Jump to content


Photo

anamorphic and spherical 16mm mix


  • Please log in to reply
2 replies to this topic

#1 Polly Morgan

Polly Morgan

    New

  • Basic Members
  • Pip
  • 3 posts
  • 2nd Assistant Camera

Posted 19 March 2007 - 09:50 AM

hello...

so i m shooting a music video on wednesday and of course there is no money! the director has given me very little to go on except that it is a band performing (not a particually catchy song) in an unexciting room. he wants to shoot on anamorphic to get the shallow depth and the blue horizontal flares. he has however a reference of a 'yeah yeah yeahs' video that combines blue horizontal flares with tungsten vertical streaks.
this is what he wants although the song and location don t quite match the stylised visuals!!

my plan is to interchange c series anamorphic primes with zeiss super speeds...the latter i will use with streak filters to get the horizontal flare. i am going to rig 3 or 4 par cans on the walls behind the band for the flares and have redheads and blonds on a dimmer board to light the band as they perform. i m also going to rig a 2.5k at the back of the room to come up as a strong backlight to sillouette the band at certain points of the song.

i m going to use split diopters and flashing to add a few extreme elements and remove the lens whilst shooting. finally...i m thing of running the camera at 6.25FPS and then transfering at the same speed to try and get streaking. do you know if lip sync will hold if i shoot and transfer at that speed?

does anyone have any thoughts...its my first proper lighting job and although it sounds rather complicated i thought i might as well pull out all the stops whilst i get the chance!!
  • 0

#2 Jonathan Bowerbank

Jonathan Bowerbank
  • Basic Members
  • PipPipPipPip
  • 2815 posts
  • 1st Assistant Camera
  • San Francisco, CA

Posted 19 March 2007 - 04:11 PM

i m thing of running the camera at 6.25FPS and then transfering at the same speed to try and get streaking. do you know if lip sync will hold if i shoot and transfer at that speed?


6.25fps played back in telecine at 6.25fps should be fine for synching...but why? Is it just to achieve the motion blur along with the streaking caused by lens flares? Have you tested this out so you'll know it's exactly what you want?

Lens flare seems to be real popular in music videos nowadays...I'd say it's almost overdone, but it'd be interesting to see something at that slow a shutter speed along with the flares.

I'll assume the video your director is referencing is the "Maps" video, which is a great one. But it looks to me for that film they might have sped up the playback just a HINT and shot at a faster fps rather than slower.

Edited by Jonathan Bowerbank, 19 March 2007 - 04:12 PM.

  • 0

#3 Michael Nash

Michael Nash
  • Sustaining Members
  • 3330 posts
  • Cinematographer
  • Pasadena, CA

Posted 19 March 2007 - 06:58 PM

its my first proper lighting job and although it sounds rather complicated i thought i might as well pull out all the stops whilst i get the chance!!


That's one way to look at it... or you might be setting yourself up for multiple failures with untried techniques! Experimentation is great, but if I were you I'd build the video around things you know you can do well and then add a few experiments, rather than hope your experiments result in a good video. Know what I mean? Remember that there will be a learning curve for anything you haven't tried yet, and that costs you time. Too many experiments at once can kill your shoot schedule. And for "no money," you're sure adding a lot of extra gear...

But backing up, let's be clear on a few technical details. Are you renting your 16mm package from Panavision with a PV lens mount? That's the only way you'll be able to switch between C-series and Superspeeds. Of course the image squeeze would be different between the lenses, but that you could take care of in post. And you're un-doing some of anamorphic lens' shallow depth-of-field by putting them on 16mm -- you'll have to switch to a wider lens to get the same framing you'd get in 35mm, although the focal length will still be longer than a speherical lens with the same angle-of-view.

The vertical streaks you're referring to are usually the result of the shutter being thrown out of phase. Not all cameras can accommodate this, and I'm not sure what 16mm models can off the top of my head (you'd have to check on that). Otherwise, you might be able to get vertical streaks with a streak filter, although the effect isn't exactly the same (streak filters tend to diffuse and taper the highlights a little, whereas a mis-timed shutter leaves specular highlights sharp and straight). Undercranking won't give you vertical streaking, only added motion blur.

What kind of "flashing" did you mean? "Flash frames" from starting and stopping the camera? Or flashing the film via a Varicon or lab flashing? Make sure your camera and lens setup accommodates the additional gear.

Re lighting: the 2.5K backlight won't give you a silhouette, it'll give you a backlight. For a silhouette you need to stage them against something light-colored and knock out all the front light. If they're staged against something dark it's just a rimlight with a dark foreground, which is fine if that's what you want. For an HMI to "come up" on cue you'll have to have shutters or some other kind of grip rig to block the light. You can't turn on and off an HMI like that.
  • 0


The Slider

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

Glidecam

Opal

Willys Widgets

Wooden Camera

Tai Audio

Metropolis Post

Visual Products

rebotnix Technologies

Broadcast Solutions Inc

Rig Wheels Passport

CineLab

CineTape

Abel Cine

Paralinx LLC

Aerial Filmworks

Ritter Battery

Technodolly

FJS International, LLC

Opal

Technodolly

Visual Products

Rig Wheels Passport

Ritter Battery

The Slider

Broadcast Solutions Inc

Glidecam

Tai Audio

Gamma Ray Digital Inc

rebotnix Technologies

CineTape

Aerial Filmworks

CineLab

Willys Widgets

Paralinx LLC

FJS International, LLC

Metropolis Post

Media Blackout - Custom Cables and AKS

Wooden Camera

Abel Cine