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 🙂
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 ...
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.
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 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/