

-Bruce Taylor

www.Indi35.com

Matt Garrett · November 13, 2008

even when scaled to 2k you can see the difference in sharpness but the main difference was their flaring.

The lomo will mainly be used for the band performance and I'm not worried about them cutting together.

Matt Workman · December 2, 2008

Hey Matt,

Video looks very nice, from the stills. Be sure to post the final when its out. :lol:

I have a few questions:

I've heard b18 has some anamorphic features. Are you familiar with them?

If you shoot anamorphic on b16 or 17 you end up with a 4:1 file that you have to crop. Does B18 affect that?

Also, RC, RR, etc. don't import ANA 4k from B18 currently right? I suppose sticking with an older build is easiest for now.

The "Mike Burton" workflow you mentioned (here) is for RC, which sounds great. How long did it take you to reframe and export the footage from that workflow? I'd want to be in the room when that "pan and scan" is going on!

Most of my directors and editors use the FCP log and transfer route, but for an anamorphic shoot, trying to do the rescale of the 2k pro-res footage in FCP would be a big loss in quality. What do you think?

For the on set viewing, I understand that some monitors can desqueeze 2:1 but on top of that, how can I put a 2:35 framesafe over that? I know for a fact the label people would freak out looking at a weird aspect ratio video feed. You'd be looking at a 4:1 image with the desqueeze right? Ewww.

Thanks for the help.

Matt

Matt Workman · December 2, 2008

Hey,

After reading this post:

http://www.reduser.net/forum/showthread.ph...ight=anamorphic

B18 does record in Anamorphic mode at 1.2:1, which desqueezes to 2.4:1. Basically solving the whole import issue and on set desqueezing issue.

Mike Burton says that he can still transcode the B18 anamorphic footage into FCP, which if its true, that would be awesome.

Matt

Matt Garrett · December 2, 2008

Hey Matt,

The transcoding workflow has been very slow.

We did have an issue with out main drive that the footage was copied to and has severely slowed down post.

hope to be playing with build 18 and some more anamorphic lenses very soon.

Chad Stockfleth · December 2, 2008

Hey Matt, looks good!

Quick question: when you say you shot at 640asa and processed at 320, how exactly does that work? Obviously no photochem process. What was the result/effect you were trying to achieve?

Thanks!

Chad

Matt Garrett · December 4, 2008

It basically means I'm trading some extra highlight room for a little noisier picture. Also, gaining a stop so i can stop down to sharpen up the anamorphic lenses.

That is effectively under exposing the red sensor one stop.

Camera is set to 640 and all lighting decisions are based off of that.

When the footage is processed in post in red's software we change the asa back down to 320 and bring up the mids with a curve.

The resulting image is cleaner than if processed at 640.

Edited December 4, 2008 by Matt Garrett

Chad Stockfleth · December 4, 2008

Thanks for the explanation. I haven't used the RED yet and so some of the workflow is a mystery to me. I forget that they have a RAW sort of format where you can still adjust everything after capture.

Anyway, great results!