Jump to content


Photo

GREY


  • Please log in to reply
12 replies to this topic

#1 Scott McIntyre

Scott McIntyre

    New

  • Basic Members
  • Pip
  • 6 posts
  • Cinematographer

Posted 11 August 2010 - 11:42 PM

Just finished off coloring this short film shot on ARRI ALEXA. Truely amazing files to work with in Color, incredible latitude and depth. Now doing a project with RED MX so I'll do a comparison blog shortly for post.

"GREY" 720p on VIMEO

Posted Image

Posted Image


A hitman at the end of his rope, Grey lives the only way he knows how - by the gun.

Cast

Grey - Drew Zeran

Crew

Writer l Director: Andre Rehal
Cinematographer: Michael R. Brazeau
Editor: Drew Stevenson
Sound: Nadia Awad
Colour Correction l VFX: Scott McIntyre
1st AC: Cameron Stoltz

Tech Specs

Camera - ARRI ALEXA
Lensing - Cooke S4's
ASA - 800 (interiors), 1600 (night exteriors)
Gamma - Log C
Edit - FCP
Grading - Apple Color

Links

andrerehal.com
michaelbrazeau.tumblr.com
drewstevenson.tumblr.com
smakstudios.com
arridigital.com/alexa
cookeoptics.com/
simvideo.com/
  • 0

#2 Phil Rhodes

Phil Rhodes
  • Sustaining Members
  • 11944 posts
  • Other

Posted 12 August 2010 - 07:10 AM

Pardon me for asking, but an Alexa presumably costs about eleven million pounds a second to rent at this point; how does a short budget for that?
  • 0

#3 Scott McIntyre

Scott McIntyre

    New

  • Basic Members
  • Pip
  • 6 posts
  • Cinematographer

Posted 12 August 2010 - 08:30 AM

Magic of the film business.
  • 0

#4 Ari Davidson

Ari Davidson
  • Basic Members
  • PipPipPip
  • 124 posts
  • Cinematographer

Posted 12 August 2010 - 04:48 PM

That looked bad ass.
  • 0

#5 Rob Vogt

Rob Vogt
  • Basic Members
  • PipPipPipPip
  • 437 posts
  • Other
  • New York

Posted 12 August 2010 - 08:09 PM

That was not as expected. I feel like this was just meant to emphasize the shallow dof of the camera, which that combined with the shakiness really distracted from the story (I get it though and I get what the director wanted- he's at the end of his rope make it edgy dark, shaky, but he should've known when to tone it down a bit. Also fwiw the bad audio doesn't help) This, I hope, was just recorded off the sxs cards and not onto an SRW1 deck b/c it seems like an HVX or EX1 with an adapter. I didn't really notice the great latitude you mentioned and I would like to know about the ASA settings used because the grain in some of the shots look really nice and really noisy in others.
  • 0

#6 Scott McIntyre

Scott McIntyre

    New

  • Basic Members
  • Pip
  • 6 posts
  • Cinematographer

Posted 16 August 2010 - 11:20 PM

I've done a case study on what the footage from the ALEXA is like with Apple Color.


  • 0

#7 Kieran Scannell

Kieran Scannell
  • Sustaining Members
  • 339 posts
  • Cinematographer
  • Netherlands/Ireland

Posted 17 August 2010 - 01:45 PM

I've done a case study on what the footage from the ALEXA is like with Apple Color.

http://www.youtube.com/watch?v=t0zg53PXmgo


That's some nice colour correction! I am surprised however at how thin the the original raw files were in terms of colour depth and contrast. I've shot with the RED a few times now and the raw footage was not as flat and required minimal tweaking in post.
Is this normal for the ALEXA?
  • 0

#8 Kieran Scannell

Kieran Scannell
  • Sustaining Members
  • 339 posts
  • Cinematographer
  • Netherlands/Ireland

Posted 17 August 2010 - 01:56 PM

Sorry! I just read your ASA ratings that explains a lot! For a 1600 ASA rating that's very impressive!
  • 0

#9 Stephen Williams

Stephen Williams
  • Sustaining Members
  • 4708 posts
  • Cinematographer
  • Europe

Posted 17 August 2010 - 02:22 PM

That's some nice colour correction! I am surprised however at how thin the the original raw files were in terms of colour depth and contrast. I've shot with the RED a few times now and the raw footage was not as flat and required minimal tweaking in post.
Is this normal for the ALEXA?


Hi,

Recording a flat 'Log' image will preserve the max dynamic range, I think you will find more usable DR than your used to with R1.
  • 0

#10 Kieran Scannell

Kieran Scannell
  • Sustaining Members
  • 339 posts
  • Cinematographer
  • Netherlands/Ireland

Posted 17 August 2010 - 02:35 PM

Hi,

Recording a flat 'Log' image will preserve the max dynamic range, I think you will find more usable DR than your used to with R1.


Thanks Stephen! I guess I'm just not used to shooting this way. So rating 800 ASA for interiors and 1600 ASA for night exteriors gives the best DR for the ALEXA?
  • 0

#11 Scott McIntyre

Scott McIntyre

    New

  • Basic Members
  • Pip
  • 6 posts
  • Cinematographer

Posted 17 August 2010 - 04:15 PM

Thanks Stephen! I guess I'm just not used to shooting this way. So rating 800 ASA for interiors and 1600 ASA for night exteriors gives the best DR for the ALEXA?


I believe the DP was using a monitor on set with waveform, and was trying to get me a solid amount of information between 0-100. Not sure if he would always shoot with these settings.

The log file really opened up well as I stated. Not a whole bunch of noise added, and I myself do really like the grain structure of this footage. I would have to say its a touch more cinematic than RED MX footage. But every project requires something different from the camera.

I'm just glad there are so many too choose from now.

I've graded F23, F35, D21, ALEXA, RED, RED MX, 5D "HATED", PHANTOM, VIPER

All amazing cameras, but each one offers its own unique style and flow to digital cinema.
  • 0

#12 Richard Boddington

Richard Boddington
  • Sustaining Members
  • 5482 posts
  • Director

Posted 24 August 2010 - 12:35 AM

I was at Deluxe last week and a senior colourist was raving about this camera so I decided to have a look around. He claimed it was the closest to 35mm he's ever seen.

Hmmm, not sure what he's looking at? The output doesn't look a thing like 35 to me, looks like very nice video, but certainly no match for film.

The post work flow certainly looks convenient being able to plug direct into the Mac and edit the Apple Pro Res in FCP. That's nice.

And Phil Simvideo in Toronto where I assume the camera was rented from is known to make nice deals for people with no money that want to shoot a short. Plus if you know them, even better. :)

I assume that if I brought this camera out on set I am locked into 24fps? No 150 fps shots?

R,
  • 0

#13 Alex Nelson

Alex Nelson
  • Basic Members
  • PipPip
  • 36 posts
  • Other
  • Los Angeles

Posted 03 September 2010 - 08:36 PM

What was the recording medium on "Grey"? Until Arri actually enables the SxS recorder, it seems like your options are limited to the SRW-1 deck, a P2 deck, or a Nano Flash. I know the Weisscam DM-2 will also work, but virtually nobody has access to that. Anyway, the compression resulting from any one of these would certainly have an effect on the post process.
  • 0


Technodolly

Paralinx LLC

Willys Widgets

Visual Products

Aerial Filmworks

The Slider

Wooden Camera

Ritter Battery

Abel Cine

Metropolis Post

CineLab

rebotnix Technologies

Broadcast Solutions Inc

Rig Wheels Passport

Media Blackout - Custom Cables and AKS

FJS International, LLC

CineTape

Tai Audio

Opal

Glidecam

Gamma Ray Digital Inc

Abel Cine

Broadcast Solutions Inc

Metropolis Post

CineLab

CineTape

Ritter Battery

The Slider

rebotnix Technologies

Opal

Glidecam

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

FJS International, LLC

Paralinx LLC

Technodolly

Rig Wheels Passport

Willys Widgets

Tai Audio

Aerial Filmworks

Wooden Camera

Visual Products