Together with Gaffer & Gear this is a fantastic channel with very valuable content ❤ Been shooting b2b/b2c content for ten years now and always learning. Thank you for the fantastic resources and your transparency about a road that isn't as straight as some would like everyone to believe :) Kindest regards from Germany
I like the Odyssey monitor on the camera, my old product! Perfect for multicam stuff like this because you can run a quad split to see all your shots and when you do two at a time you can use the exposure & color tools to match the shots. I know I sound like I’m talking all about camera dept. but this is actually super useful for gaffers as well.
Question for Eli - did you guys have any flicker issues with the LED wall? Shot on the same stage with similar parameters last year and had to set cameras @ 24.00p dial out flicker, wasn’t able to eliminate it @ 23.98p and Synchro Scan. Curious how you handled it? Thanks, -Sats
We did have a full day to prelight and tech check for all three camera angles. We really couldn't have pulled this shoot off without that. Reflections from our lights was one of the biggest concerns. The other concern was seeing the pixels on the LED wall. We shot everything at an f/2.8 to mitigate that issue.
There was a pre-light day...maybe with a scout you could have pre-lit the set, but my experience is that 3-camera shoots often have a pre-light day due to the known complications and the insurance for unknown factors. In this case, the LED screen technician split the screen into 3 uneven parts to create a unique background for each camera angle. Tie that in with client approval on site, and the potential for higher-up client approval off-site that is not always immediately accessed... and you end up using up most of a day. Changes mid-stream such as the original plan to have 3 people for one session were dropped when the 3rd got Covid and couldn't make it... so the pre-light allows us some insurance to deal with new requests.
It's true green screen is easier than ever, but the ability to create 3 backgrounds, show the client, and get approval all in a few hours during the pre-light meant post would go super-fast... time is still $.
Great video. I am always impressed with Key Grips' abilities with tying knots. :)
Together with Gaffer & Gear this is a fantastic channel with very valuable content ❤ Been shooting b2b/b2c content for ten years now and always learning. Thank you for the fantastic resources and your transparency about a road that isn't as straight as some would like everyone to believe :)
Kindest regards from Germany
Feed the RUclips algorithm with a comment. Great video. Thanks!
That was a fun episode!
classics. thanks for sharing
I like the Odyssey monitor on the camera, my old product! Perfect for multicam stuff like this because you can run a quad split to see all your shots and when you do two at a time you can use the exposure & color tools to match the shots. I know I sound like I’m talking all about camera dept. but this is actually super useful for gaffers as well.
I'm keeping my Odysseys as long as possible. Great tool!
Question for Eli - did you guys have any flicker issues with the LED wall?
Shot on the same stage with similar parameters last year and had to set cameras @ 24.00p dial out flicker, wasn’t able to eliminate it @ 23.98p and Synchro Scan. Curious how you handled it?
Thanks, -Sats
Hi Satsuki. We actually shot this one at 29.97. I was concerned about potential flicker and was ready to kick in ECS, but never had the need.
@@EliAdler-p2u Good to know, thanks Eli! Hope you’re doing well.
No scout, but did you have a pre-light day? Or was this all one day? Great episode!
It was multiple days. Not sure if they had a full day of pre-light.
We did have a full day to prelight and tech check for all three camera angles. We really couldn't have pulled this shoot off without that. Reflections from our lights was one of the biggest concerns. The other concern was seeing the pixels on the LED wall. We shot everything at an f/2.8 to mitigate that issue.
@@EliAdler-p2u thanks for the insight. Yeah, lots of troubleshooting but with great minds anything is possible.
There was a pre-light day...maybe with a scout you could have pre-lit the set, but my experience is that 3-camera shoots often have a pre-light day due to the known complications and the insurance for unknown factors. In this case, the LED screen technician split the screen into 3 uneven parts to create a unique background for each camera angle. Tie that in with client approval on site, and the potential for higher-up client approval off-site that is not always immediately accessed... and you end up using up most of a day. Changes mid-stream such as the original plan to have 3 people for one session were dropped when the 3rd got Covid and couldn't make it... so the pre-light allows us some insurance to deal with new requests.
I have zero experience with led walls but I do think keying and doing green screen has never been easier or quicker than now with resolves tools
It's true green screen is easier than ever, but the ability to create 3 backgrounds, show the client, and get approval all in a few hours during the pre-light meant post would go super-fast... time is still $.
@@alansteinheimer4274 thanks! I'll leave it up to the experts Of course lol