rtwomey

Thanks Stanley, we were fortunate to have a great composer write a score. It definitely elevates the film I think. I'm actually not sure about the scale of the models, the director and art director put all the time into that department.

Glad you enjoyed it. 5d was used for any of the extreme Macro stuff of the models. We had limited film stock and the models needed lots of takes. Used Film Convert to try match the raw footage to the 16mm. 

Graduate film shot with Zeiss Super Speeds on S16mm Kodak Vision 3 250D & 200T along with some marco shots on a 5D mkIII with ML Raw. It was made about two years ago but has been going through festivals until now.

I can't understand how anyone can justify what Clarkson did. Assaulting a co-worker and calling them a "lazy Irish cunt" should not be tolerated. As an Irish person who works below the line I'm pleased to see how the BBC have responded. Film and TV crews work long hard hours, there's no way they should be subjected to abuse.

I've never even heard of a "Fashion Film" 

Haha not really sure what's the best term for something like this. 'Lookbook' seems to get used a lot in the world of fashion. My friend (the director) and I met up one day to discuss shooting something together. He knew a graduate designer who wanted some good shots of her stuff and the rest fell into place from there. 

Glad you enjoyed it, thanks for the kind words. 

Thanks andrgl.

The lens used in the forest was the Samyang 35mm t1.5 wide open. We were fighting light at this stage as we'd ran over in an earlier location. 

This is a short fashion film that a few friends and I made recently for a graduate of the National College of Art & Design in Dublin, Ireland.

It was a non-commercial gig that we did with no money by calling in some favors. We filmed in two different locations, one in Dublin and another in Tullamore over the course of one day. A lot of the shots are available light with diff or bounce. The opening sequence in the science lab was lit with a couple of redheads and daylight. Small LED lights were used in places. It was mainly shot on Samyang Cine lenses 35mm & 85mm and a Canon 50mm f1.4.

Everything was shot raw either in 1080p 25fps or 50fps at a lower res. ProRes files were made in Resolve using the cinelog lut. The edit and grade was handled by the director. The original plan was to relink and for me to grade in Resolve but I moved to NYC recently so the director working from the ProRes files was the easiest solution.

Thanks for watching, some other stuff shot on everything from 16mm film to Red can be seen on my site: www.richardtwomey.com

Anyone speculating that the ML raw workflow is difficult needs to take a look at the two apps above.

I've been using a lot of different cameras recently so I haven't stayed up to date with ML Raw. What do the two programs you mention bring in terms of workflow improvements? I used the RawMagic beta and Resolve 10 a lot at the beginning of the year on a couple of projects.

Oh I know. I was just trying out the workflow linked in my original post. It gives the files a more standardised naming scheme. One solution I can think of is to format cards is exFat so that they're single files. 

My solution was to have the director email me screen grabs of his back up so that I could rename the files as they were. How do others deal with renaming their files?

Hi,

Over the weekend I shot a short film using the Magic Lantern raw hack on a 5D mk III. Everything went perfectly and now I want to make proxies for the director to start his edit. 

The problem I'm running into this time is spanned 4gb+ files. I used automator to rename all of the files in each card with a naming scheme of r001c0001 and so on. R for roll and C for clip. When I dump all of these files into RawMagic it only see the takes that are in smaller than 4gb or unspanned. I assume by messing with the file naming I've broken the link between the spanned files. 

Can anyone think of a solution for this problem?