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Techniques for Independent Production
The challenges of creating Digital Cinema and other narrative forms.


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Old June 23rd, 2006, 04:10 PM   #31
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ah so basically its a mask created from the original image? very nice
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Old June 23rd, 2006, 07:03 PM   #32
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http://www.rileyharmon.com/temp/harbor_creation.mov
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Old June 23rd, 2006, 11:19 PM   #33
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Wow. That was very impressive.

Where do you get the footage that you composite in?
What software do you use?
How do you choose the locations you use?

Basically, how did you do that?

This is the kind of thing that could make DV features be up to par with film features.

Ernesto.
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Old June 23rd, 2006, 11:32 PM   #34
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location is on set for a ranch of a docu-drama i am working on as a second unit steadi cam and post production / vfx

all stills except for the raw footage

after effects
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Old June 24th, 2006, 12:22 AM   #35
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Very nice. How did you do the smoke from the ship and the lightning in the cloud?
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Old June 24th, 2006, 08:01 AM   #36
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looks like dodging to me in photoshop, or something of the sort
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Old June 24th, 2006, 11:39 AM   #37
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stock footage of smoke screened and multiplied blending modes
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Old June 24th, 2006, 12:45 PM   #38
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I have a question though, how did you do the masking while you were panning? Did you make a new mask for each frame?
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Old June 25th, 2006, 03:27 AM   #39
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http://rileyharmon.com/wordpress/?p=53 new one added, "storm creation"
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Old June 25th, 2006, 12:44 PM   #40
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Your footage is amazing. Thanks a lot for sharing, as well as your responses to our questions. :)
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Old July 12th, 2006, 09:29 AM   #41
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Hey dudes, are you SURE about Wassup Rockers being done on the XL2? I saw it last night, and for SD miniDV footage, it looked awfully sharp. I also thought I remembered seeing that it was shot in HD, which'd make more sense.


as for the film, yeah, it was okay. I think I've liked some of his other stuff better. The non-actors were painful to watch as they non-acted.
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Old July 12th, 2006, 10:21 AM   #42
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I'm positive "Wassup Rockers" was shot on the Canon XL2 (unless Independent Filmmaker Magazine would lie throughout the entire article). The reason it looked so sharp was because their DP had used the 16x Manual Servo lens on all 3 of his XL2's. Also, after capturing on the Canon, their editor upconverted the footage to DigiBeta, color corrected the footage, then transferred it to 35mm film.

Another reason the footage looked so good was because they lit the movie just like they were shooting for 35mm film -- meaning tungsten lights indoors, and HMI's and sunguns outdoors.
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Old July 12th, 2006, 10:27 AM   #43
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Hmm. Well, I have the manual lens, so yay me.


As for the look, I thought it was sharp, but found the lighting kind of lacking. I was trying to figure out (except for the night scenes) if it was lit at all. It looked very available light-y (I guess that was the goal), but not particularly pretty/elegant/artistic, to me.
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Old July 13th, 2006, 12:37 AM   #44
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Josh, I was looking at your site I saw the XL2 footage and I saw the indoor, available daylight shot. I loved it.
Can you please share your presets?

Preciate this man!

Have you guys forgotten "The Riddle", shot with an XL1 by Nicholas Bartleet?
He is also a member of this site.

http://www.pixelloft.com/other_work.htm
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Old July 13th, 2006, 09:02 AM   #45
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Oh dear, settings. . .

Yes, see, I didn't take very careful notes on that, and it was also months ago.

I more than likely took the bluebarn settings someone had posted, and modified them a little, tweakin' around. I believe Ash Greyson posted settings that were supposed to be "DVX100-like", so that may be what that shot is. I'm pretty sure the blacks were set to press, though.

sorry I'm not more helpful.
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