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Its not always about latest and greatest

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I guys i been going through my huge collection of videos that i keep for inspiration came across this video shoot on 60d and 35mm and 100mm lens that always inspire me to be better. I know raw is cool right now but i believe no about of raw and cc can replace bad story line or video that was shoot bad you know cam movement and framing. I have my black magic 2.5k still in he box not open, wont open it until i do few more project with 60d,

 

 

 

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

for as long as I have been on these film/video forums.... The holy grail has been the "film look".

 

first it was "we must have 24p", then "we must use 1/48th", then "we need large sensors", then "we need to add film looks to the grade", then "we need more dynamic range", then "we need raw". I'm sure next it will be something like "we need global shutter".

 

All the above helps... but the fundamentals of the "film look" remain the same... The craft. Composition, lighting, camera movement and sound. Get those things right and you could use any camera from the last few years and it will look like a good production (of course, the acting and script need to back that up).

 

Vincent Larofet (?) was mocked for saying the MoVI was the next big thing, but i'm 100% with him. It is a tool for the craft, not the pixel peepers.

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Looks lovely! I still shoot with 600D too, the other day I shot on 600D in the morning and Red Epic in the afternoon, was a mad day, but just goes to show!

 

The post is lovely on this video

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This video really shows what you can do if you apply yourself with the tools in hand.

I recently shot a music video for a friend in RAW with my 60D & well, "Pain In The Arse" doesn't even come close to describing my feelings.

Shooting a few RAW snaps of your cats, random [street] stuff, flowers or your kid etc... & then posting just doesn't get close to how much extra unnecessary hassle it really is for a proper project.

As far as i'm concerned, if its for web delivery then i'm still going to grab my 60D first without any hesitation, as i know that i can get exactly what i want in-camera & then all i have to do is tweek it a tiny bit in post.

 

IMHO if you are of the mentality that says "we'll just fix it in post", then you really should be spending that wasted time learning how not to get yourself into that position in the first place.

 

Am going to film a short doc with the Pocket (ProRes - as RAW can go F**K ITSELF!), but i just know that it won't be as straight forward a process as using my 60D.

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How to use raw...

 

Press record.

 

Swap card when full.

 

Record audio separately.

 

Edit in Resolve.

 

Sync with the audio.

 

It ain't that hard… alas devil is in the details… and that is why I wrote the book.

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The video in the OP is lovely looking. But they went to a lot of effort with the locations, crew, rigging, camera movement, light, makeup, costumes, props, organisation, logistics, ideas, direction, cinematography, distribution...

 

Yet shot it in crap-o-vision with a 60D. It doesn't make any sense.

 

I must say they played to the strengths of the camera very well and avoided any nastiness and the low-fi grade does help but imagine the extra impact those frankly amazing visuals would have had with a better camera.

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Most people wouldn't be able to make something that good with a RED or an Arri. With todays technology and choice the camera is the last thing holding someone back. Sadly some folk here will never be satisfied with what we have.

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but i believe no about of raw and cc can replace bad story line or video that was shoot bad you know cam movement and framing. I have my black magic 2.5k still in he box not open, wont open it until i do few more project with 60d,

 

Sorry, if you have a better camera and you're not using it you're only hurting yourself.   I like my blacks, black and my whites white.  There are no blacks in the film you posted, only grays.  Does that ruin the film? No.  Would my wife notice?  No.  Do I notice.  Yes.  Does it bother me?  Yes.  It looks fake to me.  Should I lie about that, not mater how good the story is?  (Andrew started a thread where we can/have discussed general aesthetics).

 

I get annoyed when I watch old movies on my LCD TV and they get that over-contrasty video look (which wasn't in the film).  If a better TV comes out, should I leave it in the box just because that's what everyone else has?

 

If you like that look, and that's what you want, by all means, use whatever camera you need to get it.  But in 10 years, when everyone forgets exactly when these new high dynamic range cameras came on the market, don't blame us if your video looks 20, not 10 years old :)

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Obviously craft is responsible for 90% of the success. It's absolutely more important to exhaust all ressources in front of the camera than higher resolution, bit rate, bit depth, film look parameters asf. You can see it everywhere: People think without the latest big thing it's not worth the effort. But Andrew doesn't like these discussions very much, and I think I understand why. It's a truism, like the 'inner values'-moral. Who raises this topic at a fashion show certainly has chosen the wrong place.

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The video in the OP is lovely looking. But they went to a lot of effort with the locations, crew, rigging, camera movement, light, makeup, costumes, props, organisation, logistics, ideas, direction, cinematography, distribution...

 

Yet shot it in crap-o-vision with a 60D. It doesn't make any sense.

 

It makes 100% sense if that is all they could afford.

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Who raises this topic at a fashion show certainly has chosen the wrong place.

 

That clip (with its scantily clad women) reminds me of an interview I read of a producer of pornography.  He said, the interesting thing about porn is if you go out and shoot the worse piece of porn ever recorded, with the ugliest person and worst production values SOMEONE WILL BUY IT.  He said no matter how much porn is created, that doesn't change.  

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Yet shot it in crap-o-vision with a 60D. It doesn't make any sense.

 

I didn't get this the last time. You didn't set 'crap-o-vision' between quotation marks. Tell me you meant it at least ironic. Or is this indeed the 'latest&greatest'-forum, hyping only today's 'nerd-o-vision', which trivially becomes tomorrow's 'crap-o-vision'? I am the last person here who is against quality, and I always said that resolution was about quantity (size, actually) and that we needed to pay attention to colors and tones. But a better technical quality means nothing if there never is a creative use of it other than posting more landscapes and flowers. You will know them by their fruits. By their cats, dogs and front gardens.

 

That clip (with its scantily clad women) reminds me of an interview I read of a producer of pornography.  He said, the interesting thing about porn is if you go out and shoot the worse piece of porn ever recorded, with the ugliest person and worst production values SOMEONE WILL BUY IT.  He said no matter how much porn is created, that doesn't change.  

 

Basic instinct. Simple, primitive. Reminds me of a girl we met when shooting a music video. She was strikingly beautiful. I made the remark. My friend said, but she is thick as a brick. I said, remember, she's only seventeen. He asked, do you mean she will ripen?

 

Another truism: You can't f*ck inner values. We all judge a book by it's cover. 

 

But we judge differently. If the title font is veeery big, embossed and gold and if there is a sticker beneath it shouting best novel of the year, I know it's a barbecue igniter. 

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How to use raw...

 

Press record.

 

Swap card when full.

 

Record audio separately.

 

Edit in Resolve.

 

Sync with the audio.

 

It ain't that hard… alas devil is in the details… and that is why I wrote the book.

Buy expensive computer capable of editing raw. Buy tons of hard drives :) 

 

I agree with you that it isn't all that daunting to shoot in raw. Just too expensive for me!

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Yet shot it in crap-o-vision with a 60D. It doesn't make any sense.

 

 

 

That's the bottom line.  Trust me we have been waging this same war in the photo world for years.  There is always some clown who will blurt out I use an iphone.  There is no way I am going to pay thousands of dollars on airplane tickets, room and board, charter boat trips and then whip out an iphone and take a snap.  I'll take my DSLR, some L glass, and my medium format camera with Velvia 50 and TMAX 100.  Once you've spent the time and money why screw around?

 

I shoot a 600D but that is because of economics.  If it is all you have go for it.  But if you can afford to use something that doesn't output overcompress video you would be insane not to.

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The video in the OP is lovely looking. But they went to a lot of effort with the locations, crew, rigging, camera movement, light, makeup, costumes, props, organisation, logistics, ideas, direction, cinematography, distribution...

 

Yet shot it in crap-o-vision with a 60D. It doesn't make any sense.

 

I must say they played to the strengths of the camera very well and avoided any nastiness and the low-fi grade does help but imagine the extra impact those frankly amazing visuals would have had with a better camera.

Andrew there was not big set up at all no lightning at all or location scouting, if you read his interview it was just few fiends doing staff.

 

Imagine me driving my kids in to school in rolls royce but i have family car and i make beast of what i have. He has some work done on red cam and it does not come close to what he did with 60d i did not like the look of red at all

 

 

Interview

http://www.lightsfilmschool.com/blog/canon-60d-short-film/2026/

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This video really shows what you can do if you apply yourself with the tools in hand.

I recently shot a music video for a friend in RAW with my 60D & well, "Pain In The Arse" doesn't even come close to describing my feelings.

Shooting a few RAW snaps of your cats, random [street] stuff, flowers or your kid etc... & then posting just doesn't get close to how much extra unnecessary hassle it really is for a proper project.

As far as i'm concerned, if its for web delivery then i'm still going to grab my 60D first without any hesitation, as i know that i can get exactly what i want in-camera & then all i have to do is tweek it a tiny bit in post.

 

IMHO if you are of the mentality that says "we'll just fix it in post", then you really should be spending that wasted time learning how not to get yourself into that position in the first place.

 

Am going to film a short doc with the Pocket (ProRes - as RAW can go F**K ITSELF!), but i just know that it won't be as straight forward a process as using my 60D.

so you shoot raw with 60d how many frames did you get and what card did you use? thanks

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The video in the OP is lovely looking. But they went to a lot of effort with the locations, crew, rigging, camera movement, light, makeup, costumes, props, organisation, logistics, ideas, direction, cinematography, distribution...

 

Yet shot it in crap-o-vision with a 60D. It doesn't make any sense.

 

No it makes perfect sense. Going backwards (getting a great cam and sucking with everything else) is something that doesn't make sense. 

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so you shoot raw with 60d how many frames did you get and what card did you use? thanks

I've only done one thing with RAW & the post work on it was a bitch.

Andrew's comments were a bit insulting really - yes its easy to film in RAW (DOH!), but Resolve is a no go for me & my computer, also storage (over 1 hours worth of footage for a 5min video) & not forgetting matching up the clips when colour correcting etc...

Using RAW is a very long & expensive process - hobbyists just don't really understand the need for fast turn around.

 

I used Transcend Class 10 cards & if memory serves me well i was shooting with a crop of 1280x854 (3:2) with a x1.5 Anamorphic, which gave me 13secs bursts.

I used RAWMagic to unpack the files, Raw Photo Processor 64 to generate TIFF files (for speed I only added a touch of Sharpening & left them with a flat log colour space) & then QT7 to create ProRes 422 HQ .mov files so i could import into FCPX.

Basically it took me a while to get a good/easy workflow going & shooting, as always, was not the most complicated part of the process!

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