Monthly Archives: June 2012
I know what you’re thinking.. why going through all this mess when this lens is not that fast. Thing is I own a 75mm Yvar AR and I love it to bits. It’s sharp even wide open, contrasty and it’s got beautiful colors. And it’s a vintage 50 years old lens that can still produce stunning images on the cropped sensor DSLRs.
The Bolex camera was made in 8mm and 16mm versions. It’s a precision Swiss design and a variety of lenses were made in different formats from Kern Paillard themselves, along with Canon, Schneider, Cooke, C to name but a few . The Kern’s one are A grade stuff and perhaps they are so sharp because 16mm film has to resolve more details to look decent once projected.
This pt2 will concentrate more on the post production side of things. As usual there was bucket loads of it and it took a very long time to get things done.
Rendering times were bloody huge. This is due to the output resolution I chose and the processing power of my computer, a quad core 3ghz. When you’re rendering stuff out, unless you’re into 3D, all it matters at the end of the day it’s the engine running under the bonnet. I wish I had a 8 or 16 core Xeon based system but that was no option for now so I had to stick to my limited system.
Hi all, it’s been a while since I last wrote something. Fact is I’ve been dead busy with lots of projects lately and I did not have a proper chance to sit down and write on this blog.
Well, here I am at last! This post would have been too long to make it into one so I rather have it split in 2 sections, in the first one I will explain how I shot it and in the second part I will explain post production into details.
First you might enjoy having a look at the final version of the video
You might as well wonder why this version bears the “Director’s cut” label. In fact there was a first version of the video I edited strictly edited following the client’s directions but in the end he liked my version better.
All right, now let’s talk technical here. I shot this music video using both an anamorphic adapter and spherical lenses. I would have gone all the way anamorphic but in some instances we were in a real rush and we were mostly shooting exteriors so spherical is a lot faster. It would have been perfectly doable if I had the chance to grab some Hawks or Primos but I guess this was way out of the budget.. so the sought after anamorphic look it had to be all on an adapter: KOWA 16D.