Finally I got the adapter for my Vivitar 28mm ƒ2.8 prime! At last can I fit the lens to my BM camera.
I found this lens in a second hand shop sitting on an old Minolta XG1. I have just briefly tried it and so far… I’m VERY HAPPY!
The focus is just music, I can’t describe it better! The focus rolls with the light. It’s sharp and at the same time not sharp, it’s smooth with a triple o-o-o. I write above that the lens is a Vivitar and until I haven´t found out otherwise it is a Vivitar.
“…it’s smooth, with a triple o-o-o…”
The lovely lens
I have a feeling that it can be Komine manufactured and I will try to find out. If you have an answer to this question please get in touch. Until then…
Been doing localizations for Hennez&Mauritz in 36 languages. A three minute video for their inter company communications. The job consisted of replacing animated titles and text for the different languages.
Prep
At first, I got the question to do it in After Effects but after having a look into it I was thinking that Motion 5 would be perfect for the task.
I knew that the scripts/translations for the different languages would be dropping in one by one or more. And the responce time for me to output the new localized version had to be minimal in time.
So I had to find out a workflow with minimal moments and labour time involved. An “a.s.a.p-workflow”.
After Effects is powerful but many times it shows that Motion will do the job easier and with less effort, with the same result. Since my FCPX would be doing the final output of every language. I simply fired it up and started to prepare everything.
During my prep i realized that I did not even had to use Motion, I could do everything I needed in FCPX! With a even simpler workflow than Motion!! I received a copy of the original in DNxHD and made a project for the text replacement parts.
My strategy was to first output only the parts that needed text/title replacement. This to minimize rendertime in the output. Then I loaded these clips/parts in a master project where the whole program would be output.
The final step was to load the new localized masters in the Telestream and encode the files to H264 files for the web. I use Telestream instead of Compressor. I’m more used to it and I think that I get more granular power depending on what needed to be done with the encode.
The way that FCPX let you design the way, you want to actually work is just fantastic! And by choosing to do this job in FCPX, it saved me a lot of time. Cheers!
Had the great pleasure to deliver the final grade of “Scream Bloody Mosher” by F.K.Ü. yesterday. It´s a music live video shot at Göteborgs Nation in Uppsala, Sweden by Simon Wettervik. The video is aimed for the Napalm Records – YouTube channel.
DaVinci grade to the left, original cut to the right. Notice the noise in the AVCHD codec.
It was shot in the AVCHD codec but I luckily received the edit in ProRes 422HQ, so that I was able to get some elbow-room grading it. I did three temp grades, two in DaVinci and one in FCPX. Sent these off to the guys in the band to let them choose wich one they preferred. They liked the FCPX version best so I finnished it, and sent it off. Once again FCPX showed that it is a powerful program. Had thou a little trouble with the audio who didn´t wanted to export with the correct level in the final output. I got it sorted, but strange it was. Perhaps a little blog on that later…
Youtube vs Vimeo
Since the final result was aimed for YouTube. A lot of care must be taken in the final encoding for this. YouTube has done a lot lately to supply a higher quality and more pleasant experience, viewing stuff from theirs streams. But still they have some to go, until they have the same pleasant viewing experience as Vimeo.
Once again been delivering new commercial spots for City Gross today, 15 sec and 20 sec spots. I’m doing audio recording (VO), sound effects, music edits and mixing. The post for the picture is taken care of by the Gangsters, Stockholm.
Delivered the mix of a 10 min program for the Inter IKEA Cultural Center today. The job included original music score and audio-post for the program. The tools used for this job was ProTools, BaseHead and iZotope-RX and a big fat analog monster to compressor. I can´t let you hear or see anything due to restrictions. But I can tell you this. Regarding the style of the music wanted for the project this included a by now well known artist. And the artists name end with ..ii.
Delivered new commercial spots for City Gross today, 15 sec and 20 sec spots. I’m doing audio recording (VO), sound effects, music edits and mixing. The post of the picture is taken care of by the Gangsters, Stockholm.
Yesterday I run the A-cam on a shoot in Strängnäs, Sweden for Arclight FX. The cam I used was a FS700 since there was a lot of explosions and fire to be filmed in slowmo.
Sony FS700 – waiting for some fire.
I must say that at first sight the FS700 is, ugly. But after been using the camera quite intensive for two and a half days I must say that I like the camera a lot. Since it´s a Sony there are menus… But as soon as I decided a strategy for the shoot and set up the settings for it. The FS700 is pretty easy going.
One great thing is that there is a built in ND-filter. It´s a lovely feature and it really saves your day on hectic shoots like this, where much is to be done before daylight is gone.
The slowmo’s were shot in 24 Mb AVCHD and normal speed recorded on an Atomos Ninja 2 in ProResHQ. Directly from the sensor in 10 bit.
Stuntman waiting…Stuntman flying…
The end scene
Speaking of daylight. The last shoot on the whole set was the big, fat explosion to be used for the end scene.
For this take there were only one chance to get it right. After that the stuff used for the fire and explosions would defenitive be empteid out.
Also we were very fast running out of daylight. The sun were just above the tree tops and it was just minutes before it would leave us for the day and the take would be ruined.
The sun were just above the tree tops and it was just minutes before it would leave us for the day and the take would be ruined.
All was set and for the slowmo takes it was earlier decided that I was the one who gave the signal for everyone on the set. This since once the slowmo recording been started in the FS700 there is no turning back until the recording has finnished. So you can understand that it is devastating if I not push the button at excactly the right time!
Instructions for the stuntman.
For this particular scene I can tell you that I was in the focus zone. (I´ve written about the focus zone earlier) Not thinking what to do, just doing. It´s kind of strange shooting slowmo when you are in the focus zone, it´s like slowmo deluxe.
The take went very well!! It is a great rush to do takes like this and the whole team should be proud. The edit and comps will be made by Monir Eriksson in Smoke. I will do the audio-post so it is better start digging and building those heavy xplosions. See ya!
