Commercial shot with XLH1 and Mini35

[Jonas Nystrom]

The commercial: http://www.hotshot.nu/

Behind the scenes and gear list: http://hotshotpictures.blogspot.com/

Enjoy! / Jonas

[Andy Lunn]

Very nice indeed. Can ask a few questions that may be noobish but what the hell its how we all learn i guess.

1. Whats a Wireless Remote Follow Focus GENIO & a Cavision Follow Focus?

2. would those results not be achievable if you didnt use the 35mm mini? what does it affect when you use it?

3. did you use any filters on the matte box?

4. what did you do in post?

5. what format and output did you use?

6. what, why and what shots did you use these and why imparticular? Arri Zeiss High Speed; 18, 25, 35, 50, 65, 85mm

Sorry if they are daft questions.

very nice work.

ps. can we see more quicktime samples?

[John Benton]

Jonas,
Very Nice Work!

[Jonas Nystrom]

Thank you Andy!

Here's answer to your questions:

1. Follow focus is a gear for more accurate focusing. You have to have when you are shooting with the Mini35, because of the narrow depth of field. A remote follow focus is a wireless control of the thing, a must have if you are shooting on cranes, steadis or in some handheld situations.

2. The Mini35 is used to achive the film look - or a short depth of field.

3. At the last shot I had a graded ND 1.2 and I had a light black frost at some of the shots. Mattebox mostly used to avoid flares.

4. In post we had some slow-mos done in Shake. These were shot in 50i, the rest in 25f. Grading was also done at the post house. I shoot the whole in the 5248 film stock preset (thank you, Alister Chapman!)

5. From 1080p25 we converted into uncompressed 10-bit HD for grading and Slow-mos.

6. I think I used all the primes - but I must say love the 85!

[Jonas Nystrom]

Thanks John!

[Andy Lunn]

Thanks Jonas, thats a little beyond my budget or scope i guess. Do you mean you shot the footage then another company (finishing house) did the edit under your instruction and finished it for tv?

Am trying to get my head around how bigger projects are constructed and outputted. Thanks for the response.

[Jonas Nystrom]

I shot the footage, we did the editing, and after that we went to the post house to do the final touch up. I suppose you can do it yourself if you have the time and knowledge - which I don't.

[Steven Dempsey]

Wow Jonas, this is some of the cleanest footage I have seen with a 35mm adapter. Hell, even without the adapter I would have said it was clean!

Excellent job and really nice shots and composition.

[Jonas Nystrom]

Thank you Steven. Actually we had to do some cleaning ;-). Mini35 and Slow motion in back light (the last shot) is not a good combination.

[Barlow Elton]

That's very, very impressive Jonas. Excellent work!

So, I bet the post house much preferred grading with uncompressed files. Btw, did you try the Nattress filter for slowmo before opting for Shake? Any other thoughts about getting better slowmo?

[Steven Dempsey]

By the way, the hand gag near the end with the two chefs is hilarious :)

[Andy Lunn]

When you say clean the footage and grade it, what does that mean? is this a million dollar process or something little final cut pro can do? man i have a lot to learn! ")

[Jonas Nystrom]

Thank you Barlow!

I did one or two of the slow motions in the overcrank work flow - I think it came out really nice. But the post house would like to do it the same way, as they are used to.

One problem though - and maybe I'm doing it wrong - but you only have one optimal speed on the clip when you (or I anyway) doing the overcrank. When I speed up my overcranked clip (for exemple if I want 75% speed instead, of 50% of the original 50i speed) I sometime get some artifacts and "double frames".

And it also is a problem with fast shutter speed and the Mini35. When I have done tests (with 6x and 20x lens), I've shot @ 1/125. The you get the sharp and crisp slow motion look!

Shake slow motion is really good - for some slowmotions. The post house had trouble with the last shot - Shake recognized the grain from the Mini35 - so that clip had to be rotoscoped. And the first clip with chefs - have a look at warping around the guy in front, when he pass through!

[Jonas Nystrom]

Andy - I paid about 1 100 GBP for grading and post. I think it is 28 clips, maybe 10 slow-mos and 2-3 rotoscopes.

[Ken Diewert]

Jonas,

Nice work, that is a killer H1 set-up by the way.