Demolition Derby

...for a TV show called Crash Addicts. Yes, about demolition derby drivers. Driven. Determined. Deranged.

The timelapse interval in the above short film was 20 seconds.

As for the main video cameras, one of the three different varieties being used is the new Panasonic P2 (HVX 200) camera, connected to a 35mm adaptor with a Nikon mount, and a 28-70mm f/2.8 lens ( and no, this rig is not designed for handheld ). Somehow we make it all work, for something that will hopefully make for a unique viewing experience.

Looks to be quite the visceral show!

2 perf techniscope - negative real estate comparison

So this is a comparison of film formats according to their respective negative space.

Techniscope or 2-perf is marked in red, the next biggest rectangle after the super 16 frame.

This is not an EXACT comparison when it comes to 2-perf, but close enough for reference.

There are some formats missing on this chart, such as 3-perf super 35mm (in 1.85 or 2.35), but you'd be able to estimate using the full frame S35 as a guide.

It becomes clear, for example, why shooting 2-perf for 1.33 is not really a viable option (might as well shoot 16 and get close to the same negative surface area), and how shooting 2-perf SUPER will yield too much of a 'widescreen' image.

2-perf 35mm

Otherwise known as techniscope, the format made famous by the Sergio Leone Westerns, and Lucas' American Graffiti.

In Montreal, a certain rental house has a pair of beat-up 2-perf cameras for rent: an Arri IIc, and an Eclair Cameflex.

Each camera has it's own set of, ummm, issues, i.e., one can change speed but not shutter, the other can change shutter but not speed. Neither has a videotap. One has a PL mount, the other an Arri b-mount. Viewing is a bit of a nightmare.

And yet ... the images ! Certainly different than what super 16 would have to offer.

The above frame grabs that came off the telecine session at Notch, and yes, the images are "compressy" compared to what it would look like on a CRT.

If you want to use a MODERN 2 perf camera, you have to ship from Australia, at multivision

Or wait til next year for JPs next camera, the Penelope

More on dSLR as light meter

A quick post since I'm moving this week.

The first image is with the Nikon D200 as the light rose over Lac St Jean. Nikon lens was 50mm f/1.8 set to 1000 iso 1/50th shutter.

The second image is our crew, 4'x2 kino with daylight bulbs, covered with 216 + ND6.

The last image is a frame grab from the coloring session, camera was the Arri 2C w/ zeiss superspeed 35mm lens f/1.4, Fuji 500T.

By the time we went to camera, the makeup was finished with touch-ups, and the light had come out a little. There was slight use of the defocus board on her skin tone in telecine.

Also, the music video was overall biased towards the blue, so we decided to warm up this shot and take advantage of that pinkish light in the background