"Film look" and "Video look" in WB Pepsi Smash
 

Hi folks

As I was channel surfing (while waiting for my latest work to be rendered ...) I caught sight of WBs Pepsi Smash (Music show) where it has mixtures of Video and film look mixed together. When it does show the "film look" footage, it is in widescreen format. You can "tell" the difference between the video and film look.

Does anyone know what cameras they use for the "film look" shots? Looks like the FRAME mode of the XL1/XL1s. Most of those shots came from within the audience so I was watching the audience shots to see if I can see the camera.

It's definitely a progressive camera.
But I would be shocked if it was a DV camera.

I"m not sure if that show is shot in HD.
If so, it's probably either a Varicam or CineAlta.

If it's SD, chances are it's an SDX900.


Either way, it looked like 24p to me.
But I'm just guessing.

-Luis

The full screen shots are probably shot in SD 30 fps, while the widescreen because of the higher contrast ratio while still maintaining much more detail, and the way the people and the camera move, was probably shot 24 fps HD. If you ask me, it's pretty stupid that they're mixing the two. Don't they realize the widescreen one looks so much better? If anything, they should've chosen one and stuck with it to keep it consistent.

I find myself watching that show just to see the comparison, and I too watch to see if I can see the other cameras in the frame. They are very good at obscuring themselves, but I think I've seen it and I would bet it's the Sony CineAlta 24pHD from the looks of it.

As for consistancy, I kinda like the back and forth. It's not just two styles though. It looks like they're using different effects on all 5 or 6 cameras. Each angle is slightly different.

That being said, I'd rather see the 24p HD much MORE than the rare clips that make the edit. I'd estimate they go to it 10% of the time at the most. But it keeps us watching doesn't it!

I think a 1/500 shutter speed is being used on the 'video look' portions.

The program is shot in SD using a remote truck with multiple cameras. The"bonus" footage is shot using a couple of digibetacams that are not tied into the truck, but transmit a reference picture so the director (Joel Gallen) can see what they are doing. The cameramen wear headsets so the director can critique their work. This footage is then given a filmlook treatment in post. The show is very heavily edited, as this is the director's style. He is a longtime member of the MTV network staff.

Supposedly the hardest thing for the ENG cameramen operating the digibetas to learn was to not try to cover the show, but get coverage that was not duplicating what the show camera operators were doing. Good lesson here for aspiring camera people: when doing hand-held camera, look for opportunities that the hard cameras can't get. The last thing you need in post is shaky hand-held footage on a long lens of the lead singer, when you have it solid on a tripod camera. But if you can do a whip pan from the screaming fans to the lead singer, at a musically appropriate moment, that can be gold.

Wayne Orr, SOC