All shot with the HD100 with PT3 (mod: standard gamma except daytime stuff) and the Brevis35 & Nikons.

http://www.cineverapictures.com/clips/sleepless.html

We also updated our site to be more user-friendly. Hope you like it.

Some BTS stills from the scene:

hey chad what is the pt3?

Sorry, I meant PTC3 (Paulo's True Color version 3) or just TC3.

http://www.paolociccone.com/hd100-calibration-3.html

Very nice.

What mode did you shoot in?

HD200 or 100?

Tape or DTE?

Which Nikon lenses did you use?

Sorry for all the questions!!!

Dan Weber

All shot with the HD100 with PT3 (mod: standard gamma except daytime stuff) and the Brevis35 & Nikons.

http://www.cineverapictures.com/clips/sleepless.html

We also updated our site to be more user-friendly. Hope you like it.

Nice job, Chad. Very polished. My only dig as I was really pulled into the story was the lack of raw emotion flowing from the actress at that last breath moment. In reality, losing a loved one like that would bring a total breakdown from the survivor. We also as viewers, need to know how that incident came to be. We've seen the aftermath, now how did it happen.

But overall a really nice body of visual images that show off the camera very well.

-gb-

Thanks for the comments. It was the HD100 + Brevis 35 + Nikon lenses. 24p most of the time. The last shot was shot at 540p50 and played back at 24p. We used tape.

Thanks for the thoughts, Greg. I'll bring that up with the director. We actually had a different shot in mind for the ending but the one at the window turned out so beautiful we couldn't let it go. But I guess it depends on how long ago it happened for how broken up she is.

I think you're right about wanting to see how it happened. As it is, this isn't really a complete story but more of a vignette. Maybe it will catch on where the viewer supplies their own interpretation... but probably not. It is just good to know it works for what it is.

Thanks for the thoughts, Greg. I'll bring that up with the director. We actually had a different shot in mind for the ending but the one at the window turned out so beautiful we couldn't let it go. But I guess it depends on how long ago it happened for how broken up she is.

I think you're right about wanting to see how it happened. As it is, this isn't really a complete story but more of a vignette. Maybe it will catch on where the viewer supplies their own interpretation... but probably not. It is just good to know it works for what it is.

Not the last shot I was referring to which is obviously time removed from the incident. I was trying not to spoil it for those who haven't seen it. I'm talking about during the flashback, the moment when 'he' takes his last breath. She didn't react strongly enough to that in my mind. If you watch the news, even in places where bombings are common and people get killed almost daily, their loved ones are still 'broken up' about it. This is the type of reaction I was expecting in the flashback sequence.

I was really asking about the how and why because you have some great visuals there and could really make an important statement with strong emotional impact. Let enough 'bullet proof' teens see that and maybe, just maybe, it will change someone's behavior. That's when your art has a great purpose, if it can bring about a change. A good example of that was the movie 'Fatal Attraction' and how a lot of men changed their ideas about straying after seeing that movie.

Also, I see you solicited feedback on another thread. Please don't cross post as it violates our posting rules because we want all responses in a single thread. Makes for easier following later down the road for new members reading back through the old material.

Keep up the great work!

-gb-

Huge CA on this setup is not very appealing though.

Just out of interest, what brand of tape stock did you use? Nice piece. Well done. Like the lighting transition from 'Dream to reality'.

Chad, this is sort of a housekeeping question--"CineVera Pictures" suggests that you and your partner are a production company, but the credits indicate that you guys are supplying DP/Gaffer etc. services to other productions...? is "Sleepless" a project that was produced through your company and you brought in a director? it's a tad confusing.

Charles,

Sorry for the confusion. We are indeed a company that focuses almost entirely on cinematography for other productions. We want to be a resource to production companies as a sort of one-stop-shop for camera/light/grip departments. This would mean offering assistance in crewing shows (with us as department heads) and renting equipment.

The confusion comes in when we produce these small scenes or other short films. For the most part we end up producing these for lack of having an actual producer on board. We produce these scenes to showcase our work and bump up our reel. It also serves as solid practice.

Makes sense. You guys are doing great work and are an asset to your production community. Best of luck!

Great image quality Chad. I loved the light dimming effect when you changed from daylight-dream to nighttime-reality.

Congratulations.

Charles,

Sorry for the confusion. We are indeed a company that focuses almost entirely on cinematography for other productions. We want to be a resource to production companies as a sort of one-stop-shop for camera/light/grip departments. This would mean offering assistance in crewing shows (with us as department heads) and renting equipment.

The confusion comes in when we produce these small scenes or other short films. For the most part we end up producing these for lack of having an actual producer on board. We produce these scenes to showcase our work and bump up our reel. It also serves as solid practice.

really great work guys.
Out of curiosity when you do these small scenes, particularly sleepless how much does this cost you ? considering you have an over turned car and actors, etc also how big was your crew ?

really beatifully shot.

Thanks again for the comments. I appreciate it. Stil, We try to keep the costs as low as possible so we shoot more often. The Car shoot amounted to about $120 for gas for the tow truck and other drivers (the flipped car was driven to set) and de-greaser to clean up car fluids off the road. We also had to purchase some food (which is usually the only cost).

Crew of about 5-8 people besides myself, Brian and the director. (Plus cast)

We actually just got the 16mm back that we shot from this shoot but I don't think it serves as a good comparison because there are a lot of variables in the film workflow. Whether it was in the shooting, handling, scanning, or delayed processing the film actually doesn't look as nice as the final HD footage. Once I get a chance to try and grade it I'll post a real comparison. But again there were some problems with the film that have a big impact. The next comparison test will be more scientific.

The comment on the film issue strikes a chord after viewing the focus puller interviews over at FreshDV. The discussion touched on the topic of what happens when a mistake is made on film, particularly if a reshoot the next day is required. Shooting in HD, where you can review the footage immediately, certainly resolves the uncertainty.