Timelapses + some B-roll footage

Post by **CleanCut** » Sat Mar 19, 2005 2:48 am

Hey everybody...one of my first posts here...Just threw together a short vid of some timelapse footage and bike racing that never made it into my movie.

Movie is 2:20 long, 22 mb file size (sorry I suck at compression)

ftp://ftp.filmshooting.com/upload/video ... B-roll.mov

On a side note, go to http://www.cleancutfilms.ca/ to pick up the DVD I released about 6 months ago...40 minutes long, I'd say about 40% Super 8mm. Cheers!

-Tammas

Post by **Ralphie** » Sat Mar 19, 2005 7:28 am

Your timelapse cloud shots are fuckin grand.
Ralph.

Post by **sunrise** » Sat Mar 19, 2005 11:43 am

Yes, those timelapses rock!

Can we get the tech specs for this please? Stock, camera, transfer etc.

michael

Post by **alan doyle** » Sat Mar 19, 2005 5:10 pm

damn your blood sir....
i thought i was pretty good shooter...

fantastic,what a talent, i bet the images look even more amazing on digibeta...
the tragedy is the scumsuckers at kodak,have no concept or interest in how good this format can be...

great work..
thanks for showing it...

Post by **shralp** » Sat Mar 19, 2005 6:37 pm

Tam,
Nice job. NICE...

Really fun to watch. Your timelapses are spot on for sure. Can you tell me where your telecine was done? Flying Spot? That reciprocity effect that they can dial in really cleans up the grain and makes the movement flowy huh? If it wasn't Flying Spot please share the wealth.

What camera and filmstock did you shoot it on?

Its footage like this that makes it easier to prove to clients that this format is really viable for a cool look, whether its used stand alone or in conjunction with other media.

Again, really beautiful!, (nice choice on the music too...) -Eric

Post by **filmo** » Sat Mar 19, 2005 7:41 pm

Your footage looks very, very good, but I have a feeling that it's not super-8. Not that it matters (good film is good film), but some of the responses have suggested that it's super 8. Super 8 users are always looking for the holy grail of film stock/transfer combinations, and if you're stuff is indeed super-8, you got great sharpness, exposure...plus a killer transfer.

However, I think it looks like 16mm. But I may be wrong.

So if you post footage here, I think it's a good idea to provide some technical details.

Post by **filmo** » Sat Mar 19, 2005 8:35 pm

filmo wrote:
However, I think it looks like 16mm. But I may be wrong.

After looking at the footage again, I can't be sure what it is.

I really liked the droplet shot at the beginning.

I also watched the entire trailer for the movie Local Yokels. Very nice work.

Post by **CleanCut** » Sat Mar 19, 2005 11:21 pm

Thanks a bunch guys...I really appreciate the kind words!

shralp wrote:Tam,
That reciprocity effect that they can dial in really cleans up the grain and makes the movement flowy huh?

My god that is the best effect ever invented! I only wish that you guys did that to all my footage...is there any way to replicate this effect?

And yes, this was a flying spot transfer...I would reccomend them in a heartbeat. I was so happy with the footage. Someday I may get the stuff re transfered with scene to scene because a bunch of stuff was too dark to use..But they were a bit underxposed in the first place anyway.

Sorry I forgot to mention...the very first shot is digital. But the rest of the footage definately is Super8. Shot with a Bauer 709-XL and K40 ;)

Post by **shralp** » Sun Mar 20, 2005 12:41 am

Oh no! the Frenchie nay-sayer Basstruc has been re-incarnated into Filmo on this forum!! Sorry I just had to say it.

When I posted some of my first footage on the forum from my Ski/Snowboard Documentary, "Sanctuary" the first thing that happened was that everyone jumped on my ass because "my footage was too clean and nice to be Super 8mm". Of course this was complete bullshit and the ensuing vitriolic exchanges between Basstruc and myselt got pretty nasty, (funny, I haven't seen him on the forum for quite some time...).

Anyway, Filmo, just so you know, Clean Cuts footage, I can assure you, is Super 8mm. Flying Spot uses an effect call Reciprocity, (if you so choose), that is quite nice on timelapse footage as it pretty much hides all the grain and thus makes movement in the frame sort of "flowy" for lack of a better word. Due to this process, I had the same comments a year or so ago from various folks claiming my Super 8mm was 16mm.

Clean Cut, just so you know, I'm not the Eric, (Rosen), that works at Flying Spot, I have action sports production company here in Portland, Oregon, Frontside Productions. http://www.frontsideproductions.com
They do a good job though huh? -Eric

Post by **mattias** » Sun Mar 20, 2005 2:59 am

shralp wrote:Anyway, Filmo, just so you know, Clean Cuts footage, I can assure you, is Super 8mm.

the question is which 40% and what is the rest? if you mean that all of it is super 8 why did he explicitly state that 40% was? while logically that doesn't completely rule out that the rest also is, it doesn't really make sense. ;-)

Flying Spot uses an effect call Reciprocity

temporal noise reduction i guess. a very known technique in stop motion and stills, where you simply do multiple exposures of each frame and everage them, and with digital technology you can easily do the same with moving pictures. i've written an unreleased plugin for fcp that does it and there are several in virtual dub.

by the way, super 8 always looks super sharp at these small frame sizes, even if scanned on an mk3. let's see some full res stills or even video.

/matt

Post by **mattias** » Sun Mar 20, 2005 3:03 am

oh, sorry, it's 40% of the entire dvd. i didn't read the rest of the thread before writing the last reply. :-) the info came after somebody questioned whether it was super 8 though, so i can't see what was the problem with that?

/matt

Post by **steve hyde** » Sun Mar 20, 2005 3:10 am

Tam,

a very skilled use of the format indeed. Thanks for sharing your work here. There is so much talent in Nelson B.C these days - both athletic and artistic. I'll check out your site.

Cheers,

Steve

Post by **mattias** » Sun Mar 20, 2005 3:12 am

ha, i'm taking over this thread. no seriously, what i'm the most impressed with is the stability of the footage. i've never seen anything like it in super 8. did they/you do something in post for that or is it just a very stable camera and/or a very stable scanner? i've never scanned super 8 on anything but wp's and mk3's myself so i'm used to jump fests.

/matt

Post by **steve hyde** » Sun Mar 20, 2005 3:19 am

...I could chime-in a bit on this Matt, although I don't know the tech specs on the "jump killer", but I do know that FSFT can kill the jump with some toy Eric has in his toolbox - that is if the camera was on a tripod. Thoses timelapses speak for themselves. Don't they?

Steve

Post by **mattias** » Sun Mar 20, 2005 3:23 am

steve hyde wrote:Thoses timelapses speak for themselves. Don't they?

i don't understand. you mean you can tell from just looking at them whether the stability comes from the camera, the scanner, digital post processing or all of the above?

/matt

Filmshooting

Timelapses + some B-roll footage

Timelapses + some B-roll footage

oooooooodear...........