Best video 'film look' sample

Tim Johnson · June 23rd, 2006, 03:10 PM

ah so basically its a mask created from the original image? very nice

Riley Harmon · June 23rd, 2006, 06:03 PM

http://www.rileyharmon.com/temp/harbor_creation.mov

Ernesto Llano · June 23rd, 2006, 10:19 PM

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.

Riley Harmon · June 23rd, 2006, 10:32 PM

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

Ernesto Llano · June 23rd, 2006, 11:22 PM

Very nice. How did you do the smoke from the ship and the lightning in the cloud?

Tim Johnson · June 24th, 2006, 07:01 AM

looks like dodging to me in photoshop, or something of the sort

Riley Harmon · June 24th, 2006, 10:39 AM

stock footage of smoke screened and multiplied blending modes

Ernesto Llano · June 24th, 2006, 11:45 AM

I have a question though, how did you do the masking while you were panning? Did you make a new mask for each frame?

Riley Harmon · June 25th, 2006, 02:27 AM

http://rileyharmon.com/wordpress/?p=53 new one added, "storm creation"

Mike Kim · June 25th, 2006, 11:44 AM

Your footage is amazing. Thanks a lot for sharing, as well as your responses to our questions. :)

Josh Bass · July 12th, 2006, 08:29 AM

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.

Zack Vohaska · July 12th, 2006, 09:21 AM

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.

Josh Bass · July 12th, 2006, 09:27 AM

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.

Eniola Akintoye · July 12th, 2006, 11:37 PM

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

Josh Bass · July 13th, 2006, 08:02 AM

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.

June 23rd, 2006, 03:10 PM	#31
Tim Johnson Regular Crew Join Date: May 2006 Location: London, England Posts: 101	ah so basically its a mask created from the original image? very nice __________________ (Wishes to be more informative and helpful than a nuisance)

June 24th, 2006, 07:01 AM	#36
Tim Johnson Regular Crew Join Date: May 2006 Location: London, England Posts: 101	looks like dodging to me in photoshop, or something of the sort __________________ (Wishes to be more informative and helpful than a nuisance)

July 12th, 2006, 08:29 AM	#41
Josh Bass Slash Rules! Join Date: Apr 2002 Location: Houston, Texas Posts: 5,472	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. __________________ The Bass' camerawork The Bass on IMDB

July 12th, 2006, 09:27 AM	#43
Josh Bass Slash Rules! Join Date: Apr 2002 Location: Houston, Texas Posts: 5,472	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. __________________ The Bass' camerawork The Bass on IMDB

July 13th, 2006, 08:02 AM	#45
Josh Bass Slash Rules! Join Date: Apr 2002 Location: Houston, Texas Posts: 5,472	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. __________________ The Bass' camerawork The Bass on IMDB

June 23rd, 2006, 06:03 PM	#32
Riley Harmon Major Player Join Date: Jul 2003 Location: Oklahoma Posts: 424	http://www.rileyharmon.com/temp/harbor_creation.mov

June 23rd, 2006, 10:19 PM	#33
Ernesto Llano Regular Crew Join Date: Apr 2006 Location: Minnesota, USA Posts: 39	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.

June 23rd, 2006, 10:32 PM	#34
Riley Harmon Major Player Join Date: Jul 2003 Location: Oklahoma Posts: 424	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

June 23rd, 2006, 11:22 PM	#35
Ernesto Llano Regular Crew Join Date: Apr 2006 Location: Minnesota, USA Posts: 39	Very nice. How did you do the smoke from the ship and the lightning in the cloud?

June 24th, 2006, 10:39 AM	#37
Riley Harmon Major Player Join Date: Jul 2003 Location: Oklahoma Posts: 424	stock footage of smoke screened and multiplied blending modes

June 24th, 2006, 11:45 AM	#38
Ernesto Llano Regular Crew Join Date: Apr 2006 Location: Minnesota, USA Posts: 39	I have a question though, how did you do the masking while you were panning? Did you make a new mask for each frame?

June 25th, 2006, 02:27 AM	#39
Riley Harmon Major Player Join Date: Jul 2003 Location: Oklahoma Posts: 424	http://rileyharmon.com/wordpress/?p=53 new one added, "storm creation"

June 25th, 2006, 11:44 AM	#40
Mike Kim Regular Crew Join Date: Jan 2006 Posts: 33	Your footage is amazing. Thanks a lot for sharing, as well as your responses to our questions. :)

July 12th, 2006, 09:21 AM	#42
Zack Vohaska Regular Crew Join Date: Mar 2006 Location: Chicago, IL Posts: 74	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.

July 12th, 2006, 11:37 PM	#44
Eniola Akintoye Major Player Join Date: Jul 2005 Location: Duluth GA Posts: 238	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