Online footage to look at (was:7 camera XDCAM HD Shoot on Wed)
 

So the big concert I shot on 7 F350s back in July is just now starting to be released. The footage (4 songs) is being rolled into a DVD release for Dec 12th. that your teenager can buy at Target for $12.99 or whatever.

Anyway, there's some promo links on the web of the finished product:

Entire song:
Windows: http://streamos.wbr.com/wmedia/wbr/t...iar-lb_700.wvx
Quicktime: http://streamos.wbr.com/qtime/wbr/tb...iar-lb_700.mov

DVD Trailer (only concert footage is XDCAM HD):
Windows: http://www2.fanscape.com/takingbacks...iler_wmhi.aspx
Quicktime: http://www2.fanscape.com/takingbacks...iler_QThi.aspx

I know there's not too much to be gleamed from web video, except you can see how exceptionally the camera handled all the overexposure from the stage lights. Everybody from Warner Bros. Records (including high up A&R) has used the word "beautiful" almost every time they comment on the project. As have execs at Yahoo! Music, who have seen it on DVD.

I'm told cutdowns of the DVD are going to air on MTV2 and Fuse, I'll investigate as to air dates.

I have to say, working with this camera, from shoot to post with FCP, was a dream. Not at all like the prior 15 months with HDV.

Here's a link to the original thread:
http://www.dvinfo.net/conf/showthread.php?t=71662

Good job, Nate!

-gb-

Whoa!

Jim

Wow. Looks great. Fantastic editing.

The footage looks amazing, and as an 18 year old keen on the band the fact it was shot on xd hd is even more insentive to go grab a copy when it comes out just so i can see it in higher quality.

Well Done Nate.

Hey Nate,
The footage looks cinematic indeed.
Were all the angles shot on your 350?
Multiple 350's?
Thanks
Rich

6 F350s, one F330.

I didn't own a 350 yet when this was shot, and I didn't operate a camera on this shoot because I was directing from video village.

Excellent example of what this low cost format can do. Nice work Nate.

Wow
 

Nate,
Thanks for posting the fantastic footage. This is a great example of what can be achieved with great talent and great tools.

Bill

Welcome aboard, Bill! It will be good to have your knowledge and experience here on DVINFO.

Take care and maybe I'll see you in a couple weeks.

-gb-

Great job Nate.

I see wht you mean about handling the overexposure. It embraced it and turned it into something beautiful.

Were there any live feeds for IMAG or just totally ISO's?

aloha,

Keith

Thanks everybody. Yes, there's really cool things happening in how the lights blew out. A note, in the middle of the song cut there's some very saturated yellow lights coming from downstage left and right, at about hip level. In what you see in the link, I had to desaturate everything above 90IRE or so to make broadcast safe, and in doing so, made some ugly yellow to white transitions. In the camera masters, the yellow blows out much much nicer.

No IMAG on this particular tour. Even if there would have been, it would have been a different crew, as I was working for Warner Bros for one night only.

All my concert work is camera ISO'd, with feeds to a video village where I don't call shots as much as I give the operators feedback on the frames I want to see. Think of U2's Rattle and Hum, shot 6 or 8 camera 35mm. That's the level I aspire to.

There's no way you can create an edit like I do with live switching. It's a completely different end product, really, and the client in this case is not at all interested in live switching. Same goes for the audio, it's all mutlitracked and post-mixed by somebody who takes the time necessary to make it golden.

[/liveswitch rant] :-)

Excellent job, Nate! ;-)

This XDcam HD is great. Good to see so much great stuff out there...

Could you describe a bit your workflow? FCP->ProTools for Mixdown?

best,
Greg

Ooo boy, nooo. Me no do audio. Sometimes the audio recording and mixing will be on my budget, but even then I never touch it.

In this case the audio was recorded by these guys: http://www.lemobile.com/. The truck is parked at the venue's loading dock, and runs a splitter snake inside to the stage. All stage inputs go first into their snake, and then are replicated on outs for the monitors and house.

All channel inputs are then recorded into a ProTools session.

At the end of the night they hand me a couple audio CDs of a live 2-track mix for the rough edit, a couple to the label (so A&R can decide which were the best songs), and then give us a hard drive with a Protools session on it. This drive gets FedExed to the mixer, wherever on earth he is. LeMobile gets a check for $7k for a night of work. Pffft.

Mixer then spends an awful lot of time in ProTools making things sound as good as possible. Sometimes there's overdubs if the band's available, but this particular band is way too busy, so the mixer was on his own. I know that on this one vocals were comped from 15 different nights. I guess it's not expensive to have a simple ProTools rig running at front of house for simple recording, and a lot of larger acts do that these days...collecting material for the next live album.

2 months later I get final mixes in AIFFs and drop them into FCP. And that's how the magic happens.

Great work, Nate. I do similar work to you (on a very scaled down level - one Sony Z1 and a tracked board mix) and it was very cool hearing about a high end production like that from your point of view. I imagine you're probably in Warner Bros' good books now, hey?