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May 8th, 2006, 03:16 PM
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#16 |
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Trustee
Join Date: Sep 2005
Location: Gilbert, AZ
Posts: 1,896
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Nice rig.
Looking forward to screen grabs and/or footage! Steve |
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May 9th, 2006, 11:27 AM
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#17 | |
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Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
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May 9th, 2006, 11:33 AM
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#18 | |
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Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
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May 9th, 2006, 12:51 PM
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#19 |
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Major Player
Join Date: Apr 2005
Posts: 512
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I was well aware that it was a 35mm Cine lens, I was just hoping for a couple more specifics. You don't usually see lenses that long unless they're some kind of telephoto lens.
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May 9th, 2006, 04:46 PM
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#20 |
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Major Player
Join Date: Aug 2002
Location: Albuquerque, New Mexico USA
Posts: 287
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And I was curious about the baseplate and rod setup. In the picture, I can't quite see the JVC to rod mounting plate for the power cord to the P+S.
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May 9th, 2006, 10:20 PM
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#21 |
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Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
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Some more pictures
Hey, here are some more pictures of the rig. The camera was mounted on a tilt plate for dutch shots. The plate was then locked to the crane.
This is a closeup of the camera. Hopefully you can see more details of the lens and the other gear. http://www.paolociccone.com/images/hd100/IMG_1168.jpg Opposite side with follow focus. Notice the Astro portable LCD display. http://www.paolociccone.com/images/hd100/IMG_1204.jpg The HD100 on the crane. http://www.paolociccone.com/images/hd100/IMG_1206.jpg Enjoy! :) |
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May 9th, 2006, 11:53 PM
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#22 |
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New Boot
Join Date: Apr 2006
Location: Hollywood, CA
Posts: 22
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Cook Lens
The lens was actualy a wide to telephoto lens, instead of getting a bunch of prime lenses we went with one that can give us all of the shots we wanted.
I'll get the specs from our script notes and put them up for you guys. I'll also have some footage up on our server by the next couple of days, as soon as I can clear it with my clients Ben Jehoshua www.imagelinemedia.com |
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May 10th, 2006, 12:07 AM
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#23 |
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New Boot
Join Date: Apr 2006
Location: Hollywood, CA
Posts: 22
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HD100 Rig
Paolo,
The pictures of the camera with the rig look really like a Frankestein construction. Our client is extermely happy with the picture results, we hope to have another project in the making very soon. Ben Jehoshua www.imagelinemedia.com |
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May 10th, 2006, 12:19 AM
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#24 |
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Wrangler
Join Date: Oct 2002
Location: Los Angeles, CA
Posts: 2,100
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Good lord Paolo. The AC didn't tell you that you guys were nuts?
I suppose a zoom on the Mini affords some convenience, but at what cost?
__________________
My Work: nateweaver.net |
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May 10th, 2006, 12:41 AM
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#25 |
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Regular Crew
Join Date: Dec 2005
Location: Wellington, New Zealand
Posts: 99
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Totally wild guys !!!
Can't believe I'm seeing that rig. How did the shots go though ? Can you compare them to a high end camera solution ? (heh, I know you can and would and will and I also realise there's a damn good economic reason for using the JVC) But out of interest what would you guys have used for a camera if the JVC wasn't an option ? tia and cheers, Rob |
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May 10th, 2006, 12:55 AM
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#26 | |
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Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
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Quote:
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May 10th, 2006, 12:54 PM
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#27 |
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Major Player
Join Date: Aug 2002
Location: Albuquerque, New Mexico USA
Posts: 287
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The world is a bit topsy turvey these days. You're looking at a $6K camera surrounded by $50K worth of lens and accessories :-)
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May 10th, 2006, 01:12 PM
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#28 |
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Major Player
Join Date: Apr 2005
Location: Fort Dodge, IA
Posts: 221
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Paolo, what version was used?
Paolo,
Did you use V3 of your setting for these commercials? Luis |
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May 10th, 2006, 02:39 PM
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#29 | |
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Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
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Quote:
yes, we did. As a matter of fact I developed the new settings during pre-lighting. We had a very colorful set with reds and pinks. I was watching the component signal on a Sony HD monitor and a pink blanket looked quite red. I tweaked the color matrix watching the result on the Vectorscope until I found something that matched the real-life colors. We then introduced skin tones and compensated a little bit. The result was TC V. 3.0. I like that V.3.0 has basically only one parameter different from V.2.0. The overall balance of colors is the same, just with a nice shift of the red toward magenta. It actually confirms some of the observations I had while working on V.2.0. I tried to reduce the "power" of the reds but I didn't figure out a way at that time. I think it's the most faithful color matrix that I developed so far. We shot all the commercials with it with only scene with a hint of black stretch (black eyes on a black fuzzy puppy dog toy) As I mentioned other times, with controlled lighting TrueColor blacks should render a very nicely contrasted picture that still carries a lot of information. Ben told me that in preliminary tests, he used V.2.0 and was able to kick the blacks around quite a bit. Even if they dark spots looked too dark at first, with color correction in the NLE he was able to adjust them. This means, as expected, that the color information is there, the black were not crushed. V.3.0 delivers the same control except that it affects the mid tones a little less. In other words, with V.2.0 you have Master Black @ -2 and Black Stretch @ 1. In V.3.0 you get Master Black @ Normal and no black stretch. The way blacks are rendered is pretty much the same but the midtones are shifted less wit V.3.0. I believe it delivers a more dramatic picture. |
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May 10th, 2006, 05:07 PM
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#30 | |
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New Boot
Join Date: Apr 2006
Location: Hollywood, CA
Posts: 22
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Which camera as alternate
Quote:
Ben Jehoshua www.imagelinemedia.com |
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