Todd Terry
1
COW Coin
Forum Replies Created
-
[Mark Suszko] “I can’t say just exactly why, it may be something subliminal, but I think I prefer FOX’s Superbowl camera coverage and direction, over NBC’s.”
I don’t know if anyone else did, but I found the general game broadcast to be very subdued compared to years’ past… especially other networks. Not that I’m saying I missed it, but there was general no whiz-bang element to the broadcast. Aside from some floating bumper graphics that they placed on the field, there were just no “bam!” technicalities that I saw. From a technical and visual standpoint, it could have been any given game on any given Sunday or Monday.
We all take it for granted now, but sometimes I have to remind myself how good the technology from Sportvision is, with the what-is-now-ubiquitous electronic lines on the field. They really do flawless work. What I did try to notice particularly was whether there were ever any issues with Seahawks uniforms, especially the green shoes that some of their players wear. I never saw even the tiniest bit of tearing or bad compositing caused by them.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
-
[Marios Karageorgiou] ” is there no difference
in the way these cameras sensors process the images?”There probably, is, but I’m no tech guy so I couldn’t say much about the technicalities of how the images are processed.
[Marios Karageorgiou] “Last, is there any other option in this budget (5k) and similar to C100 and ready to go?”
Again, there might be, but I really don’t know what is out there. I’ve shot almost exclusively with Canon cameras for the past, oh, probably 15 years or so, so I’m pretty partial to what they have available.
Maybe someone in one of the non-Canon forums can be more help there.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
-
I would applaud going to the C100.
I know many people love and swear by them, but I hate hate hate using a DSLR as a cine camera… for all the reasons that you’ve already found that make them so clunky and difficult to use in that situation.
Don’t get me wrong… a high-end DSLR these days is a great tool. But in my opinion, if you are doing cine work a DSLR is a wrench, when you need a screwdriver. Both excellent tools, but very different tools for very different uses.
Being that the C100 is the lowest-end (i.e., also cheapest) camera in the Cinema EOS “C” line, you are going to find it in the hands of lots of lower-end users. Nothing wrong with that, but that does mean that the footage you see will be often generated by less-experienced DPs, and often by people who just use it “straight out of the box” without much thought given to the picture profiles. I’ll have to confess, I have never used a C100 (my experience with only with C300 and C500), but from what I gather I believe they operate extraordinarily similarly… and assuming that, you can set your picture profiles in infinite ways and paint your images pretty much exactly as you like… which I think you’ll find much better than the “default” settings.
For my money, anything in the “C” line looks much better than any of the Canon DSLRs, if you are going for a cinematic and filmic look… and they certainly are infinitely easier to use. The DSLRs can give great images, but they natively have a very very “DSLR look” to them, and don’t much resemble a true cinematic image (including the look of real film, if that’s what you are going for). And… there is a Canon DSLR picture profile that you can click to in the C100/C300/C500 if you ever want to match the camera with a 5D or whatever, and yep it does look pretty much exactly like that.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
-
I wondered the same. There was some discussion and speculation about that, but I never heard a definitive answer as to whether they did or not.
Seems to me the easiest way would have been to get Florence to record it… but people don’t always go for easy.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
-
By the way, here’s the Snickers behind the scenes….
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
-
I mostly agree with Mark and Nick….
I’ll just hit the high spots of the ones I did like….
Budweiser “puppy” was oh so sappy and manipulative. And dang, it worked.
Dove “Dads”… beautifully done.
Nationwide Kid Accidents… I hate to like this because it was such a downer, but so well cast, well produced, and so so SO beautifully written that I have to give it kudos.
Always “Girls” spot. So well done, right on the money.
Cranston for Esurance… perfect. But then again, he always is.
Liam Neeson for Clash of Clans made me laugh. I just think it’s a crying shame the writers didn’t work in “Quickly! There’s no time! Quickly!”
Dodge at 100… Brilliant. Amazing cast, stunning portrait photography.
Sarah Silverman and Chelsea Handler for T-Mobile. Excellent. Love the trophy room.
Budweiser Macro-brew. I’ll give Bud props on this one… basically saying “We know we’re crap beer, but we are gonna own that.” It was a great looking spot.
And the hands-down winner for me, Danny Trejo as Marsha Brady for Snickers. I’m surprised that I like a spot that was part of such an old campaign so well, but so so well done. BUT… like some of the other spots, I saw (and loved) this commercial almost a week ago online (including a “making of” that is worth watching). I understand the reasoning behind these pre-releases, but man it sure kills the fun and spontaneity of it all. I would have enjoyed it even more if last night was the first viewing, and a complete surprise. And just when I think I couldn’t possibly like Steve Buscemi more than I already do….
That’s my quick quick roundup…..
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
-
While you can do that, I’m guessing that would yield the same effect as merging the fields that I suggested in a post above. You’d have a progressive file then, but it would still be obvious that it was made from an interlaced file.
BUT… there might be a slight quality improvement in doing it that way, as using the “flicker removal” setting under the “Field Options” in Premiere does seem to slightly slightly soften the image just the tiniest bit. It might be sharper to do the camera playback trick that Craig suggests.
Sadly though it still will not make the footage appear to be natively progressive.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
-
Lots of idiot yahoos out there… but we knew that.
I’m between quadcopters right now (I refuse to use the “D” word). I had the opp to sell my Phantom Vision2+ for only a hundred bucks less than I paid for it, so I took that deal anticipating that I would buy a DJI Inspire 1 sometime around Spring or so.
I’m re-thinking that though, now. They just don’t seem quite as cool anymore.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
-
I was curious enough about pricing to briefly check it out…
Just from some very very quick research (Googling and a quick eBay search), looks like you can get smaller (8GB) USB drives in bulk (say, lots of 100) that average around $3.50 each… down to as low as maybe $2.50 each or so for some very cheap-looking Chinese-made ones.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
-
Sure thing.
I figured the camera needed service.
The extra weird thing is that not only is a file that says it is 24fps very obviously interlaced… but I don’t even know how that is possible. In fact it should be impossible… as there is no such thing as a format that is both 24fps (23.976fps) and interlaced… that simply doesn’t exist. All 24p clips are by their very definition progressive, there’s no such thing as 24i.
Anywho, I hope Canon takes care of it for you.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
