Inspired heavily by the early work of Guy Ritchie:
Inspired heavily by the early work of Guy Ritchie:
Here’s my latest for Melbourne act ‘Colossvs’. This clip was shot on the recent King Parrot National tour in which Colossvs were in support of. A huge thanks to Adrian Pagano and Wilson Bambrick my camera ops on the evening.
The following was captured using:
5Dmk3 w/ Magic Lantern Raw
Blackmagic Design Cinema Camera
I’m beyond proud to present the video I created for Australian Metalcore/Powercore legends A Breach of Silence. Logistically this was one of the biggest clips I’ve created in my time working within the Music Video medium. Here’s a few notes on the filming locations, process and equipment used:
The story footage was shot on a private production farm in the outer Brisbane area. With the help of Jacob Schneider (Actor/Photographer) and William France (Photographer/Musician) we headed off into the dark of night toward a private farm near Caboolture. I’d always wanted to film at a location with greenhouses so it was nice to finally make that happen. All moon light in the story footage is provided by a 1000 Watt Lupolux light at 2 O’clock, obviously the light would move with framing etc. I won’t lie it was amazing to finally get to film a big bonfire as well, another shot I’ve wanted to get for years! The only set specific gear was the Lupo and 2 x Fresnals for the greenhouses.
Huge thanks to Frankie Nasso for booking someone to get the shots for us. Cheers!
This part of the shot was logistically more intense than anything I’ve had to create thus far (bigger and better I hope). I recruited a close friend and very competent cameraman Adrian Pagano to assist on the night with lighting. Travelling further north, this time to Elimbah, we made our way to a HUGE private property and setup. The following lighting fixtures were used:
– 1200 watt HMI primary (lightstar)
– 1000 watt Lupolux
– 650 watt Lupolux
– 2 x 350 watt Fresnals (under Green GEL)
– 3 x Honda 20i Generators
Here’s a list of gear used of the shoot for anyone keen:
– Canon 5Dmk3
– Zeiss 35mm Flektagon f2.4
– Zeiss 50.m T*Planar f1.4
– Tokina 11-16mm f.28
– Genus Fader ND’s
– SmallHD DP4 EVF
– Jag35.com rigs
– Magic Lantern raw
– a shit ton of high speed cards
– home made snorii cam, the death rig
– Col B.
I decided as a weekend project to build one of the DIY Stabilisers going around on the net. Going with the most basic and probably practical I followed the guidance from http://littlegreatideas.com/stabilizer/diy/
Below are the results, first filmed hand held and then on the Steadicam rig. I’m also not claiming to be a master of Steadicam nor even an average user, but it does show how much of a difference it can make.
– Col B.
UPDATE: So after playing around and trying to work out my needs for this on the job I decided to pick up the Glidecam HD4000. I’ll have footage to show in the near future!
After hunting around on the net and various sources for a simple guide on how to get your DSLR or whatever footage into the 2:35:1 Anamorphic format I have decided to write my own. This method will allow you to export to Vimeo and Youtube without the black bars showing when the video is embedded.
1. Firstly download this PSD file from the following link – https://www.dropbox.com/s/9twrgw4zyr7r50p/CBC235Template.psd
2. The above will be your template/guide for aligning your footage in the timeline. Import the above template into Premiere (if using FCP convert this to a PNG and go from there) and place in your timeline above all video tracks so that it sits on top. Note below that the 2:35:1 marks are not yet turned on, as shown in the program monitor.
3. Once inserted into the timeline, make the template visible and lock it from being editable as shown below. You will now have black bars top and bottom of your program monitor. Now import and edit your footage as required:
4. Once editing you might find that you aren’t happy with where the shot lies e.g. the actor’s eye-line is cutoff or an important piece of scene information is missing due to the 2:35:1 crop area. This is now the time to reposition the image to highlight what you want seen. This is one of the great advantages of 2:35:1, you can force the viewer to look at a desired focal point.
Select each individual clip and then select Motion from the effects menu and change the relevant position numbers of the clip. The number you are wanting to effect should default to 540 in a 1080p clip. Simply decrease the number to move the video up and increase to move down. Bare in mind that moving it too far will increase the area of black space at the top or bottom of the screen beyond that of the 2:35:1 framing.
5. Now your ready to export your video. Follow the usual path File – Export – Media. Here you want to setup the export settings. I recommend the following, and it must be done in this order or else the Output resolution will continue to reset to 1920×1080.
Settings (as above and below):
6. The final step is the cropping of the video to make sure it meets the required output. While you have already set the output size (1920×816), you will now need to set the crop. Crop your source at the top (132) and bottom (131) to remove the black lines and enable your video to embed in widescreen, rather than with the annoying black bars.
Once the crop has been done and the output view looks to only show the cropped video, then you may export.
So why go through all the effort? Simple if you export a file setup to be 2:35:1 via the normal export route, you will find that it retains black bars, top and bottom even if embedded (as below). Some people don’t mind that, but I personally think it’s sloppy and really effects the embedded view of your videos.
By completing the steps above you will now have an embedded view that looks like this:
Simple, clean and ready for Vimeo and Youtube upload without those pesky black bars.
– Col B