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ColorGHear [PART 2]
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  • 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)

  • @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 ...

  • @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.

  • @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.

  • 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.

  • 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

    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 :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.

  • 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.

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

  • 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.

  • 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.

  • 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.

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

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

  • @shian 's description of the shooting of this thing alone has my head blitzed. Shooting, editing, grading ... heck of a job there. All done quite well. Curious ... how "rigged-out" were the various cams? Mattes, ND's, follow-focus, what?

  • And grading done using Ghears? Or simply too much work in grading to "bend" the cams towards each other to do that?

  • I only did the clean up edit. The cams were surprising lo-tech. The only Mattebox and follow focus we had was on the Epic and the Pocket.

    The whole thing was done with a combination CG Pro and CGT, and some custom GHears I used to balance everything out that I created in Davinci. I'm working on a tutorial to show you how that's done. (It's the first time I've ever had to do something like that)

  • Looking forward to the tutorial Shian

  • @shian

    Um ... no-rigged but for two cams, you got that footage? Hell of a job there. And yea, I so want to see that tutorial ...

  • Added 2 new tutorials to the Pro section on how to make your own BMD Conversions LUTs and how to convert any and all LUTs from Davinci into versions you can use in FCP7, FCPX, Speedgrade and Premiere.

    Both are short and sweet. Sorry for all my ramblings on other tutorials.

  • @shian ... ok, so some do ramble a bit ... but also there's a lot of general learning stuff in those bits too. Most of your tutorials are pretty solid.

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