I'm hereby
posting a link to a TVC for coffee shot in
It's posted on RED Relay but I don't think they managed to make a profile
yet, so here's a download link.
http://www.redrelay.net/owners/0521/...DK30-H.264.mov www.red235.com
The film was directed by me and shot by a very talented Danish DP named Jens
Jakob Thorsen. It's a coffee commercial for a brand I think most of
you know of and it's essentially for Scandinavian market.
It was mostly shot with Lomo Anamorphic lenses (which behaves beautifully
with nice flares etc). Some of the shots was made with Elite lenses (for 2
reasons. 1. When we couldn't go wide enough because of the characteristics
of shooting anamorphic on a 16:9 sensor and 2. when we had to many straight
lines in the image and we didn't want them to "bend").
It was shot wide open at all times - to use as much DOF, flare as much as
possible and to get that little extra "softness" out of it being wide open.
Why? Well I believe that it's the approach to go for if you want it to be
more filmic. This is of course individual but I like it if it's not to clean
and clear. I like it with the artifacts that you get from anamorphic and
slightly older lenses.
Here's the specs:
Lomo anamorphic lenses 35, 50, 75, 100, 150mm
For close-ups we used 138mm Tiffen diopters
ND 1.2, 0.9, 0.6, 0.3 to fit the wide open criteria
Chocolate 2 (on most of the shoots - this is also individual but I find it
to actually make a huge difference to actually color filter in camera, also
on digital)
Tobacco 1 to color match to low sun conditions as closely as possible before
telecine.
Elite primes 18,20,22,24mm. These were used in the factory - short snippets
of the coffee jars as they go through the factory belt. The last "widest"
shot with our actor is also made by an 18mm Elite, simply because the
anamorphic was "bending" to much in that particular kitchen shot. The Lomo
round 35mm tends to do that quite a lot (you can see it in the harbor
sequence). It's said to be that the "square" anamorphic wide lenses does so
but noticeable less, I therefor recommend to get a "square" one as well.
It was all shot on 16:9 4K redcode 36, converted to Prores for off-line and
then put through the Lustre in 2K through DPX files. Yes the Prores
convertion was hell because of the 16:9, but well worth it
As soon as I get the long version I'll post it from a 2K version instead of
the SD version that this one is from, but for now I include a few pics in
what we've come to call SUPERSCOPE, so you can see how wide anamorphic
lenses frames become from a 16:9 sensor. I for one really hope it could
become a new format !!!!!
Regards,
Fredrik Callinggard