ColorGHear [PART 2]

IndianaPete

That's shit hot Shian. Love the song, love the band, love the photography. Very well done.

vicharris

:) it is very well done and the sync is fucking great.

matt_gh2

Just watched this on my 62" HDTV. 1 word to describe it...DAMN!! Well done to everyone involved. So many great things going on here. Insane imaging. Also love the subtle foley of the drumstick falling to the ground at the end. You just killed here. Great editing. Just totally killer stuff. Curious which shots for which cams, but won't even venture a guess re GH2 footage. Congratulations.

BurnetRhoades

Yeah, I get the sense most folks either drink the kool aid and go all-in with Canon or they stay away, with not a lot of mixture. I was only shooting Canon in that instance but knew I preferred, in the wider range, my Nikkors overall. He was all about rectilinear in his wide angle selection and I prefer natural, subtle bowing in non-fisheye wide angles.

shian

Yeah but you didn't have to match it to everything else. The Canon lenses have a completely different density characteristic from everything else. It's a giant pain, and as a result I can't make the whole video look the way it was designed to look which was a much more dense hi-contrast look.... weakest link and all.

vicharris

:)

flablo

2:15 and basically all exteriors are GH2, I guess (?)

BurnetRhoades

Hmmm, interesting. What was it that you didn't like about the Canon glass. I think that angle, more than any other, I get a sense of facial texture on Lynch and it overall feels a touch punchier than the rest.

I borrowed a buddy's bag of L lenses a while back and the only one that I'd keep would be the 85mm f/1.2 which was pretty phenomenal looking on APS-C.

shian

@BurnetRhoades :38 is the Epic with Zeiss Glass, 2:31 is the Scarlet with Canon Glass. I'm keeping the GH2 Footage secret for now. I wanna see if anyone can spot it - definitively. And what it was that gave it away... [ @vicharris is banned from guessing cuz he worked on part of this shoot.]

With every take, for the sake of sync we used a running slate off an iPad for playback and ran the song through start to finish, and then shot with all the cams simultaneously from which ever angle was unobscured, then did another take and it was like musical chairs: everybody rotate and shoot from another angle, except for the GoPro headstock, RC car and Phantom Helo stuff.

On a side note, I've been a huge King's X fan and a George Lynch fan for decades so to meet these guys and find out that they are the nicest guys I've met in the industry, and to get to work with them was a huge thrill.

matt_gh2

Nice.

rNeil

@shian

Not even considering the mix of cams/lenses this is fine work. Given that mashup, it's pretty dang hot. I'd also note the "flying" camera movement, the rig apparently attached to the head of the guitar for some clips that was way cool, the guitar & bass necks almost "married" several times early on, great b-roll additions ... too many nifty ideas to really take the time to mention.

Given what you've done in your CG tutorials, I'll be a-waiting the Vimeo link to your grade preference. Still think it would be very worthwhile for me to drive down and just watch or 'roady' a shoot & a few editing/grading sessions. Can't see you'd get anything out of it other than frustrations explaining so many things ... but dang, I'd learn a lot ... :)

BurnetRhoades

Very cool man. I've been a King's X fan since high school and even won a radio contest with some early CGI to see them perform at a private show for me, my buddy and about eight or so other winners so I recognized Pinnick right away. I always liked Lynch when he was with Dokken. I wasn't ever terribly aware of the drumming in Korn but this guy seemed 'aight.

You can definitely feel all those cameras in there. It works though. I'm curious, how did you go about some of the setups? I guess what I'm really wondering is do they play along with the recording of the song pretty much top-to-bottom for each of the cameras/angles covering the main performance or did you know you wanted to focus on certain members or groupings of members for certain sections of the song and you did just that?

Which camera were you on for ~00:38, the angle on Pinnick?

Also, which was the camera for the semi-tele two-shots angle on Lynch and the drummer, like around ~2:31?

I'm going to assume most of the sweeping side to side and booming footage framing the the whole band (like the larger still posted on previous page) is from one of the RED cameras but which angles are Intravenus II, or is that a secret? ;)

shian

So here it is. The label wanted to upload this version of the grade. When I get clearance, I'll upload the version I liked to Vimeo. The difference being mine has more saturated colors and a bit more contrast. But Youtube couldn't handle the contrast cuz it sucks, so we had to go with this one.

caveport

@shian Yeah, I hate Canon glass too. I've been using old Pentax 35mm primes on my GH2 and getting a look that really amazes people. Wide open they are a bit soft, but otherwise look great.

vicharris

@shian Can't wait to see what you do with the pocket footage! Did you ever want the 2.5k stuff? There's some really cool, low angle shots there.

rNeil

@shian ... that list of different cams/lenses all mashed up ... holy crapper that's a load of doo with so many different starting points. Definitely had to earn your pay on this one ...

matt_gh2

@shian Looks great.

shian

No. The Scarlet with the Canon glass was so different from everything else. It really cemented my hatred for Canon glass. I used to hate it, now I despise it. It's total dogshit. (Not to be confused with Dog Schidt)

caveport

@shian Very nice. I did a magic TV special here in Oz recently and the feature stunt had almost exactly the same issues to deal with; warehouse location, XDCAM, Go Pro & GH3 footage all mixed together. I ended up with almost the identical look you have in your still image. I used Resolve but don't have ColorGHear, just made up my own nodes. Did you find the Go Pro footage the hardest to match?

SuperSet

@Riker I used 5D2RGB to convert to ProRes as well for editing in Resolve.

shian · Screen Shot 2014-02-25 at 1.01.35 PM.png

This was probably most challenging project I've ever worked on as a DP/Colorist. Mainly on the color side trying to get everything to match. Music Video for KXM. Shot with RED Epic, RED Scarlet, GH2 Intravenus, BMPCC, Canon D60 and D70, and Go Pro's. With a variety of lenses: Zeiss Superspeeds, Canon EF glass, Nikon F glass, and on one of the cameras...who knows???

Graded with CG Pro using the FIlm LUTs to get everything from a grainy 16mm documentary look to a super 35 clean look.

Video will be released on Billboard.com next week.

shian

@Riker no idea - I always convert to ProRes. I gave up on MTS.

Riker

@shian what workflow would you recommend when using MTS file?

Let's say I'm always using MTS from camera when editing in Premiere. What's the best way to export the edited footage for grading in Resolve?

Vitaliy_Kiselev

@shian

No sales support here, please.

shian

Thanks to @magnus387 for sending me this beautiful example of the GH2 + ColorGHear.

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