Blackmagic Forum

This one I love. Classic Cars! A Model! At the Airport! I was excited to shoot this one.

When my photographer friend invited me to join him at the Sarasota Airport to shoot a model with some classic cars I easily said yes. Above all else this made me want to do a car race short film.



Shot on URSA Mini Pro G2. Rokinon Lenses. Edited & Graded in DaVinci Resolve 16.

Some very nice shots in there especially with the sun going down. Lots of harsh contrast to manage with the sun beating down.

rick.lang wrote:Some very nice shots in there especially with the sun going down. Lots of harsh contrast to manage with the sun beating down.

Thank you, Rick! This video was a lot of fun to shoot.

Yeah, the hardest shots as far as harsh contrast was inside the hangar with the car right at the edge. Really needed an 18K HMI for that. Haha. All I had was the Forza 300, and that was never going to give enough light. I doubt the Forza 500 would either. Same with the new Aputure 600D just demoed this week. So Aputure and Nanlite need to start working on some even more powerful lights. Haha.

Good comment. I was just thinking about the 600D. Maybe using more powerful lights that can be dimmed is a safer path when acquiring lights. You picked the clip I had in mind.

How about an Arc fired, 20K fresnel spot/flood — it should give enough light, worked back in the film days.
Cheers

Denny Smith wrote:How about an Arc fired, 20K fresnel spot/flood — it should give enough light, worked back in the film days.
Cheers

Yeah, that could have worked. I just didn't get to plan the lighting situation. It was a bit of a last minute shoot.

Here's Some test footage I shoot with my Ursa mini 4.6k

Filmed: CDNG lossless.
Foley added (my own library)
Actors: Newbies.
Crew: Me plus one camera assistant.
Vintage Russian Lenses used:
37mm. MIR 1B f2.8.
58mm. Helios 44. f2.
20mm. MIR f3.5.

Colour corrected, Graded, Edited : Davince Resolve 16
( A small amount of 35mm film Grain added on the final node)
Audio : Sound Devices 702,
Microphone , Rode NTG - 8
Post audio I used " Waves" plugin to eq+balance audio.

All shot on aTripod, Apart from the Car Internal two shot, that was handheld, I used Davinci Resolve stabilisation, but there's still noticeable camera movement, There was zero space in the back of the small vintage car to set up a tripod, I was very happy with the Lenses, They performed beautifully and I was happy with the log footage. There's tons of detail in the highlights but overall not super sharp, Obviously this was a External day scene so light wasn't a issue, For fill I used one 500w LED.
Although these lenses are not very fast, For day light scenes they performed very well.
I am only a beginner colourist so my grading isn't perfect. Thanks for checking out the test footage.

Critical opinions most welcome, Tips welcome.
I'm thick skinned so don't be gentle.

Doris.

Feels like one part of a longer piece. Interesting beginning leaves me wanting to see more.

Like the car interior shot of their last supper but if you’re reshooting, it might be more interesting with the exterior view out the car windshield to show us a very lively scene rather than the static landscape as a contrast to the elderly couple’s last dance. The scum of the earth that is represented by the self-serving youngster has us wishing he would accidentally step into the path of a bus or stumble over the edge of a cliff as he backs away with the lady’s purse. In this scene he’s so predictable that he should die horribly unless the point of this character is a later redemption. Is he going to at least catch COVID-19 from the purse?

Shot on a day with blue sky but it does feel lifeless which may suit the depressing story. Overcast and rainy spirit not reinforced by the visuals but might be established by a different grade than what we’re shown here.

rick.lang wrote:Feels like one part of a longer piece. Interesting beginning leaves me wanting to see more.

Like the car interior shot of their last supper but if you’re reshooting, it might be more interesting with the exterior view out the car windshield to show us a very lively scene rather than the static landscape as a contrast to the elderly couple’s last dance. The scum of the earth that is represented by the self-serving youngster has us wishing he would accidentally step into the path of a bus or stumble over the edge of a cliff as he backs away with the lady’s purse. In this scene he’s so predictable that he should die horribly unless the point of this character is a later redemption. Is he going to at least catch COVID-19 from the purse?

Shot on a day with blue sky but it does feel lifeless which may suit the depressing story. Overcast and rainy spirit not reinforced by the visuals but might be established by a different grade than what we’re shown here.

Some very interesting points and observations Rick, Thank you, I only selected a few scenes to film from a feature length script that I had written, So yes its rather more of a montage really. I like your idea of perhaps trying another more darker, moodier look to the young couples scenes.
Oh the elderly couple! Your bang on right, Boy did I try to film front on through the windscreen, Due to the light and position of the sun, The glass reflections just made it impossible for me, we even moved the car a few times. Just couldn't get it to work, I Even considered having the couple arguing in the background. I couldn't get it to work.
I'm sure another more experienced Directors could of made it work better.
Much appreciated, It's all a learning curve.

D.

I'm working on a little music vidoe for another song my wife and I recorded at home.
I've got some phone footage, and was wondering what's the best approach to make them look less phone camera-ish.

Mark, as a dog person with another passing imminent sadly, this is such a cheerful reminder why we endure the pain of losing a dog. That clip around 01:10 should be on every SPCA web site and their kennels would be empty. Almost always the visuals make a good match to the song. What phone video? This is a time when story triumphs and any flaws just add to the immediacy and verisimilitude. Poetry.

rick.lang wrote:Mark, as a dog person with another passing imminent sadly, this is such a cheerful reminder why we endure the pain of losing a dog. That clip around 01:10 should be on every SPCA web site and their kennels would be empty. Almost always the visuals make a good match to the song. What phone video? This is a time when story triumphs and any flaws just add to the immediacy and verisimilitude. Poetry.

Well, if it didn't take you out of the experience, then the problem doesn't exist. It's always good to get an outside opinion.

Here's a mixture of cameras, but a few shots from the UMP G2.



Main cameras were ARRI Alexa Mini (300 Parody) and Canon C200 (main dialogue scenes of episode). The G2 was used for a B-Camera during the beach scene when the director is talking with the "actors" and then for a 300 FPS slow-motion second angle on a certain action moment. Goes to show you can cut this camera nicely with other cameras. The BTS camera montage was a Sony A7III.

Lots of fun to shoot and work on this.

Forgot to mention. The dog video was mostly shot with super takumar 35mm f2 and 50mm F1. 4.
BMPCC 4K. And the panasonic 12-35mm

Personally, I prefer the Takumars.

Hi Guys!

Shot this on the old BMPC4k the other day. Got up early and tried to get the sun coming up. Hope all you guys are ok.

Very nice shots! What lens?

Gary Collins wrote:Hi Guys!

Shot this on the old BMPC4k the other day. Got up early and tried to get the sun coming up. Hope all you guys are ok.

Hey Tbaker

Thanks buddy! I used an 85mm 1.4 and a Hypergonar 2x adapter. The grading is atrocious though - I really don't know how to grade yet, have to spend more time learning lol. But I really love the anamorphic lens honestly.

Stay safe buddy

Gary

Hey guys,

Here is a selection of shots taken with the Contax Zeiss 18mm on the BMPCC 6K :



Really love the look and feel of this lens and so glad to be able to shoot wider !!
My set is now complete for the moment .

Shot in Prores 422 UHD.

Let me know if you have any questions .

Cheers,
Flo

Florent Piovesan wrote:... My set is now complete for the moment .
...
Let me know if you have any questions .

Very pleasant. One question: How long is a “moment?”

rick.lang wrote:

Florent Piovesan wrote:... My set is now complete for the moment .
...
Let me know if you have any questions .

Very pleasant. One question: How long is a “moment?”

Thanks !! Haha until I feel like I need to extend the set from the 4 I already have, could be months or years

That’s the way I feel so just teasing.

Of course if I get the PL-MFT SpeedBooster next year that kind of gives me new primes although the 25mm acting like an 18mm is the only different focal length. 85->60, 50->35, 32->22, 25->18. I might be able to reduce the 11-20mm Tokina but I doubt I’d want to go wider, 11->8mm.

The video was shot in 2014. Lens Tamron SP 70-300mm F/4-5.6 Di VC USD A005 For Canon EF

What's up everyone!

Shot this with my UMP g1
Let me know your thoughts... Thinking of doing a small web series.


Sigma 18-35 glass
DaVinci Resolve

Of course, you’ve nowhere else to go with this and we’re just dying to know where you went for those few seconds! Apparently it wasn’t the pleasant experience we hoped you’d have. But inevitably you’re going to try again. Maybe next time will be better if you put on some sandals at least.

rick.lang wrote:Of course, you’ve nowhere else to go with this and we’re just dying to know where you went for those few seconds! Apparently it wasn’t the pleasant experience we hoped you’d have. But inevitably you’re going to try again. Maybe next time will be better if you put on some sandals at least.

Hahahaha yes! Hopefully Episode 2 will happen in the adventures of time-shirt.

Just wanted to share this as a Panasonic GH4 / GH5s user that has come across to Blackmagic for our 3rd FMV videogame project - I've been really happy with the results from these cameras . The very opening scenes at the radio console are shot with an Ursa Mini 4.6K but everything else is Pocket 4K for moving gimbal shots and Pocket 6K for the rest. Some days we were shooting 17 pages, so being being able to tweak the BRAW 5:1 in post became a bit of a life saver for things that were forgotten on shoot days. We had all three cameras for all 26 production days, but ended up leaving the Ursa Mini behind after day 5 because space was at a premium for a lot of the locations, and fitting actors into cars became a problem

Highly recommend all the gear, even though we almost certainly didn't have the time to stretch it like we should have done!

The first music video I ever shot, really looking for feedback and impressions!

password: mogimikevideoclip

While in lockdown I entered the 48hour film comp in New Zealand
So 48hours to make a up to 3min short film in your bubble
I got Whodunnit. There had to be an echo, a photo and an arc shot.
I didn't have to do musical but my friend is a musical director so why not... oh and lets use a cat to make it simple.
Shot on a DJI Mavic drone and a UM 4.6K with a Helios 58mm because shallow DOF makes shooting your self so much easier...

Some night time Anamorphic goodness... BM4K, 28mm taking lens and 1.5x Aviascope



Alex

Decent performance, Alex, what was your capture resolution on the BMPCC4K? I use UHD when paired with my 1.33x-65 Anamorphot.

Hey Rick,

Yes I use UHD and zoom slightly for the end result (just a personal preference)
I’ve managed to get the rig light and nimble enough to carry around so most shots are hand held.

Alex.

Hi Guys,

I haven't shared any work on here in a while so thought I would share this one with you.

I was one of 3 members of the camera team who shot this short around 2 1/2 years ago which has recently been released on DUST.

Directed by: Adam K Batchelor
Executive Producer: Haz Dulull
VFX Supervisor: John Sellings

Shot of the UM 4.6k & UM Pro (RAW CDNG)

I also have a podcast coming out soon talking to Adam about the project in detail so I can share that on here too if people are interested?!

Sean van Berlo wrote:The first music video I ever shot, really looking for feedback and impressions!

Nice work! I like it!

for this clip: BMD pocket 4K, handheld, 120fps, 1/5000 sec. exposure, ISO8000, 2K24p, Braw 8:1, temporal and spatial noise reduction, similarity stabilization, faster-small-12.5 motion blur added
Tokina 100mm Macro Cinema ATX at about f8+ with PL/MFT adapter

Great shot Jeff!


Sent from my iPhone using Tapatalk

Making feature documentaries — which typically take anywhere from 3 years to as many as 20 years to finish — it is quite rare that I actually have content to share here. But, today is a special day because one of the feature documentaries that I shot and graded is finally being released!

https://www.thebookmakersfilm.com

It was shot over 6 years almost entirely on BMD cameras — original BMCC, original BMPCC, 4K Production Camera, Ursa Mini 4.6K, Ursa Mini Pro G1 and Ursa Mini Pro G2 — and was graded in DaVinci Resolve

It is screening at a few film festivals before showing nationally on PBS in the fall. After that it will likely make its way to either Netflix or Amazon (maybe both).

My God, Jaime, that looks amazing! Great use of color, movement, depth of field, to evoke that magical and nostalgic sensation of the field that you are covering without it being overly stylized.

Quality Image, Quality storytelling.
A well deserved Festival nominee or win would not surprise me.

Doris.

Jamie LeJeune wrote:Making feature documentaries — which typically take anywhere from 3 years to as many as 20 years to finish — it is quite rare that I actually have content to share here. But, today is a special day because one of the feature documentaries that I shot and graded is finally being released!

https://www.thebookmakersfilm.com

It was shot over 6 years almost entirely on BMD cameras — original BMCC, original BMPCC, 4K Production Camera, Ursa Mini 4.6K, Ursa Mini Pro G1 and Ursa Mini Pro G2 — and was graded in DaVinci Resolve

It is screening at a few film festivals before showing nationally on PBS in the fall. After that it will likely make its way to either Netflix or Amazon (maybe both).

Jamie, the shots on the trailer looks awesome and the content is very interesting. I'll be keeping a watch for it on Netflix or Amazon, or PBS. Best wishes in going through the festival process. Been there and done that with the festival circuit and I know it's a lot of work, so kudos. I've never done a documentary but have heard of projects taking so many years to make. I sometimes wonder how the return on investment (ROI) is realize or is it rewarded through sheer satisfaction and love for the art or conviction about the story being told.

Jamie LeJeune wrote:Making feature documentaries — which typically take anywhere from 3 years to as many as 20 years to finish — it is quite rare that I actually have content to share here.

Just adding to the praise of others -- this looks fantastic and I passed the link on to a friend of mine who is a professional book maker herself.

It is amazing how long documentaries can take. I was hired to play music for a "nearly completed" documentary in January 2015 and the producer estimated it would be ready by March. I got an email from him two days ago saying that it's finally being released.

Many thanks to all for your very kind comments on The Bookmakers
I will update my post with the PBS air dates and links to view the full feature as soon as it's up online.

Very well done and the trailer is an excellent introduction. Looking forward to seeing the release. Congratulations and wishing this documentary does well for all involved.

Jamie, definitely got it on my watch list... nice trailer

Jamie, another outstanding project. You have a very good eye, and a well grounded vision in your story telling. Congratulations.
Cheers

Jamie LeJeune wrote:Making feature documentaries — which typically take anywhere from 3 years to as many as 20 years to finish — it is quite rare that I actually have content to share here. But, today is a special day because one of the feature documentaries that I shot and graded is finally being released!

https://www.thebookmakersfilm.com

It was shot over 6 years almost entirely on BMD cameras — original BMCC, original BMPCC, 4K Production Camera, Ursa Mini 4.6K, Ursa Mini Pro G1 and Ursa Mini Pro G2 — and was graded in DaVinci Resolve

It is screening at a few film festivals before showing nationally on PBS in the fall. After that it will likely make its way to either Netflix or Amazon (maybe both).

Class DOP skill here. Congrats. I like the use of wide angle to give a personal touch on some of the details and the movement of the camera. Did you use slides or some sort of gimbal? Good lighting on the subjects.

There should also be some credit to the editor and sound dep. Did you make the trailer all by yourself or was the rest of the team involved? Love the timing, beat, score and sound and picture. Its a great match and masterly put together.

Nice work and great subject. Would love to see the full-length version.

James Alexander Barnett wrote:Hi Guys,

I haven't shared any work on here in a while so thought I would share this one with you.

I was one of 3 members of the camera team who shot this short around 2 1/2 years ago which has recently been released on DUST.

Directed by: Adam K Batchelor
Executive Producer: Haz Dulull
VFX Supervisor: John Sellings

Shot of the UM 4.6k & UM Pro (RAW CDNG)

I also have a podcast coming out soon talking to Adam about the project in detail so I can share that on here too if people are interested?!

HA! that was awesome. A lot of effort putt into this I would imagen. I got drawn into it. Loved the opening shot. The woman leading actress is great.

Did you shoot low shutter in the beginning inside shot? The only thing I would put my finger on is the sound. The voice over is a bit hollow in some scenes. Like the are standing to far away from the mic. Effects and music are quite good though overall so no biggie. Sound is hard.

Oyvind Fiksdal wrote:Class DOP skill here. Congrats. I like the use of wide angle to give a personal touch on some of the details and the movement of the camera. Did you use slides or some sort of gimbal? Good lighting on the subjects.

Thanks! Glad you like it
Over the years we shot it I used a lot of different cameras and various types of rigging. None of it was anything fancy like a Fisher dolly or time consuming to build like a Dana Dolly. Those are amazing tools, but all the shoots were a crew of just two of us — the director James Kennard and I — so we always had to travel light and work fast. If my memory is correct the shots that appear in the trailer consist of the following support gear:
- various Sachtler and Miller fluid head tripods
- Letus Helix Jr. (with the original BMPCC mounted on it)
- Cinevate Atlas
- Edelkrone Wing Pro
- Cinetics Skate Plate
- Snaptrack Cinerails
- and just plain old handheld

Oyvind Fiksdal wrote: There should also be some credit to the editor and sound dep. Did you make the trailer all by yourself or was the rest of the team involved? Love the timing, beat, score and sound and picture. Its a great match and masterly put together.

The trailer includes a billing block with the credits, but just to give you more detail the film was mostly made by just two of us. James Kennard deserves the lion's share of the credit for handling direction, producing, editing, and on at least half of the shoots he also ran a second camera. I was the cinematographer and colorist for the film — so essentially I was responsible for the images but, of course, it being mostly just James and I, we would plan the shooting together and I would review the edits and help shape the story too. As for audio, James and I both did our best to deal with sound on the two camera shoots, and for the days that were single camera, I'd be operating camera and James would be on sound. Besides James and I, the final sound mix was done by Mark Escott at Phoenix Sound Design in San Francisco and David Kennard was Senior Producer (he mostly handled the contracts and funding, though he did give input on the story and editing as he is also an amazingly talented director and writer who has had a career going to back to his days at the BBC in the early 60s) and the accounting was handled by Cheryl King. The film funders got EP credits, but frankly all they did was sign the checks.

The film really was a labor of love for us. We all worked at less than 50% of our normal rates, and most of the production equipment that we used I donated to the project.

Thanks for the effort and cost details. Can you comment on the income side at all, not in terms of the cheques being written to finance the documentary, in terms of the income the documentary will earn?

In your first post, you say that this will be shown at film festivals in the coming months. Any plans for a screening in New York?

I'm keenly interested in seeing this as I have a relative and a close friend who design and make letterpress books.

Thanks.

Jamie LeJeune wrote:

Oyvind Fiksdal wrote:Class DOP skill here. Congrats. I like the use of wide angle to give a personal touch on some of the details and the movement of the camera. Did you use slides or some sort of gimbal? Good lighting on the subjects.

Thanks! Glad you like it
Over the years we shot it I used a lot of different cameras and various types of rigging. None of it was anything fancy like a Fisher dolly or time consuming to build like a Dana Dolly. Those are amazing tools, but all the shoots were a crew of just two of us — the director James Kennard and I — so we always had to travel light and work fast. If my memory is correct the shots that appear in the trailer consist of the following support gear:
- various Sachtler and Miller fluid head tripods
- Letus Helix Jr. (with the original BMPCC mounted on it)
- Cinevate Atlas
- Edelkrone Wing Pro
- Cinetics Skate Plate
- Snaptrack Cinerails
- and just plain old handheld

Oyvind Fiksdal wrote: There should also be some credit to the editor and sound dep. Did you make the trailer all by yourself or was the rest of the team involved? Love the timing, beat, score and sound and picture. Its a great match and masterly put together.

The trailer includes a billing block with the credits, but just to give you more detail the film was mostly made by just two of us. James Kennard deserves the lion's share of the credit for handling direction, producing, editing, and on at least half of the shoots he also ran a second camera. I was the cinematographer and colorist for the film — so essentially I was responsible for the images but, of course, it being mostly just James and I, we would plan the shooting together and I would review the edits and help shape the story too. As for audio, James and I both did our best to deal with sound on the two camera shoots, and for the days that were single camera, I'd be operating camera and James would be on sound. Besides James and I, the final sound mix was done by Mark Escott at Phoenix Sound Design in San Francisco and David Kennard was Senior Producer (he mostly handled the contracts and funding, though he did give input on the story and editing as he is also an amazingly talented director and writer who has had a career going to back to his days at the BBC in the early 60s) and the accounting was handled by Cheryl King. The film funders got EP credits, but frankly all they did was sign the checks.

The film really was a labor of love for us. We all worked at less than 50% of our normal rates, and most of the production equipment that we used I donated to the project.