3x Camera Test Screening

So I had a busy day today, otherwise I would have reported on test screening sooner.

I had never seen a frame of the final result before last night, so I really didn’t know what to expect. First a quick word about the way the GH1, 5Dmk2 and Red Camera test was projected- Panasonic 7700 projector, approximately 20′ perforated screen, no ambient light control (yuk).

The results (aka) the short “Ghosts”, was screened twice. The first time without any identifying text to the camera and lens, and then again with. As I suspected it was possible to intercut the 3x cameras SEAMLESSLY. This doesn’t mean that the 3x cameras “look” the same- no, it means that, if you so chose, it is possible to cut any of these three cameras together. What is required is taking the appropriate steps in production/post. Doing so will assure there is no obvious jump from one camera to another.

This is not to say that on occasion a visual jump didn’t happen during this test (it did) but really it will only be seen by those with a critical eye. The most obvious “jumps” to me (and I’m speaking as someone hyper critical) would have been greatly minimized (or eliminated completely) with just coordination of matching camera exposure levels during production, rather than the “free-wheeling” guerrilla style shooting that was going on (without walkies, on-sunset boulevard during rush hour) for part of the test.

I’m going to refrain from making any definitive judgment call on the test at the moment, I need to see the material projected properly for that, and I should be able to arrange to see the test again in a proper setting next week. I’ll say that all cameras looked good, and yes I know if you’re reading this you’re wondering if I think that the GH1 looked darn good- it did. Several people were extremely impressed with what they saw. I received several emails today about last night, and all were extremely flattering.

Those emails are really a testament to Byron Shah (DP), Jason Ensler (Director), Arnold Ramm & Rob Walz (Colorists) and let’s not forget that technical credit should also go to the Post Production services provided by Tom Vice (Fotokem) and George Rizkallah (The Product Factory) for doing some of the heavy lifting to make the whole project come together in a timely and professional way. Also credit is also due to the dozen or so extremely talented shooters, AC’s and DITs who all came out to land a hand Carl Ratajski, Gunnar Mortensen, Paul Brady, Cindy Kurland, Mako Koiwai, Eric Forand, Ethan McDonald, Nathan Hope, Derth Adams, Hernan Otano, Nic Sadler- my apologies if I missed anyone.

Byron typed up a report about the test and it was handed out at the event last night, if I can get a copy I’ll post it here for everyone to read. No word yet if it’ll be uploaded to Vimeo.

More to come on this test.