- Posts: 175
- Joined: Wed Sep 26, 2012 8:02 am
Tue Jan 08, 2013 10:53 am
Hello all,
Just thought I'd post an update/review of using the camera on its first paid gig.
It came in yesterday morning, and was for a shoot in the afternoon - very quick turnaround and no time for planning!
It was a chroma key shoot, and involved a footballer doing some tricks and flicks with a football. The final result is going inside an app, so until I receive clearance from the client I can't post things on here.
We used a studio at a local university with excellent facilities - nice big soundproof chroma stage with ceiling lights, plus our dedo kit and softboxes where needed. In the rush to get kit prepped for the job, we forgot the PSU for our external HD-SDI monitor (d'oh!) but we quickly developed a really good workflow. The camera was connected via thunderbolt to a Macbook Pro Retina, and we captured Pro-Res files via Premiere CS6. The internal SSD captured RAW footage for us to work on after completing the shoot.
Camera settings were:
ISO 800
Tokina 11-16mm lens
Shutter angle 90 degrees
30 fps
The footage had lots of fast motion so we wanted to use the highest frame rates and shutter angles we could to avoid motion blur. Framing was full body which meant that we had to light the whole subject, not just face or head and shoulders (also meaning that hair wasn't going to be too problematic!).
After a few takes I started to check the footage inside FCPX so that I could use the real time keyer - results were fantastic. The last few times we have completed similar work I've used an EX1 with good results, but these have been really quite astonishing. Lots of motion, shiny surface on the football and the boots and the simple keying tool inside FCPX has produced some great results. Later this week I'm going to use After Effects on the Pro-Res files - I'm just about to have a look at the RAW images in Resolve. Although the lighting setup we used for the subject has left some shadows on the green background, garbage masks in AE will immediately solve this (although FCPX managed it really easily). The attached image is mid action - disregarding the shadows on the rear wall (our lighting techniques weren't perfect, but a rushed setup is my excuse!) it looks good.
More to follow...
Just thought I'd post an update/review of using the camera on its first paid gig.
It came in yesterday morning, and was for a shoot in the afternoon - very quick turnaround and no time for planning!
It was a chroma key shoot, and involved a footballer doing some tricks and flicks with a football. The final result is going inside an app, so until I receive clearance from the client I can't post things on here.
We used a studio at a local university with excellent facilities - nice big soundproof chroma stage with ceiling lights, plus our dedo kit and softboxes where needed. In the rush to get kit prepped for the job, we forgot the PSU for our external HD-SDI monitor (d'oh!) but we quickly developed a really good workflow. The camera was connected via thunderbolt to a Macbook Pro Retina, and we captured Pro-Res files via Premiere CS6. The internal SSD captured RAW footage for us to work on after completing the shoot.
Camera settings were:
ISO 800
Tokina 11-16mm lens
Shutter angle 90 degrees
30 fps
The footage had lots of fast motion so we wanted to use the highest frame rates and shutter angles we could to avoid motion blur. Framing was full body which meant that we had to light the whole subject, not just face or head and shoulders (also meaning that hair wasn't going to be too problematic!).
After a few takes I started to check the footage inside FCPX so that I could use the real time keyer - results were fantastic. The last few times we have completed similar work I've used an EX1 with good results, but these have been really quite astonishing. Lots of motion, shiny surface on the football and the boots and the simple keying tool inside FCPX has produced some great results. Later this week I'm going to use After Effects on the Pro-Res files - I'm just about to have a look at the RAW images in Resolve. Although the lighting setup we used for the subject has left some shadows on the green background, garbage masks in AE will immediately solve this (although FCPX managed it really easily). The attached image is mid action - disregarding the shadows on the rear wall (our lighting techniques weren't perfect, but a rushed setup is my excuse!) it looks good.
More to follow...
- Attachments
-
- Sequence 01.jpg (165.17 KiB) Viewed 2429 times
Tom Sefton
Owner
Pollen Studio
www.pollenstudio.co.uk
Owner
Pollen Studio
www.pollenstudio.co.uk
