Official "Look what I shot!" Thread

And here's a trailer for a feature I shot last year. All 3 cameras used.

Another 'E' for effort: ¡Excelente!


Sent from my iPad using Tapatalk

Looks fantastic Vic! Which 3 camera's?

Looks fantastic Vic! Which 3 camera's?

Thanks Jonh and Rick of course!

Used the BMCC, BMPCC and the URSA 4K.

Hi folks,

just wanted to share my experimental live music video with you:

Video and sound slow motion. Shot on BMPCC in ProRes. Audio recording with Marantz PMD 620.
Edited in DaVinci Resolve 12.5 and Logic Pro 9.


Cheers,
Tobias

Over a year ago I shot the feature documentary A Year in Port on the BMCC 2.5K (plus some C300) and did all the finishing and color in Davinci Resolve. It's finally being released internationally on iTunes September 6th. Trailer is here: http://www.ayearinport.com/

Very nice Jamie, congrats!

Congratulations, Jamie. Looks great.

Hello!

This is my first short film with BMPC 4K. This was my entry on local film festival competition. "Le Collectioneur De Sons" won the audience award in Kouvola Film Festivals 2015.

Whole movie was filmed in two days. I filmed this with old tamron 28mm f 2,8 lens. 4k Prores 422 24p.

Oh and yes, I am a big fan of Jean Pierre Jeunet!

Jamie, that was superbly conceived and executed! So proud to see such quality of work from a member of this community, including the unplanned crashing boat that adds a light touch. Love the cutting of shots timed with the music to advance the story.


Sent from my iPad using Tapatalk

Thanks Rick, Ivon and Denny!

Over a year ago I shot the feature documentary A Year in Port on the BMCC 2.5K (plus some C300) and did all the finishing and color in Davinci Resolve. It's finally being released internationally on iTunes September 6th. Trailer is here: http://www.ayearinport.com/

Oh wow Jamie, that looks great! And I'm pretty envious - how long did you get to stay in portugal? I visited that vinyard region before and love Porto.. such a great city!

Oh wow Jamie, that looks great! And I'm pretty envious - how long did you get to stay in portugal? I visited that vinyard region before and love Porto.. such a great city!

Thanks Soeren! We spent over three months total in Porto and the Douro Valley filming for about 3 weeks each time during the course of a single year on four trips to cover spring, summer, harvest, and winter. I completely agree that it is a fantastic place. I'd really love to go back there.

Thanks Soeren! We spent over three months total in Porto and the Douro Valley filming for about 3 weeks each time during the course of a single year on four trips to cover spring, summer, harvest, and winter. I completely agree that it is a fantastic place. I'd really love to go back there.

Man, sounds like a dream job! I need to get a gig like that someday.. #lifegoals

Over a year ago I shot the feature documentary A Year in Port on the BMCC 2.5K (plus some C300) and did all the finishing and color in Davinci Resolve. It's finally being released internationally on iTunes September 6th. Trailer is here: http://www.ayearinport.com/

Just looks amazing. Top notch production all around. You really have the BMCC screaming there sir.

Over a year ago I shot the feature documentary A Year in Port on the BMCC 2.5K (plus some C300) and did all the finishing and color in Davinci Resolve. It's finally being released internationally on iTunes September 6th. Trailer is here: http://www.ayearinport.com/

Just looks amazing. Top notch production all around. You really have the BMCC screaming there sir.

Thanks Vic! So glad you enjoyed it. It is the third and final installment of a series which also includes A Year in Burgundy and A Year in Champagne.

Thanks Vic! So glad you enjoyed it. It is the third and final installment of a series which also includes A Year in Burgundy and A Year in Champagne.

Wow.. nice locations as well.. hey if you ever need an addtional owner/operator or something.. *cough*

.

Wow.. nice locations as well.. hey if you ever need an addtional owner/operator or something.. *cough*

I see in Rabbit Therapy you've done some lovely filming of drinks yourself.
My collaborator at InCA, James Kennard, and will be doing some filming around Frankfurt in the last week of October for a documentary on books and printmaking. Send me a PM if you're interested to meet up while we are there.

I see in Rabbit Therapy you've done some lovely filming of drinks yourself.

Hehe.. well they tasted good as well to be honest

Send me a PM if you're interested to meet up while we are there.

Oh for sure, Frankfurt is only 1h15min from where I am.

Over a year ago I shot the feature documentary A Year in Port on the BMCC 2.5K (plus some C300) and did all the finishing and color in Davinci Resolve. It's finally being released internationally on iTunes September 6th. Trailer is here: http://www.ayearinport.com/

Great job, Jamie!

I had no idea that “A Year in Champagne” and “A Year in Burgundy” were shot by you. A few days ago I almost pulled the trigger on iTunes to buy those docs. Guess now I have no choice anymore

BTW: Your writer was David Kennard, who also did the "Cosmos" series with Carl Sagan?
Great childhood memories, loved that series

Great job, Jamie!

I had no idea that “A Year in Champagne” and “A Year in Burgundy” were shot by you. A few days ago I almost pulled the trigger on iTunes to buy those docs. Guess now I have no choice anymore

BTW: Your writer was David Kennard, who also did the "Cosmos" series with Carl Sagan?
Great childhood memories, loved that series

Thanks Robert! The two earlier films are also streaming on Netflix (though not sure for how long as the contract with them was only for a year or two). Burgundy, being the first one, I'm quite fond of though it was made back when we were shooting with just a Magic Lantern hacked T2i and an HPX170 so it does look somewhat different than Champagne and Port.

David Kennard was the director, writer and narrator for all three wine films. Yes, he is the same one who did Cosmos along with many wonderful BBC and PBS series. I've been amazingly lucky to work with him over the last 8 years. In case you haven't seen it, I recommend the Connections series that he made with science historian James Burke. All shot in 16mm during the 70s. I love how it looks.
For a series called Keeping Score that we made with the San Francisco Symphony, we shot a lot of footage not too far from you around the Wörthersee. Such a beautiful place!

Remember Connections too. That was so good.


Sent from my iPad using Tapatalk

Hello everyone,

I just wanted to share my latest cinematography and color grading reel. This footage was mainly filmed with the BMCC with the slow motion shots being shot with the Canon T2i. The footage ranges from a few months old to a few years old. Let me know your thoughts and thank you for taking the time out of your day to watch.

-Justin

First quick outing with the BMMCC testing out the lovely 60 FPS. All handheld using cheep C mount lenses.

Terrific demo reel, Justin!

My friend had me over for a bonfire last night, and I instantly realized it would be a perfect opportunity for low light testing with the 4.6. I shot in RAW 4:1 assuming I'd need to tweak the ISO in Resolve. Overall, it did quite well, however FPN was pretty easy to spot. In Resolve, lowering the ISO from 1600 to 400 and 200 in some cases, and putting a centered power window to put a blue-ish tint to the image helped brighten up the picture, while burying the FPN.

Anyway, the video is here:



GEAR:

URSA Mini 4.6k EF
RAW 4:1 4608x1920
Leica Summicron-R 35mm @ f2
Heliopan IR Cut
Tiffen Black Pro-Mist 1/4
Daylight shots: Heliopan Variable ND

POST:

DaVinci Resolve 12.5.1
FilmConvert at Kodak 5207 with adjustments to gamma, curve, grain, and saturation
Power windows for color contrast (overkill?) and to softly bring up light on otherwise FPN-laden shots

MUSIC:

Household Blues - The Dada Weatherman

Hi everyone,

here's another one shot entirely on the BMPCC. Some RAW some ProRes.



Sixty seconds of Mondiali Antirazzisti 2016. A wonderful football festival in Italy. C&C is very welcome. Thanks!

Cheers,
Tobi

My first test shot with my new Ursa Mini 4.6K EF. It's kind of a cliffhanger scene for the first episode of a mini series I am producing. The episode was shot on Red Dragon, but I wanted to take my new camera for a shoot and so we did a quick cliffhanger scene, which we will probably re-shoot anyway. I just wanted to test the camera.

Settings:
UHD
RAW (lossless)
ISO 800
25 fps

By the way, I had the framing set to 2.4:1, but when loading the footage into DaVinci it was 1.85:1-footage. I had to "zoom in" in post and hence rendered in 1080p. I'm working with firmware 4.0. Did anyone experience the same issue?

I'll surely test that this weekend as I take the SLR Magic 85mm APO out for a spin.


Sent from my iPad using Tapatalk

Hi,

I did a candle lighted shooting with the URSA mini 4.6K
Setting: ISO 800, video mode, FW 3.3, SA 180, WB 2500K, ProRES422HQ UHD

There is NO grading or color correction done - just like directly out of the URSA mini.

We had 36 candles and to less time, so we could only do it three times.

Lenses: 35mm & 85mm prime Samyang/Walimex.

Have a look.

Christian

Here are some stills of a shoot i did last week.
-Ursa Mini 4.6K
-Rokinon 50mm DS Cine
-Graded by me!

Lovely, Adam. Any filters on the lens? Might be good to hang a white sheet opposite the window to bounce some light as a fill so we see her face more clearly in the last example.


Sent from my iPad using Tapatalk

Lovely, Adam. Any filters on the lens? Might be good to hang a white sheet opposite the window to bounce some light as a fill so we see her face more clearly in the last example.


Sent from my iPad using Tapatalk

No filters.

i actually like the darkened look, but i'll remember to bring some hanging sheets next time! good call.

Here are some stills of a shoot i did last week.
-Ursa Mini 4.6K
-Rokinon 50mm DS Cine
-Graded by me!

The lighting and your grading look great!

I like the nice rich shadows



.

I agree with Troy, Adam. But a bit of bounce can still give a nice shadow but add a little clarity if at that moment the actor is using her face to alter her expression in any way. If she's not altering expression, quite dark is fine.


Sent from my iPad using Tapatalk

Good call, Rick!

Here's some of the footage:

Very well done. We've all been there and want to know what happened there and what will happen.


Sent from my iPad using Tapatalk

This is my try to make a wedding cinema.
I use my Ursa mini 4K EF and DJI Phantom 3 Professional.
Shooted at UHD and downscale at full HD, 30fps.
Lens: Sigma 18-35 f1.8, Canon L 24-70 f.28 II, ND variable Hoya 3-400
Colorised in Adobe Speedgrade.


password: wedding cinema

Wow, Michael!


Sent from my iPad using Tapatalk

Hey Everyone!

So, earlier this year I had the pleasure to work on a feature film shot with the Blackmagic Cinema Camera 2.5K as the colorist. The director just released the trailer and I thought I'd share it hear with you for everyone to check it out.

Synopsis:

Down on their luck and desperate for a measure of success, two wannabe screenwriters decide to fully explore the depths of murder and crime within their story only to discover their obsession with their work has made it all too real.

Also, here is a Behind the Scenes video about the making of the movie.



Starring: Michael Rispoli (The Rum Diary), Patch Darragh (Sully), Charlotte Kirk (Vice), Michelle Veintimilla (Gotham), Hampton Fluker (Shades of Blue), and Jennifer Bassey (All My Children)

More information about "the Depths"
Official Website: thedepthsmovie.com
Facebook Page: facebook.com/HalcyonValorProductionInc

Tim, what were your design goals as the colourist? What were you wanting to imbue to the film?


Sent from my iPad using Tapatalk

Tim, what were your design goals as the colourist? What were you wanting to imbue to the film?


Sent from my iPad using Tapatalk

Rick, my goals were simple in that I wanted to make sure I respected the cinematography and lighting choices while also emphasizing certain moments. One such scene was the crime scene the main characters visit. I gave it that classic bluish tone, and worked to single out the dead body. There are also moments when one character does drugs that I emphasized through the color grade and using power windows, which I used to lead the audience through that character's descension into madness.

I wanted to make sure it felt like a noir and at the same time I didn't want the color grade to draw attention to itself. My hope was to inject a modern look that respected the content of the film's narrative.

Thanks, Tim. I thought of 'noir' as well, but a restrained version, so I'd say you met your goals. Congratulations!


Sent from my iPad using Tapatalk

Continuing the noir theme...

Spoof trailer for a fake sequel to The Seventh Victim (1943) created for a Halloween horror marathon film competition.

Shot on a GH4 + Blackmagic Video Assist 5", with Rokinon cine lenses (mostly 16mm and 35mm).

Here's a little clip we did for AKRIS this spring at paris fashion week.
It was run&gun style. Which is something we don't do very often. BMCC 2.5k as A and BMPCC as B camera.
Working with prime lenses isn't easy with the fast paced action going on at such live events. But with 2 cameras it's doable...
Also the lighting condition were difficult with the mix of tungsten/daylight at the first location. But color accuracy was crucial with all these shades of red (thank god for davinci).

The show itself was filmed by a crew from paris (i believe they used xdcams) and we just edited it to fit to the text&sound.

Recently had the chance to put our BMMCC on my "good ole" chinese cheapo gimbal for some event coverage in 60fps.. really happy with how it came out.. just slapped the best slomo shots together...

Here's a video i shot and edited using the BMCC over the course of last winter:

Enjoy