There have been so many great comments on the BTS of the Case Tractor commercial that I wanted to share the 30 second spot with you. I am always comparing the 5D to Reversal Film Stock because you have to get it close in camera. Lets go on a journey to see how well we did. I will show you the offline edit of the MOV. files out of the camera that were decompressed with CS5. This decompressor is phenomenal. Adobe has it going on.
The first cut will be an offline edit and then next one will be the finished spot done on a Speed Grade DI color correction system. Andrew Huebscher was my colorist. http://www.imdb.com/name/nm1030152/ He is extraordinary with this platform. I have not seen very many people with that level of talent. Andrew is a Director of Photography with a great eye for color and contrast. Additionally, he can track, move and create windows that do magic things to push the 5D camera to perform at its very best. Check out “The Last 3 Minutes”, Navy Rescue Swimmer, Navy Diver, as well as Case. These are perfect examples of his talent. Bruce Hermann at Lost Planet http://lostplanet.wiredrive.com/l/p/?presentation=96cd4fa04afa270cd4e7fb4774cb2156 edited the spots for me and I love his style and cutting pace. Enjoy!!
Here is the un-color corrected offline edit done by Bruce Hermann at Lost Planet
Now here is the finished product with voice over, music, and sound design.
The following 5 screen grabs from the spot tell you what Andrew and I did in the color correction bay.
This was an interesting shot. When we got it to the edit bay it was soft because the engine vibration was blurring every other frame. So Lancer at Bandito Brothers Post extracted every other frame and then used Twixtor to frame blend. I feel it works great for a 2.5 second shot. Or we could have hired a gyro stabilized Cineflex mount for a A-Star chopper, flown in the pilot, the Aerial photographer and the mount. $25,000.00 later you would have had the same shot.
We increased the contrast on this and added the rich golden wheat color that is the thread that takes you through the whole spot. That was it.
On this one we did a slight vignette on the edges. Andrew and I increased the contrast and we put a power window on the wheat to dial up the richness and saturation of the afternoon sun.
The Farmer in the cab was shot on a 50mm Kowa. We grabbed the wheat with the secondaries and brought out its warmth. We put a power window on the actors face to bring up his detail and warm up his skin tone. We then took another power window and brought up the luminance level of the LCD screen in the upper left hand corner.
This is a 75mm Kowa, with the beautiful sunny side up flare in the lower left hand corner. We put a slight vignette on the shot around the edges. We warmed it up slightly and increased the contrast and saturation, but very slightly. Notice how nicely the sun blows out in the frame, no HD hard edges. This feels like film, like digital film.
This was also shot on the 75mm Kowa, at sunrise. I loved this location because it felt like the landscape was right out of a Margaret Bourke White print during the great depression.
All of us are looking at this endless horizon of creative expression, ARE YOU READY? I know I am.
The first time I met Shane was at Bandito Brothers last year, when he asked me to edit "The...
The Spyder Datacolor is my KISS (Keep it Simple Stupid) recipe for color correction success. Many of you have...
My cinematography interns and I set out on a mission to showcase the many uses of a polarizing filter....
Musicbed and Film Supply have connected both companies with a similar goal: collaboration. This publication is about inspiration and...
When director Peter Odiorne asked me to shoot Sports Authority “Shoe,” the
In mid-October, I got a call from McG to see if I was available to do a Mountain
I am on the road again directing for Bandito Brothers www.banditobrothers.com/ and loving it. As a filmmaker, I...
When I first started out as a colorist assistant, I thought the colorist’s job was primarily to set unique...