Todd Terry
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COW Coin
Forum Replies Created
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Rick is right as usual… there was probably some motion control or at least speed control going on there.
No, none of the scenes were from a fixed point (tripod), they were all dolly shots.
These were either dolly shots (a dolly on track) or they could have been with some kind of slider rig, albeit a very long slider rail, maybe custom rigged for the scenes to get the dolly/truck move. There are full motion rigs with jibs on arms that travel on rails, everything precisely computer controlled (see the music video for the song “The One Moment” by the band OK Go for a good example…and watch the behind-the-scenes and making-of stuff, too), but that’s probably way overkill for this spot which although very well done is actually technically quite simple.
As for 120fps… could be. One easy way to figure the speeds of scenes like that is to rip that video and throw it on a timeline, adjusting the speed until the action looks to be normal-real-life-speed. From that you can interpolate what the original shooting frame rate was. Maybe not exact, but you can probably get pretty darn close to it.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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I think it was done in various ways…
The source footage was shot with a high speed camera with a trucking move on a dolly (and probably pushing the dolly quite fast).
As for the transitions, I can’t say with certainty how they were done (because there are several ways), but I can say how I would do them….
The first scene, just shot as-is…
The second scene, the area to the left of the transition tree, I would mask off the area to the left of the tree with a greenscreen behind it…
Between the second and third scenes, I believe the tree was shot separately and composited on top to cover the transition edit. We know it’s live footage of the tree (and not just a still) because the perspective changes on the tree as it passes by.
The same technique could be done for the next three transitions as well, although those COULD be still images since the flat edges of the walls don’t really appear to change perspective as they go by (maybe a little on the third).
Not a really hard shoot or post, but a LOT of good planning.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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It’s not answering Nick’s question… but here is a fun little article about the sound….
I haven’t talked with him in quite a long time, but many years ago was friends with Dann Florek (Capt. Cragen). Dann told me that when walking down the street people will “Chung! Chung!” as he passes by….
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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The COW came through for me on this… THANKS!
Great to be a part of a community where people help each other.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Yeah, as I said I’m not an AE guy, I’m looking to farm it out, not do it myself…
If anyone can help I’d love to hear from you… (hit me here)…
Thanks!
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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[Ivars Berzins] “The whole idea of using a LUT is the convenience of pressing a button to make an image look good quickly”
Not necessarily… the whole idea of using a LUT is the convenience of pressing a button to get a good starting point for grading. Using an LUT with log footage is rarely going to make an image look good as you said, but rather get it to where your grading on top of that won’t be such a monumental task.
If I were in your shoes I would actually look at this as a gift rather than a hindrance. You’ve actually dodged a bullet and are able to skip a step. Glass is half full.
It might be a common problem as you asked… I personally couldn’t say as I don’t edit with FCPX. You might wanna inquire over in the Final Cut forum, I’m sure plenty of users there are using LUTs with log footage.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Hmmm… that’s interesting, but as to WHY that is happening, it is hard to say.
I would say that for some reason the particular LUT and FCPX just don’t play well together.
My first inclination would be to say you should try using a different LUT in Final Cut… there are lots of LUTs that have been created for the C300 (just Google around and you’ll find quite a few). BUT keep in mind you don’t HAVE to use an LUT. It’s always assumed that you’ll have to do some grading anyway, and an LUT just gives you a leg up on that with a new “starting point” for grading rather than starting from scratch. Since you said you are only doing “a very light grade manually,” which you would probably do anyway even with an LUT applied, I wouldn’t worry about it and just skip it.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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That’s the point… there’s not one.
Nor apparently has the original poster read any of his replies over the past couple of days or he would know that.
Not totally sure about the poster… a new COW member with zero “about” info and a few posts in various very different forums that are all over the map with extremely disparate issues.
We’ll see if he shows back up.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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No, no…. every morning.
And the occasional afternoon.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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[Mike Cohen] “Does the employee get a paycheck? That is his “credit””
I’m reminded of one of my favorite exchanges from one of the early seasons of Mad Men. I’m paraphrasing from memory but it was something like…
Peggy Olson: “You pitched the client but I came up with the ideas!”
Don Draper: “That’s your job.”
Peggy Olson: “But you didn’t even say ‘thank you.'”
Don Draper: “THAT’S WHAT THE MONEY’S FOR!”
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
