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P Diddy, Dirty Money, Rick Ross "Angels Remix"


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#1 Matt Workman

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Posted 03 January 2010 - 04:52 PM

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Artist: Dirty Money, P Diddy feat. Rick Ross
Song: Angels Remix
Label: Bad Boy
Director: Parris - www.goreela.com
Director of Photography: Matt Workman - www.mattworkman.com

Flickr Photostream Link
http://www.flickr.co...in/photostream/

Just got back from Miami from a 4 day shoot with P Diddy and Dirty Money. We shot on the Canon 7D and we did some pretty big setups with it.

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First we put the 7D with a 10-20mm on a 12' Jimmy Jib provided by Black Dog Jib www.blackdogjib.com on a insert camera car and did a few hood mounts, dolly tows, and free riding. The moves are pretty cool and the small form factor of the 7D allowed for some up interesting perspectives we probably wouldn't have been able to do with a RED and a 17-80mm Optimo.

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We did two night into sunrises with this rig. The images at night were pretty amazing, we tried to stay at 3200 iso when possible. When the sun came up we were able to capture some amazing subtle natural light that no other camera could really pick up on.

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Besides the camera car we used a fully built 30' Jimmy Jib and a 12' for more standard performance setups.

I'll post the video when it comes out, should be an exciting one.

:lol: Cheers,

Matt

Edited by Matt Workman, 03 January 2010 - 04:55 PM.

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#2 Steve McBride

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Posted 03 January 2010 - 10:22 PM

Looks amazing, can't wait to see some video. I'm really looking into purchasing a 7D for myself, what do you think about lenses for it though?

I love you work, I was supposed to PA on your shoot for "Shake That Bubble" (I interned with Barry Sonders at the beginning of the year and am living in NYC for school right now) but couldn't make it.
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#3 Tom Lowe

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Posted 03 January 2010 - 11:07 PM

Lol... Rick Ross. :lol:

How did the 7D perform out on the end of that jib on the truck? Any jello problems?
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#4 Tom Lowe

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Posted 04 January 2010 - 02:50 AM

BTW, Matt, when does this come out?
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#5 Matt Workman

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Posted 05 January 2010 - 02:56 PM

SM: Thanks. The 7D is a good investment for now, until Panasonic/Canon/Sony/RED put the same sensor in a better body. I'd go with Zeiss ZS Primes or Canon L Primes if you can afford them and get them geared for a follow focus. Next best is Canon L Zooms or EFS Zooms. I've used all sorts of stuff on these camera and they all work fine its just preference. Nikon/Leica/Minolta etc. adapters don't work very well in my experience however, they get shaky over time and I'm sure the backfocus becomes an issue.

TL: The 7D did surprisingly well on the jib/car rig. We didn't have the budget for a stabilized head but I think we made out fine. The bumps in the road were obviously an issue but the general vibrations of driving/jibbing didn't induce the jello effect to my eye. For a music video we only need a couple seconds here and there of smoothness. For a feature or long talking car shots we would have needed a stabilized head or just a very smooth stretch of road.

Not sure when the video comes out, hopefully within the month, the song is already pretty popular online and the turn around for "viral" videos is usually shorter than the Network ones.

I'll post a HQ Quicktime when its released. I think a lot of people will be interested in seeing what the 7D looks like in these situations.

Cheers,

Matt
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#6 Tom Lowe

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Posted 05 January 2010 - 04:19 PM

The thing that I've noticed on the vDSLRs is that any shakiness, for example, gets extrapolated and made much worse by the CMOS sensor. It can be shaky footage as a result of being on a very long lens, or from mounting the camera onto a moving vehicle, for example.

Just out of curiosity, if you were going to get a stabilized head for a camera like this, what head would you use? It seems to me that your real enemy is micro-vibrations, at least as much as the macro instability.
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#7 Matt Workman

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Posted 11 January 2010 - 03:47 PM

TL: Hey. Any type of shaking pretty much brings out the CMOS wobble effect in the camera. I think the trick is to use a stabilized system like a Scorpio head etc. and turn the little shakes into smoother moves, where they are less perceivable. If you watch Nocturne and the BTS, they were using a steadicam mount on their pictures cars and steadicam in general and its was very smooth.

I've heard we have one of the best colorists working on this video. I won't say names until its actually happened and the video is out.

Cheers,

Matt
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#8 Matt Workman

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Posted 13 January 2010 - 01:48 AM

Here is the trailer for the video. Not colored but gives you a look at some of the stuff we shot. None of the good stuff though ;)

http://www.worldstar...pp69P0agb9ve31T

Matt

Edited by Matt Workman, 13 January 2010 - 01:50 AM.

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#9 Rob Vogt

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Posted 13 January 2010 - 01:16 PM

Nice job! I can't wait to see the final video. I noticed that in a lot of your shoots you tend to use the indie slider, did you use that at all in this production?
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#10 Matt Workman

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Posted 16 January 2010 - 09:43 AM

The video premiered on 106&Park last night. Here is a flash version online. I'll try to post a better quality one soon.

Diddy "Angels Remix"
http://www.worldstar...751TLNd8WUCbjvX

RV: No indie slider on this one. It was either handheld or jimmy jib the whole video.
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#11 Saul Rodgar

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Posted 16 January 2010 - 09:18 PM

Good job, it looks really nice. These little cameras really are shaking up the entire production-camera establishment, huh?
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#12 jose rubi

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Posted 17 January 2010 - 01:24 PM

looks great really good job. I have a quick question, I am shooting a video and have access to both the red camera and 5d, am really trying to make a good impression with this video. My budget is very low (around 3,000) what camera do you think would be better to use and get the best quality. In the video I will be using a steadicam mostly natural lighting. Maybe some small lights for the Int. like some china balls and stuff. what do you recommend
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#13 Matt Workman

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Posted 17 January 2010 - 04:06 PM

SR: Thanks. Yeah it took me a while to catch up when I first heard about these cameras. Definitely new ground.

JR: I think the RED is probably a better bet. It has more latitude and resolution and it allows for a preston and a wireless video tap. The 5D is terribly hard to pull focus on and its only a 30p system. However, these cameras really come into play when you can't afford a proper setup for the RED.

Sometimes your shoot can afford a RED, but can't afford the infrastructure and crew for the RED. You end up getting some really nice shots, but perhaps not all the shots you planned on getting because you don't have a 2nd AC or you skimped on some accessories that would have saved time etc.

Its a conversation the director, DP, producer, steadi-op and perhaps the label who can approve overages etc.

Good luck.

Cheers,

Matt
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#14 jose rubi

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Posted 17 January 2010 - 04:33 PM

Thanks for the advice Matt. I meant to say 7d I know that shoots 60fps is pulling focus just as hard as in a 5d?....but great advice, very much appreciated. Keep up the good work
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#15 Tom Lowe

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Posted 19 January 2010 - 02:54 AM

Some of those driving shots looked great, especially the magic-hour ones. Did you guys have a permit for those?

Ross delivers on this song and video. Puffy's "vocals" were a little strange. I would have just shown moving images of him, not actual "singing" footage. But that's more a director/editor issue.
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#16 Matt Workman

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Posted 19 January 2010 - 04:38 PM

JR: pulling focus on the 5D would be harder than the 7D.

TL: I think the general consensus with this song is that Ross kills it and Diddy made a great song. The vocalizer is a matter of taste, I think works on this song. I have almost nothing to do with the editorial, but I will be cutting a couple of the more dynamic camera-car/jib shots into my next reel.

Permitting I'm not sure what the deal was with that, I'm just the DP. We didn't have any trouble with police and we had a crew of cars to keep bogie cars from coming into the shot or potentially crashing into anyone ... at least Diddy and the camera car anyway.

Here is a little Behind the Scenes featurette ... shot with the Canon 5D and a Zeiss 50mm prime no less!

Behind the Scenes - Angels Remix
http://videos.onsmas...mym8qgfULMK5WRL

You'll see some of the garage performance with the jib and some chaotic street scenes we did. None of the car or helicopter, I think most people were sleeping when we shot that stuff.

Cheers,

Matt
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#17 Michael K Bergstrom

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Posted 22 January 2010 - 04:03 PM

Nice video, I'm pretty impressed by the image these cameras are turning out, just worked on a couple music videos myself with the 7D and 5D.
How was the slow motion captured? Was that all in camera, or post, or did you record to an external device?
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#18 ryan knight

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Posted 26 January 2010 - 09:08 PM

how come the 5D is harder to pull with than the 7D? the larger sensor?
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#19 Matt Workman

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Posted 28 January 2010 - 05:42 AM

MK: most of the slow motion was just 720/60p cinematool'd to 24. Some of the bits at the end were done with twixtor ... a couple people who didn't know what the budget was thought it was the Phantom ... some day maybe :ph34r:

RK: I believe that the larger then sensor the more shallow the depth of field of the system is. Just optics/physics/voodoo/astrology. And the 5D's sensor is something like 1.6x larger than the 7D's sensor.

Though, I just did my first anamorphic project over the weekend and the focus on RED/LOMO-Anamorphics are incredibly shallow. We were doing dolly-in/dolly-out and the AC was cranking the follow focus around twice!

Still waiting on the colored HD version of the video...

Cheers,

Matt
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#20 ryan knight

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Posted 28 January 2010 - 10:02 AM

Though, I just did my first anamorphic project over the weekend and the focus on RED/LOMO-Anamorphics are incredibly shallow. We were doing dolly-in/dolly-out and the AC was cranking the follow focus around twice!


lucky bast . rd....
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