Indie Film Live

Friday, June 30, 2006

BEHIND THE SCENES

The moment we all have been waiting for...behind the scenes footage of SPOON and the SI-1920. These first few clips I have put together to try and show you a bit about what's going on and so you can take a look at some ways we are using the camera's and software.


Simon with software interface

In this clip you can see Simon, one of our directors, after just installing some new software we got from Silicon Imaging. The picture you see on screen is the interface we use to control camera operations, all with the click of a button. Here we just recieved software upgrades that enabled us to change shutter speed through the program. You will also notice, from around 35 second in the clip, how Simon is selecting the project archive he wants to record to. Each time the record button is pressed and then stopped again a seperate file is created for each take. This is a huge help in post-production as all your clips are already seperated and ordered.


Camera LCD screen

The camera head sends the GigE signal to our wafian boxes, and then the screen image from the computer screen is sent baack to the LCD mounted on the heads, as you can clearly see here. Thus what you see at VT is what the camera operator sees, and the other way round of course. This was filmed on our set that we built in the school hall.


Shaheen on the SI-1920

Our camera operator for Camera Head 1, Shaheen. The camera heads are quite light so actions like standing on a high ladder is no problem. The light heads have made various such shots possible that would have, though possible, been more dificult.



Couple of shots where we are using the camera on a Jib Arm. Very easy to control and it gives a very nice smooth motion to the shot.

Right, I hope you like our first behind the scenes footage, there are more clips, but I'll post them tomorrow. If there is anything specific you want to see, feel free to ask for it in the comments. Just as a teaser I will say that future clips include: outside shots, camera's on bungee rigs, close-ups of the camera, some stunts and Grant, our DOP, showing off the glyde-cam.



7 Comments:

  • Great info. I'd love to see more footage from the cameras themselves. By the way, are you shooting any chromakey scenes? I'd like to know how well the codec fares in keying work.
    Best of luck in your production.

    By Anonymous Anonymous, at 12:39 PM  

  • Ditto anonymous 1. Very curious about chromakey work. Also, have you started color timing any of the shots? I know you guys have lots of experience with film and would love some honest thoughts on how well footage holds up under stress of color timing.

    By Anonymous Anonymous, at 8:28 PM  

  • Started with a test and we are about to do our first commercial with full greenscreen. Test key was pretty amazing. Results to follow as well as actual un keyed test clip. We're going as fast as we can given that we shoot our feature six day a week but we will get whatever we can for you to see just as soon as we can.

    By Blogger simon, at 9:49 AM  

  • Please keep us posted with the chromakey tests... my decision on whether I buy this camera or not rests on the capability of pulling a good key. Can't wait for the results.
    I'd like to thank you for your generosity of sharing your experience with this wonderful camera.
    Cheers.

    By Anonymous Anonymous, at 4:37 PM  

  • Thanks a lot for the greenscreen Tiff file you placed on the Silicon Imaging website. For some reason would not import into After Effects. But I converted it to a 16 bit Photoshop file and then brought it in to After Effects.

    I thought it keyed very nicely. Of course, I don't have any experience working with film scans so I can't really compare it to film, but it sure beat the hell out of video chromakeys.

    P.S.: How the hell do you guys deal with that slightly out of focus car door? That was a bitch to key. Finally just got as close as I could, and then blured it out a little more.

    By Anonymous Anonymous, at 5:39 PM  

  • Hi Anonymous,

    Whwn dealing with soft edges, smoke, hair feathers etc we will normally run a few different keys for edges and the n other passes for the body or constant forms then merge them. Keeing tools like ultimatte will do this really well on their own though. The real test is just whether you can seperate the elements with any process and then to use the combination best tsuited for the shot. Also matte controls within software can assist with shrinking and feathering to get what you need in any area. Hope that is Helpfull.

    Simon

    By Blogger simon, at 4:35 AM  

  • http://movie-auto.blogspot.com

    By Blogger OpenSource.Net, at 2:18 AM  

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