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DJI Osmo, une camera du futur ?

P1020205Je vous l’avait dit dans mon précédent article pour moi la OSMO de chez DJI représente un produit assez visionnaire. D’une part j’aime particulièrement les petites bestioles qu’on peut avoir presque tout le temps sur soi mais ya vraiment un truc, une nouvelle façon de filmer qui découle d’un tel produit. C’est clair que le concept de camera stabilisée sur un gimbal 3 axes n’est pas nouveau mais il y a quelque chose de très séduisant dans ce concept.

L’Osmo sera donc utilisable avec les 3 cameras X3 X5 et X5 R, je vous renvoie à la page officielle du constructeur pour voir les différences mais c’est clair que la X5 aura forcément ma préférence ce qui ne retire rien à l’intérêt de la X3 si ce n’est qu’on est sur un “small” sensor. Ce qui a pour avantage de proposer une profondeur de champ plus sécurisante au niveau de la mise au point mais ce qui est un avantage pour certain peut être un inconvénient pour d’autres, à savoir que les amateurs de bokeh risquent d’être un peu frustrés.

De mon coté je pense que le petit capteur de la X3 s’en tire pas mal du tout, la dynamique n’est pas mauvaise, ca encaisse plutôt bien et contre toute attente en basse lumiere c’est loin d’être mauvais. J’attire votre attention là dessus, je trouve qu’il y a trop de gens obsédés par le bruit, mais les images lisses moi ça me fait vomir, on avait du grain en photo et au cinema, ça nous allait très bien c’est quoi cette manie de vouloir des images sans vie ? sans bruit ? Oui ya du bruit dans une image quand elle est sous exposée, et quand les capteur sont trop boostés mais est-ce que c’est si moche et si insupportable ? Moi je ne trouve pas … l’image du OSMO X3 est plutôt intéressante, la compression est un peu forte certes mais ca fait largement la blague et c’est vraiment loin d’été moche ! Je trouve un certain charme à cette image et en tout les cas elle me convient parfaitement.

DJI OSMO Emmanuel Pampuri Eve Marie BodetComme tout outil ca nécessite un peu d’entrainement mais la prise en main est vraiment déconcertante et on peut très facilement faire des jolies bêtises avec. Certes la latence due à la liaison wifi avec le smartphone est parfois un peu gênante lors des mouvement très rapides mais ca reste largement utilisable. On m’a dit que l’autonomie était moyenne, oui c’est pas génial mais encore une fois c’est loin d’être mauvais et je me rend compte qu’il y a de plus en plus de gens qui passent leur temps à critiquer, moi je trouve ça largement utilisable, c’est vite rechargé, et de toute façon si on veut en faire un usage intensif il faut acheter d’autres batteries.

Le bruit de la ventilation est un peu gênant mais si vous écoutez bien je suis passé pendant la prise proche du joli micro Neuman et au final ça fait aussi la blague. Pour moi cette Osmo c’est une peut un truc visionnaire, je pense que le futur de nos cameras va ressembler à ça …

Pour ceux qui ne suivraient pas je rajoute en plus al video que j’ai tourné avec l’OSMO, la talentueuse Eve-Marie Bodet Violoniste et compositrice m’a fait l’honneur de se prêter au jeu de ce tournage. Un plan séquence de 2minutes tourné entièrement avec l’Osmo et la X3. Aucune stabilisation en postprod, j’ai tourné en 4K et le fichier est téléchargeable sur vimeo pour ceux qui ont un compte. Cette video est en quelque sorte le teaser d’un grand projet que nous avons Eve-Marie et moi qui s’appelle “Travelling musiques” et dont nous vous parlerons plus en détail prochainement.

 

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Digital Bolex D16 Monochrome / Camera Seduction with Caroline Raynaud

caroline raynaudtout est dans le titre ou presque, j’avais initié cette série de petits films l’an dernier avec le Sony A7S premier du nom et la délicieuse Emma Chaïbedra. Quand j’ai eu la D16 monochrome entre les mains j’ai eu envie de faire un mini portrait de Caroline Raynaud, une amie comédienne talentueuse et absolument sublime qui s’est prêté au jeu.

La camera a ses défauts principalement au niveau ergonomique mais le rendu est superbe, la texture magnifique, j’ai juste repassé un coup de film concert par dessus …

The actress : Caroline Raynaud carolineraynaud.book.fr
The Cameras : Digital Bolex D16 monochrome & Color
The lenses : Angenieux 17/68mm + Kich primes
The Color : Film Convert

Music by : Boris Kulenovic
Guitar : Julien Raulet
Mix by : Loran QUI

Shot / Edited & Directed By : Emmanuel Pampuri

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SteadXP, système de stabilisation nouvelle génération …

Je suis assez fier de faire cette annonce ici, c’est la premiere fois que je “lance” un produit comme ça. Adrien Farrugia m’a contacté il y a quelques temps pour me parler de son projet et me demander un coup de main sur le lancement. On va prochainement ouvrir une campagne de financement participatif, c’est français et c’est super malin … on vous en dit plus bientôt !

Ps: on ne se moque pas de mon accent englishe !

SteadXP-Prototype

 

 

Conducting of concerts

I met a nice producer, young and dynamic during a trip to Hong Kong, he asked me if I wanted to make some jazz concerts … J'ai oui, and it is by doing that I've realized how much I missed it.

Depuis mes derniers gros concerts sur Jazz à Vienne je n’avais pas fait grand chose il faut dire. Trop accaparé à piloter mon tracteur Machineurs et celui de TRACTOfilmEt ben ça fait du bien de revenir dans cet univers, de sentir l’énergie de la scène, et de mettre sonmétierau service de ces artistesDu Jazz encore du Jazz, c’était bon, ça c’est passé début Juillet au Timisoara Jazz Festival et j’ai pris un pied phénoménal. Merci à toi msieu Paramax, merci AmosOn y retourne quand tu veux 😉

Richard Bona, Kurt Elling, David Murray & Macy Gray

En attendant ceux qui n’ont pas Mezzo TV pour voir ces joli concerts peuvent aller jeter un oeil et une oreille à ces extraits disponibles sur YouTube.

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Feedback using the Blackmagic Cinema Camera by Marc Linnhoff

Tournage clip Broad Rush - Don't stop
It happens from time to time to give a voice to others, Marc has produced turned, made a nice clip and post production, and I asked him to cause us the BMCC his hands for some time.

here's the clip :

 

here's what Marc Linnhoff and

I realize, turned and climbed my films in recent years with occasional peaks of motivation-, the arrival of the GH1 in my legs was a great moment, I appreciate the way Emmanuel Pampuri for his film “RSS” qui impulsa l’achat de mon premier boitier 🙂

Tournage clip Broad Rush - Don't stop

With the announcement of the BMCC at NAB 2012 and that of the Bolex Digital via Kickstarter shortly before, I saw the future in a new light! Finally the arrival of tools “affordable” that do not compromise the quality of our images..

As winter in Alsace, delivery of my BMCC has been widely felt.. It was an opportunity for me to educate myself on Resolve and understand a new workflow. J'ai reçu ma caméra, do some tests and then got involved in writing and directing the clip “Don’t Stop” the music of my friend Broad Rush. This shoot was an opportunity for me to tame the beast..

Here are my impressions and comments on its use :

First, la BMCC : bare ergonomics is really not ideal, with a rig, an external battery and a monitor or EVF, all rolls, this is not the configuration options are missing.. It is therefore essential to equip a minimum the camera still has some drawbacks (possible to update the firmware…?) : no display audio meters seen, no option to format the disk or erase our clips via the camera itself.

Without the display on an external monitor oscilloscopes, the zebras to manage exposure, otherwise it is quickly lost on shooting outdoors. The BMCC is not equipped with built-in filters, my variable ND filter (Genustech Eclipse) I have more than once saved the ...
Tournage clip Broad Rush - Don't stop

The choice DNG / ProRes with license Resolve bonus for me are undeniable advantages.

For the video shoot “Don’t Stop”, I shot everything in RAW, about 750GB.. Our great team spent two days at the scene of shooting (The ancient baths Soultzbach-les-Bains), with all the accessories you could possibly need for this clip, the lever to the convertible car without license. I brought lemon. The script was in my head, technical cutting half and the rest is done on the spot. The camera was equipped with its Rig Bebob, we had a small batch of optical CP.2 (21, 35, 50), une Tokina 11-16, un-55mm Micro-Nikkor AI-S, a cineslider, un travelling, une Kino, some tangerines, fresnels, reflectors ... The weather was on our side, il a fait Moche, cold and it rained for two days !!

Le clip ‘Don’t Stop’ was my first experience of workflow with RAW files, je dis le haut a fort : j'aime Resolve !! There are many tutorials on the net, comprehensive training in French, English.. and of course training centers for those who can. I opted for a series of tutorials with exercises for the key, I must admit that it has opened my eyes.

Knowing the potential of a calibration in the treatment of DNG software affect our shooting, our light… The announcement in Resolve 10 the calibration option “Online” we will go further, I can not wait to test this function.

 

Here is the workflow that I applied to the post-production of the clip “Don’t Stop” :

1- I imported my rushes in Resolve, slightly increased the contrast and saturation of all my clips and then exported my Proxies

2- I imported these proxies in my event FCPX, dérushé, mounted and exported my XML

3- Resolve back on, I imported the XML, calibrated the while exploiting the high latitude of my DNGs then exported the clip ProRes 4444 2,5C

4- I finalized in After Effects with a passage by Mocha Pro for the first disappearance of the protagonist, added my effects then resized in my composition 1920/816px (report 2:35) and exported my Master

The Blackmagic Cinema Camera is a tool that pushes me to go further in the writing of my films and in the treatment of my images, it stimulates me and covers most of my needs are mostly clip, of fiction and corporate movie.

After the experiment “Don’t Stop”, I did not just want it to do it again and soon. While camera models are increasing at high speed making them obsolete earlier and earlier, greater accessibility to tools like BMCC and democratization of practices such as benchmarking in Resolve are very beneficial for me.
Tournage clip Broad Rush - Don't stop

The announcement of new versions Blackmagic Pocket Camera Production and hit her hard. I see the BMCC associated with several pockets camera for effective multi-cam and discreet, regarding the Blackmagic Camera Production, I rejoice at the idea of ​​having hands..

Marc Linnhoff

 

Marc summarizes everything there that I think this camera, it produces an image of an amazing quality, but it was designed with the feet. So we can welcome Blackmagic for successfully democratize RAW video but also for all the work from the first card Decklink ago 10 years, as ergonomics is really bleak.

But when we get the images in a calibration system as muscular Resolve, indeed, it is a treat !

dynamics, resolution are of exceptional quality considering the price, All these elements make an amazing product for just one accepts his disabilities. The colors are very good too. Brief, pending D16 Digital Bolex which seems to be a bit better designed on paper, it semblerai BMCC and that these future versions M43, 4C (Production caméra) a 1080p (Pocket) will sell like hotcakes. If ADOBE actually released a DNG Cinema Lossless compression is gained ! Because it is inconsistent in the chain resulting from these cameras is the price of storage required for each project when you turn RAW. With rates from 8,5 to 10,5 go / min depending on the framerate that complicates the situation.

RED today reigns supreme in this war codecs because it is alone in a compressed RAW file a weight ratio / incomparable image quality. The question ” therefore expected by other ?” the answer is probably on the side of a patent filed by RED does compress the RAW. The alternative Cineform seems to fall by the wayside, This is unfortunate because this codec is very good but since the takeover by GoPro is not clear that it will become …

Wet & see

// DON’T STOP//

Production and direction : Marc Linnhoff – marclinnhoff.com

Music BROAD RUSH, download the full version : hook-up.fr/broad-rush-dont-stop/

Stills by P-mod : flickriver.com/photos/p-mod/sets/72157633312056426/

With : Joffrey Schmidt – Clarisse Hagenmuller – Denis Jelly – Nina Schouler – Pierre Riff

Framework and post-production : Marc Linnhoff

Light : Ludovic Haas – I Pichard / P-mod

Hair and Makeup : Anne-K Lejeal – Elsa Parmentier

Un grand merci à Yoko Tsuji, Jacques Roth, Tsaki, Arnaud Masson, Jessi & Michel.

Filming locations : Elders Baths Soultzbach-les-Bains https://sites.google.com/site/lesanciensthermes/

The BAGUE, a short film Funky !!

thebague.jpg

For once I will not talk about camera but a film project. Sarah-Laure is an actress Estregnat, photographer and filmmaker … She came to me to offer me a movie that I immediately packed, ça s'appelle “THE BAGUE”

and it's really funny. The situation is funny, the actor will film it on and José Gerel we will as usual a photo class. Brief, I rarely relays requests crowdfunding but then I got involved in this film so I take this opportunity to solicit. We're missing a few dollars to complete the project, help us !

THE_BAGUE_actors

 

why just go to the website http://www.kisskissbankbank.com/the-bague

here is the demo tape of the lead actress Caroline Anglade

that of José Gerel the op chief

https://vimeo.com/39372314

and heat the CB, a small gesture of € 5 if you're all thoroughly should happen !

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Tom Four “Mine Niteroi” clip shot in RED Epic

Hello to all, a little note to tell you the story of this clip, small back then that I share.

I wanted to test Hyper light shooting with Epic on a shooting clip Tom Four early September, it was a treat. Turned, assembled and calibrated in a week in the labs of the festival-Off Short, I thought “banzai” you amuse yourself with the Epic and make you happy. In the end it's not necessarily a more restrictive Photocam, Although slightly more expensive but it is possible to turn itself.

With the help of Thomas Walser, director of photography and friend Sophie Chamoux, who was my buddy for the realization of this clip as well as Thibaut Pétillon calibrator in engine-, so I tried to simply turn. And I really enjoyed, the little Charlotte (that's how we have the window frames of the engine-Epic) was super effective, it did not pose any problems. The idea of ​​starting with a small foot and a look at this little gem of technology was far enough innimaginable. 5K run in until 120 images / second, postproduire and all this in the campaign to finish in HD, and finally on the net is not so weak as an approach. OK good half of the clip is made up of photos taken with my GH2 and a small ToyLens. It was just over 2000 photos and we had a good laugh. I appreciated the ease of use of the Epic, its ability to remain on a very small light foot and turn instinctively as I have done with many cameras, so-called “reportage” all with this amazing image quality. For this film only the Zoom 18/50 T3 was used, no light except for a small aditional reflector at a time on the beach for a lead against the light. To stay “light” and given the purpose of the project we have developed in any Apple ProRes Quicktime 4:2:2 and we are not returned to the R3D files. Note that even on very powerful machines and very recent transcoding files to ProRes 5k takes about 15x real time, I strongly suggest you, la REDROCKET. The calibration was also done on the ProRes and Thibaut was surprised by the fact that we still had a lot of latitude gradients of these files.

The clip is meant to fun, I hope you like it simple. In the meantime please Buy Album “The Revenge” it's good in Zoreilles

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4K60p at La Villette for the exhibition Hello Tomorrow

This is part of the exhibition Hello Demain que vous pourrez voir le film que j’ai réalisé pour Orange Labs à la Villette. Ce film est un petit clip de 3min qui a pour but de montrer ce que pourrait être la télévision de demain. I have not been able to do what I wanted the conditions were very special because it's not easy to turn at Roland Garros in full match. Impossible to place the camera where I wanted, which is very frustrating but the images are beautiful and I'm proud.

“Orange investit la Cité des sciences et de l’industrie et le Parc de la Villette du jeudi 23 Sunday 26 June 2011 for an outstanding exhibition and free. hellodemain vous donne les clés pour comprendre le monde numérique au quotidien et dans ses perspectives futures”

This movie that I've done a little reporting was shot with an Epic 5K many planes were shot in 120 fps. In the end it was finalized in 3840×2160 (Quad HD resolution called) and will be broadcast in the same definition of the world's largest plasma, the famous 152″ Panasonic.

If you have not had the opportunity to see the rendering of this screen is incredible (3,8ft de diagonal !!!) it worth !

I do not know if you've read Article Vincent Laforet about Epic (in English), I agree with his views, each image of this camera is equivalent to a photo image after a good quality digital SLR images produced in 5k 2:40 have a resolution of 5120×2160 and 5120×2700 and 1:85 which is greater than 12MP, although reflective of current sensors exceed this resolution is not an incredible newly passed. Tell yourself that this resolution is recorded in 120 fps !

 

Arnaud-Epic-Rolang-GAROS

I must pull his hat off to my team and saw that there will be no time to make a true generic, Here the :

Director of Photography : Matthieu Misiraca | Assisted by : Arnaud Gabriel | Direction de postproduction et Montage : Jean-Marc Laroque | Etalonnage : Thibaut Pétillon | Réalisation : Emmanuel Pampuri | Assisted by : Pierre Corbasson | Equipe TRACTOfilm : Production Executive : Emmanuel Pampuri | Direction de production : Assisted by Julien Cocquet : Lola Prat | Administration de Production : Alice Masera | Moyens Techniques : The engine- & PhotoCinéRent | Post-Production : The engine- | Thanks : The RED Team : Ted Schilovitz Alan Piper, Jim Janard | The Atreïd Master : Jean-Philippe Mariani | DVS | Panasonic | Les Orange guys : Manuel Lesaichère | Christophe Daguet | Joel Houssais …

I've put a few images from the calibration in their original resolution but compressed in jpeg so it can be digested via the net.

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Olivier Héraud’s Demo Reel EP02 (Mission: Apollo)

With TRACTOfilm produced is often the little things no other purpose than to have some fun and hoping that in some key.

Olivier Héraud, talented artist often rampant in my prod box chtite had already made his “showreel” A few months ago. We decided to transform it into a mini series with random intervals.

Here are the previous episode

and the new :

Do not forget to click on “I like the facebook page TRACTOfilm”

Machineurs DCP … The SONG / The Clip !

Hello Company, the video has finally arrived, Olivier Heraud has yet signed a TRACTOfilm.
We wanted to do something original clip, a song a big dose of fun and geekitude … Launched in August last this project is finally born, nous sommes assez content du résultat 😉 c’est bien fun et ça devrait causer à bon nombre d’entre vous.

to share without moderation …

For those who prefer YouTube that goes by :