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Some HPX3000 Footage


Gus Sacks

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Just to illustrate the camera in action with a few selects. No sound so it might be a little 'eh' entertainment wise...

 

Shot in 1080p, AVCIntra100

Down-Res to 720p, DVCPROHD

 

Ask about filtration, lighting, etc, if you'd like.

 

link: sorry - clip no longer available

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Thanks for sharing. It would be helpful to know about the camera tweaks and color correction. The stuff looks pretty contrasty.

 

Yeah. We used two presets from the Varicam book. One being a modification of 'Dirty' I think, or something like that, another being 'Vibrant', or so. These scenes all were filmed with the one with the crushed blacks and somewhat muted color palette.

 

So, yes, we were going for a more contrasty look, but some scenes do have low-con and more opened up shadows.

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Hey.

 

We used the Pro-35 w/Zeiss Super Speeds.

 

I'll see what I can do about the full res stuff.

 

AVCIntra was fine dealing with it in putting together the clips. We haven't gotten to post yet.

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Hah, I wouldn't say it looks "videoish." The crushed blacks and the red-bias were an aesthetic choice, not the camera.

 

You shouldn't be afraid of darkness...

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I've often said it is very difficult to look at cinematography that is taken out of context and judge it fairly. Yes the first shot has a magenta hue to it, but that same shot it the context of a story might portray exactly the right look. Who is to say what look is 'normal'. Blacks too black? Whites too white? Without the context of a story, it's like looking at a candid photo of a girl your buddy wants to hook you up with but he keeps telling you it doesn't do her justice. you finally meet her and realize after getting to know her that the photo really wasn't a good representation because the context of meeting her and getting to know her did so much more to enlighten you as to what she really looked like. There is a reason we sit in a dark theater to watch a film. It is to escape into a story. Random scenes can not allow you to escape so one becomes far more critical and sees things far differently. These demonstrations are fine but without the whole picture, they only tell very small part of the story. Sort of like seeing a naked girl through frosted glass. You can imagine all you want and make a conclusion, but under what condition? A neighbor you saw in a window? A girl you met tonight and went home with? A long time spouse? All different frames of mind that present very different interpretations. It's simply not fair to make absolute judgments and conclusions from a few shots.

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Looks great. Who was the steadi-cam op? How long did that take to upload?

 

Thanks, Jon... Steadi's name is Dave Ellis (David George Ellis on IMDB). Incredibly nice guy; I now consider him a friend, and excellent technician and artist. He was my A Cam Op as well. Couldn't recommend him enough.

 

That took me like 45 mins to upload I think.

 

 

...

 

Thanks, Walter. You're absolutely right. And in this context this was a few selects, no CC, and, frankly, fit in their specific parts of the film. Appreciated.

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Not bad Gus. I notice some minor things like over-saturation / banding in the heavy magenta clips, but not sure how much of that is due to compression. Regardless, nice work.

 

I'm a big fan of the 3000 as well. I 2nd'ed one of the first (if not the first feature to use the cam (Bottleworld) back in the fall. The tech was so early that we couldn't utilize the AVC-I codec due to uncertainty as to when Apple would provide support for FCP. Lo and behold, as I drop the gear off at Abel, Mitch tells me that day Apple announces support! D'oh! Anyway, gorgeous piece of gear with great in-camera paint options. I'd be happy to shoot on this any day.

 

Here's an article from Abel's site regarding the film.

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Not bad Gus. I notice some minor things like over-saturation / banding in the heavy magenta clips, but not sure how much of that is due to compression. Regardless, nice work.

 

I'm a big fan of the 3000 as well. I 2nd'ed one of the first (if not the first feature to use the cam (Bottleworld) back in the fall. The tech was so early that we couldn't utilize the AVC-I codec due to uncertainty as to when Apple would provide support for FCP. Lo and behold, as I drop the gear off at Abel, Mitch tells me that day Apple announces support! D'oh! Anyway, gorgeous piece of gear with great in-camera paint options. I'd be happy to shoot on this any day.

 

Here's an article from Abel's site regarding the film.

 

Ah, over-saturation. Hah, what's that? :) The banding's definitely due to the compression.

 

It's a nice camera. And the AVC codec is a big improvement over DVCProHD; shame you all couldn't use it. Thanks for taking a look.

 

Looks very cinematic. Loved the outdoor shot around the car. Also want to give props to the steadicam guy.

 

Good stuff!

 

Thanks, Tom. Appreciate it :)

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