Ok guys, sorry for the wait. I hope I did this properly. Here are 4 examples of some of the work that Flying Spot does in Seattle. Two timelapses and two regular shots. And no, I don't work for Flying Spot.....
ftp://ftp.filmshooting.com/upload/video ... elapse.mov
ftp://ftp.filmshooting.com/upload/video ... lapse1.mov
ftp://ftp.filmshooting.com/upload/video ... ty_Web.mov
ftp://ftp.filmshooting.com/upload/video ... y_Web1.mov
Uploaded clips Flying Spot Film Transfer
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ericMartinJarvies
- Senior member
- Posts: 1274
- Joined: Mon Mar 03, 2003 2:26 am
- Location: cabo san lucas, bcs, mexico
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hello,
for starters, the last two links are not working correctly. secondly, the first two look GREAT!!! what kind of camera did you use and what film stock did you use? did you use an external meter? what on-camera settings were used for the sunrise? what lens did you use and what settings?
very rich colors and overall nice to look at. i like it alot.
for starters, the last two links are not working correctly. secondly, the first two look GREAT!!! what kind of camera did you use and what film stock did you use? did you use an external meter? what on-camera settings were used for the sunrise? what lens did you use and what settings?
very rich colors and overall nice to look at. i like it alot.
eric martin jarvies
#7 avenido jarvies
pueblo viejo
cabo san lucas, baja california sur. mexico
cp 23410
044 624 141 9661
#7 avenido jarvies
pueblo viejo
cabo san lucas, baja california sur. mexico
cp 23410
044 624 141 9661
oops sorry, I forgot to answer your questions. These were shot on a Nizo Professional with K-40 filmstock at one frame every 6 sec. for the timelapses. The heli shot is realtime at 24fps and the snowboard shot is at 54fps. The compression for web doesn't do the non timelapse shots much justice for shadow detail but I guess I can't do much about that. Everthing was shot with the in camera meter and the action shots were shot before I had a chance to do my first S8 session at Flying Spot so they were a bit underexposed. Tweaking them brought out a bit more grain than I'd like but luckily, I found this out before I shot the bulk of my movie, (that footage is getting x-fer'd tonight). I found out after advice from some of the folks on this forum that exposing a stop over in snowy conditions actually was not enough for my camera and in actuality I've discovered that two stops doesn't even quite cut it. Believe it or not, the stuff I shot 2 stops over was a bit underexposed when we put it up on the telecine last friday for my 2nd session. Its close, and we were able to tweak it to look great but 3 stops over should nail it in the snow. Seems strange but that is how my particular camera reacts in the bright sunny snow conditions. I can tell you that the stuff shot one stop over does not look as good as the stuff shot two stops over and I can only imagine what the footage that is 3 stops over will look like in terms of less grain and better saturation. Once you get into the transfer, the more you have to tweak it, the more you are going to start to see the limitations of K-40
Basstruc, you crack me up, you truly do....
As I was writing up my past post a minute ago, my business partner turned to me and said, "I bet someone will claim that this is 16mm". He said this, I clicked the submit button, and then saw your post.
The funny thing is you can spew all you want about how it looks because I'm soooo glad that I didn't have to carry my Arri S all over the backcountry to get these shots. My Nizo is so much lighter....
As I was writing up my past post a minute ago, my business partner turned to me and said, "I bet someone will claim that this is 16mm". He said this, I clicked the submit button, and then saw your post.
The funny thing is you can spew all you want about how it looks because I'm soooo glad that I didn't have to carry my Arri S all over the backcountry to get these shots. My Nizo is so much lighter....
shure it's a downsized and compressed file but it seams that your shoots are very fine fine definition. Looked like 16mm to me, much on the slow mo. shoots, maybe because of quick exposure time.
_______________________________________
"Composing is improvising slower" Bill EVANS
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"Composing is improvising slower" Bill EVANS
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Yes Flying spot rules. Which guy was your colorist? We have been using Eric (the night guy) for our 16mm for about 3 years now. He is amazing. Once we started using him we realized that just getting any old rank transfer is not enough, you got to have someone who truly has a talent for coloring film. I just got our latest footage back yesterday, never ceases to amaze me. He told us they now had a S8 gate, but I had no idea S8 could look so good! I'd love to see your stuff on an NTSC monitor, Where are you located?
-Tim
-Tim
Hehe, because it does look like 16mm. Well done. If you could just put full uncompressed pics or little sample, we would really like to analyze it.Basstruc, you crack me up, you truly do....
As I was writing up my past post a minute ago, my business partner turned to me and said, "I bet someone will claim that this is 16mm". He said this, I clicked the submit button, and then saw your post
_______________________________________
"Composing is improvising slower" Bill EVANS
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"Composing is improvising slower" Bill EVANS
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Hi tim,
Thanks, yes we use Eric as well for our x-fers. We have done thousands of feet of 16mm over the last 5 years with those guys and they rock for sure. Both Eric and Jeff are truly talented people. I've been talking with them about getting a S8 gate for quite some time so when he told me that they finally had one, I was relieved since this movie is almost entirely shot on this format. They have never done us wrong in the past, so I knew the search was over for good S8 telecine. As I mentioned in my previous post, I only got two shots x-fer'd at my optimal f/stop-exposure before we had to quit last friday night so I'm excited to see what my stuff looks like tonight. From what I saw of those tow shots they will look even better than my previous stuff. I'm based out of Portland, Oregon. I have a small production company, Frontside Productions and I'm a partner at Bump Films. We do freelance action sports work for TV as well as a full length 16mm wakeboard film each year. You can check out some clips of our movies at http://www.bumpfilms.com
Thanks, yes we use Eric as well for our x-fers. We have done thousands of feet of 16mm over the last 5 years with those guys and they rock for sure. Both Eric and Jeff are truly talented people. I've been talking with them about getting a S8 gate for quite some time so when he told me that they finally had one, I was relieved since this movie is almost entirely shot on this format. They have never done us wrong in the past, so I knew the search was over for good S8 telecine. As I mentioned in my previous post, I only got two shots x-fer'd at my optimal f/stop-exposure before we had to quit last friday night so I'm excited to see what my stuff looks like tonight. From what I saw of those tow shots they will look even better than my previous stuff. I'm based out of Portland, Oregon. I have a small production company, Frontside Productions and I'm a partner at Bump Films. We do freelance action sports work for TV as well as a full length 16mm wakeboard film each year. You can check out some clips of our movies at http://www.bumpfilms.com
Shralp,
What a small world, I think I have met you, or at least your partner. Are you Mark Bame, or do you work with him? I made "Project Watson" a few years ago with Justin Stephens, He kept making Wake films and I'm doing BMX, Skateboarding, Music etc. I met Mark while doing P.Watson. I worked for Dog on a Bike Films for a few years and then Steve and I broke off from them and Started our own thing. I'd love to see your films, particularly this one. Wanna trade DVD's? Drop me an email
irwintim@yahoo.com
Tim
What a small world, I think I have met you, or at least your partner. Are you Mark Bame, or do you work with him? I made "Project Watson" a few years ago with Justin Stephens, He kept making Wake films and I'm doing BMX, Skateboarding, Music etc. I met Mark while doing P.Watson. I worked for Dog on a Bike Films for a few years and then Steve and I broke off from them and Started our own thing. I'd love to see your films, particularly this one. Wanna trade DVD's? Drop me an email
irwintim@yahoo.com
Tim
Hi Shralp.
Great work with the mountain footage! Very good choice of equipment too. I've also used Nizo's for snow shots. Seems like the guys at Flying Spot know what they are doing. I might give them a try in the future. What are their rates like?
Correctly exposing kodachrome in snow scenes does take some trial and error but it looks like you're well on your way. It's a trade-off really....your snowboarder was looking pretty dark but the definition of the fresh powder was beautiful. if you open the iris too much the snow would start to look pretty featureless and white all over.
Are you really overexposing by 2 to 3 f-stops? When I used to shoot in the snow with a Nizo Pro./800/801 Macro on a sunny day, I'd set the lens to wide angle and fill the frame 50/50 (half snow , half sky). The meter would typically read (f-16 to f.22). I'd then turn the exposure knob to manual and set the iris one f-stop brighter (f11 to f16). A very rough way of doing things but it normally did the trick. On overcast/shady days, less compensation was required. I've also shot 7245 (50D) in 16mm and pro8mm and the extra latitude was a bonus but kodachrome gives you so much for such a small price.
The only other reason that may explain sketchy lightmeter readings is that you have 1.55v meter batteries...nope!! You have the Professional which doesn't require dedicated meter batteries.
It's nice having such a compact rig in your backpack. It means you can actually enjoy your riding with everyone else and not feel like your losing out (especially on hikes).
Seems like there are a few keen ski/snowboarder cinematographers lurking in this group. Anyone got plans for South America this summer?
I'll be heading down to Las Lenas in August. Get in touch if you're doing the same.
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Yemi
Great work with the mountain footage! Very good choice of equipment too. I've also used Nizo's for snow shots. Seems like the guys at Flying Spot know what they are doing. I might give them a try in the future. What are their rates like?
Correctly exposing kodachrome in snow scenes does take some trial and error but it looks like you're well on your way. It's a trade-off really....your snowboarder was looking pretty dark but the definition of the fresh powder was beautiful. if you open the iris too much the snow would start to look pretty featureless and white all over.
Are you really overexposing by 2 to 3 f-stops? When I used to shoot in the snow with a Nizo Pro./800/801 Macro on a sunny day, I'd set the lens to wide angle and fill the frame 50/50 (half snow , half sky). The meter would typically read (f-16 to f.22). I'd then turn the exposure knob to manual and set the iris one f-stop brighter (f11 to f16). A very rough way of doing things but it normally did the trick. On overcast/shady days, less compensation was required. I've also shot 7245 (50D) in 16mm and pro8mm and the extra latitude was a bonus but kodachrome gives you so much for such a small price.
The only other reason that may explain sketchy lightmeter readings is that you have 1.55v meter batteries...nope!! You have the Professional which doesn't require dedicated meter batteries.
It's nice having such a compact rig in your backpack. It means you can actually enjoy your riding with everyone else and not feel like your losing out (especially on hikes).
Seems like there are a few keen ski/snowboarder cinematographers lurking in this group. Anyone got plans for South America this summer?
I'll be heading down to Las Lenas in August. Get in touch if you're doing the same.
------
Yemi