Remember reading Where’s Waldo when you were a kid? We had so much fun playing a similar game to test your vision and your response was overwhelming! Thank-you for taking the time to play and making it so hard to choose a winner!
MIO
In this Mio sequence from our current Navy SEAL film project, we used two HD cameras the Canon 5D Mark II and the Sony 950. We also shot some of it with the Arri 235. There are subtle differences between 10 Bit HD with the Sony 950 and 8 Bit color space with the Canon 5D!
The Navy asked as to scrub the footage, so the contest is now over. However, the person who guessed it correctly will receive a prize from Hurlbut Visuals.
We will announce the winner on Monday November 2, 2009. Thank-you for participating!
Tags: Cinematography, HDSLR Cameras, movie maker
Shane 
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on Sunday, October 25th, 2009 at 2:36 pm and is filed under Contests.
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John Guerra,Elite Team Member: Lighting On The Sub
HurlBlog Sound Guru: Gene Martin
The Sub Shoot
[...] into this world with both feet. Shane has a new blog that I want to introduce you to as well as a new contest that you might be interested in participating [...]
First of all great short, It looks amazing!
My guess would be the dolly shot with 2 smaller boats and the yacht as the camera goes from right to left. its the 3rd shot it is used with the 5d
Can’t spot any difference, but it is a beautiful shot! And I’m not talking about SEALs shooting the bad guys…
Shane, first-off let me say that while I watched your trailer, I was completely riveted to the screen …. well shot, great sequences, great cut! And get those damn bad guys, lol ! Love it …
Tough call in many instances to pick out what’s what … but I’ll give it a shot!
My guess is that the first few establishing shots (00-00:15) of the boat are shot on film with the Arri 235. Next, the models on the boat look like they were shot with the 5d mkII, especially the shot at 00:46, which I dig, it’s a great hand-held shot that tracks right up to the drink. The next three shots, i.e. gun-man getting blasted against the window 1:00) look like the Sony 950, and also 1:02, the blood shot on the window. Here’s where it gets even harder, because the edit is so good, and your color correction is well done … gonna have to say, that the master wide shots look like film with the Arri (1:04, 1:05-chopper and 1:10). Your handheld shots in the chopper (1:11) look like the 5d, as well as the shots at 1:32-1:38 and I think most of the hand-held on the ship with the soldiers is 5d (1:52-end) and 1:54 is definitely the 5d, incredible dof. Looks like you used the Sony on some of the other over-shoulder shots like 1:06,1:15, 1:25 and the medium shots like 1:39 and 1:51. Ari shots on film would be 1:18, 1:26 and 1:31.
Ok, I’ve just spent the last hour straining my eyes to find anything that would give it away … pretty tough to tell, honestly. So that’s my hunch … best I can do at 1 am (lol).
Thanks,
J-dog
p.s. The prize would be awesome if it happens to be spending a day on set learning from you Shane, just an idea … peace!
nice blog Shane, very inspiring for young dp’s like me (In Spain almost nobody using HDdslr on industry and I try to push it)
here is my guess for the 5D takes:
-When the girl armed with JB go downstairs from 0:37 to 0:57
-most of the “cameraman-mixed-with-soldiers” assault on boat, like:
1:42 POV cam
1:54 “behind helmet” (I am pretty sure about this one due gradation and softness of bokeh)
Next month I will try a snorricam attached to a gun for action scenes, maybe is not the best thing for the integrity of the cmos but should look amazing.
regards from Europe.
Alvaro.
Alvaro, Good guesses we will let you know who the winner is on Monday Nov.2nd. Mounting it to a gun sounds very cool. The camera can move in ways we have never seen before. I also like handheld with the camera, it being so small you get a vibration when moving that I love, the new handheld, a new language. I am glad you liked the blog. All the best, Shane
Amazing work!
My guess for the 5d Mark II footage is all the hand held footage of the Navy Seals, starting at 0:59 with the POV of from inside the yacht of the ‘bad guy’ getting shot. All the footage of the Seals in the boat approaching the yacht plus the water shot of the Seal’s boat passing and I would say the shot from the yacht and from the helicopter as the Seal’s helicopter approaches and as the Seals jump out and all the hand held of the Seals swarming the yacht.
I just shot a music video on the 5D and I’m still in awe on how well the 5D performed.
-Matthew
I just came across your site today and I am glad I did. As far as the contest goes I don’t have a clue, I will have to watch it a few more times. That being said I did want to see if it is possible for you to show some lighting diagrams and setups you used in this film and/or in previous films. It would be interesting to see how you approach lighting. Also I am aware that the low light quality of these HDDSLR’s are pretty amazing, if it is possible it would be great to see how you adjust your lighting techniques to work with these cameras. I am a newbie at cinematography and would love to learn as many tricks of the trade as I can.
Great site,
Shaun
Are we all ‘guessed-up’ or is there a little more room for a few more comments of the video? Cheers
What a fantastic footage and the competition. I love the idea. This is the kind of challenge I’ve been waiting for.
Pete say:
Opening shots: Arri
The girls onboard from about 00:15 are digital. I’d say Sony.
Then and about 00:29 – girl with a drink – nice shallow DOF – that’s 5D.
01:00 – very dynamic shots – back to film, but some onboard shots are digital and mos probably sony. they r too fast for 5d (yello cam warning). Panning around the boat, shots from the air – all film.
The moment the soldiers hit the deck – digital (mostly sony)
and around 01:32 the pilot inside the halicopter – that’s 5D
01:54 – 5D without a doubt
Is this footage all converted to 23.98? What workflow are you using for the footage? It looks amazing.
I’ve come to the conclusion that all wide shots at the beginning are the 950, and a lot of the ‘calmer’ action is the 950. But when the Navy Seals first show up and things get tense, it switches to the 5DMKII. The camera is too frenetic to be a big body, so all of those CU’s with the Seals are definitely the MKII.
I also have a feeling the CU of the girls ‘behind’ as she walks with the drink is the MKII…I just kept watching it over and over…that same clip. And I think that it was the MKII.
Maybe I’ll go back and watch that shot again.
Here goes . .
All Stabilized aerial establishing shots of yacht and tenders – Arri
Onboard shots of girls, UW shot of guard, more shots of girls and jefe, inside/outiside shots of guard being hit, – All 5D2
POV from chopper over gunner’s shoulder-sony
inside shot of seal boat going past bullethole, Sony.
onboard seal boats and in water 5d2
in chopper cockpit sony
aerial stablizied – Arri
in choper rope drop – sony
all onboard pov – 5d2
onboard through window – sony
I’m going to go out on a limb here and say this entire sequence was shot with the 5D!
Shane, before I give my guesses did you add grain to any of the 5D2 Shots? I swear the shots of the girls on the deck show grain in the blurred background, same when the drink is being walked in.
Good stuff and thanks in advance.
I agree with Breck I think the whole thing was 5D.
00:00 – 00:15 Arri/Sony
00:15 – 00:21 5D The Girls – but not sure
00:21 – 00:26 Water Camera – 5D?
00:26 – 00:36 Sony (looks like Sony Colors)
00:36 – 00:59 5D Girl with Glass (btw. there where no ice cubes in the glass when she picked it up on deck upstairs
00:59 – 01:00 Sony
01:00 – 01:02 5D soldier on boat, typical 5D Jello when too shaky
01:02 – 01:03 5D
01:03 – 01:06 Arri
01:06 – 01:07 5D
01:07 – 01:08 Water Cam 5D?
01:08 – 01:09 5D
01:09 – 01:10 Arri
01:10 – 01:17 5D Helicopter
01:17 – 01:18 Water Cam 5D?
01:18 – 01:20 Arri/Sony
01:20 – 01:23 5D
01:23 – 01:24 Arri
01:24 – 01:26 5D
01:26 – 01:29 Sony/Arri
01:29 – 01:30 5D
01:30 – 01:31 Sony/Arri
01:31 – 01:39 5D
01:39 – 01:40 Sony/Arri
01:40 – 01:51 5D
01:51 – 01:52 Sony/Arri
01:52 – 01:54 Sony
01:54 – 01:57 5D
Most 5D shots i recognized by the 5d jello rolling shutter effect. If it´s very shaky it´s quite obvious, because i am used to it with my 5d2. I think most (if not all) aerial shots far away are made with the Arri. Some look so steady and crisp. But I can´t really tell the difference between Film and Digi.
Nice Contest, Nice Trailer!
First off great work, here are my guesses!
Shots of the outer boat 1,2,3 are with the ARRI. The 5D moire wouldn’t work on the water to well.
Girls shot #4 is with the Sony, the DoF looks like 2/3.
Underwater shot #5 5D MarkII
Shot #6 Gril with Bell Sony Again
Shots 6,7 girl grabs glass and goes to lower deck 5D Mark II the handling is too quick for a heavy camera.
Shots 8,9 lowering stairs dark and People having drinks Sony 950, too much noise to be a 5D.
Shot 10 Following girl with glass and placed on table 5D Mark II very clean.
Shot 11 Newton Cradle 5D Mark II.
Shot 12 Quick Pan to window man gets shot. 5D Mark II rolling shutter on walls.
Shot 13 Man falls from shot, 5D Mark II rolling jello again. Still looks good.
Shot 14 From behind soldier on Boat, 5D II again, gun jiggles a bit.
Shot 15 Shattered window from shot 5D II also, wall jello on pan.
Shot 16 Overhead Boat ARRI
Shot 17 Overhead chopper ARRI No rolling shutter on blades and great depth.
Shot 18 Soldier on boat Sony 950 I cant see rolling shutter at all.
Shot 19 Boat Goes By view from waters edge 5D II
Shot 20 Behind Big Gun, Slight jiggle on gun 5D Mark II.
Shot 21 Panoramic view of scene ARRI.
Shot 22 View from Inside Chopper Sony 950 No Water Moire or Jello.
Shot 23 View of crew on raft 5D II rolling shutter apparent.
Shot 24 Shutter approaching Deck Sony 950
Shot 25 View from small boat looking at chopper 5D II Jello apparent on Boat Post.
Shot 26 Boat passes view from water Sony 950.
Shot 27 Boat follow side view Sony 950.
Shot 28 Shaky view from small boat 5D mark II
Shot 29 View inside chopper they drop ropes Sony 950
Shot 30 View of chopper hover with smoke scene ARRI, great quality.
Shot 31 Men slide from rope Sony 950
Shot 32 Slide from rope aerial view ARRI Film
Shot 33 Man below chopper Sony 950
Shot 34 Raft view side ARRI
Shot 35 Joystick on chopper tilt up 5D II
Shot 36 Three soldiers camera moves forward Sony 950
Shot 37 Camera orbits around soldiers and shows chopper 5D II, has tons of artifacts from twixtor or pixel motion on the columns and even chopper. That one was easy.
Shot 38 Aerial view of soldiers close to boat on raft ARRI
Shot 39 Soldiers getting on large white boat 5D II Jello Visible
Shot 40 Behind rifle shot Sony 950 no jello visible even with harsh motion.
Shot 41 Soldiers coming up ladder 5D II a lot of jello.
Shot 42 Soldiers passing with lens flare Sony 950 stable and the flare is not SLR like.
Shot 43 1:50 Shakey soldier shot 5D Mark II body bends.
Shot 44 Pilot view on shadow ARRI, good dynamic range.
Shot 45 View from air to side of white boat with soldiers ARRI
Shot 46 Soldiers moving sideways on window shot from inside Sony 950
Shot 47 Soldier shoulder view with rifle, 5D II Jello deforms helmet slightly.
Shot 48 Zoom to soldiers goggles made with a camera truck 5D II head deforms at end
Shot 49 Rifle orbit for shot 5D II artifacts of heavy motion due to pixel motion?
Shot 50 Shot to the head of evil doer 5D II jello walls very apparent
Shot 51 Shot from inside boat to look at fall from man shot. Sony 950
Ok I admit I am not quite sure about the in water camera but from the looks of it it could be that both the Sony and the Canon had water enclosures.
I tried my best, awesome footage, Michael bay would be jealous.
…I agree too, saying it’s all 5d video, with many bodies. Different color settings although. Plugins to remove Rolling shutter issue, when there’s much visual action.
In any case, great job, even if I’m surprised by color saturation mismatch.
[...] This post was mentioned on Twitter by Rocket_Scott and Sakana, John Kung. John Kung said: Some of this was shot on film, a pro HD video camera, and a Canon 5D MKII. Guess which scene was shot with a DSLR! http://bit.ly/V3U8P [...]
J Dog, I am so glad you like this, I am sorry about straining your eyeballs, the winner will be announced on Monday, and I think your idea of the prize is perfect. I will make that happen. How does a day with the Navy Seals in San Diego sound. Thanks so much for all your in depth examination. More to come. All the Best, Shane
UA, excellent analysis. What a breakdown, I have my elite team going through shot by shot, taking all your comments and breakdowns. I am glad you like it. This is getting good. All the best, Shane
James, your breakdown is awesome. Thank you so much for your passion. It will pay off. I loved J Dogs suggestion for the prize. San Diego, Navy Seals, next week.
Egon, this was literally my first try with this camera system in the elements, the whole color temp. thing was all over the place. I didn’t realize how important micro managing the Kelvin was. This 8 BIT color space is so limited, you need to get it very close. I now treat it like reversal film stock. I carry my color meter around on my belt. I can successfully take a scene shot from early morning to high noon to later afternoon, and with my meter monitor the color temp and have it come out one consistent color, this is one of the most important things to learn about this camera. Thanks Shane
Hey Tim, no grain was added in any of the shots. Hint hint
Brandon, thanks for the good eye. But I would go look at it again, hint hint!!!! Find Waldo. Thanks, Shane
Hi Lindsay, all the 5D footage was shot 30p, then converted using Twixtor. The pull up is the best I have ever seen, there logarithms are incredible. The Bandito Brothers is the production co. and they have an incredible post prod. workflow for this camera. To this date, if we were shooting film, our footage count would be 1.7 million feet of film. This camera is saving the environment, on 5D at a time. All the best, Shane
Hi Pete, The game is on. Great breakdown, I would check it again. Shane
Hi Kal, keep the breakdowns coming, the contest ends Monday Nov.2nd. Prize will be awarded Tuesday. Travel to San Diego on the 4th to Hang with the Navy Seals. Play on…
Shaun, thank you so much for all your comments, I light off of a HP monitor. It gives me the best resolution. Lighting you have to be obsessed with the subtleties and not be heavy handed. I find that 1/3 of a stop lighting changes are like a 1 stop lighting change on film. I have found the camera with the Panavision Primo prime on the camera you get 7.5 stops in the under and 5 stops in the over. Lets stay in touch.
Social comments and analytics for this post…
This post was mentioned on Twitter by _Sakana: Can you tell when the 5DMKII is used on this footage :http://hurlbutvisuals.com/blog/2009/10/25/wheres-the-5d/
Done by Shane Hurlbut….
To everyone, I want to thank you for all your amazing comments, I will try to be as personal as possible and address everyone by name. My elite team will also be on call to answer questions. I am sorry to respond so slowly. I have been in a DI suite all day color correcting the SIZZLE REEL for the Navy SEAL film. Keep playing, the winner will be announced on Monday Nov. 2nd. The prize is J Dog’s idea a day on the set in San Diego with the Navy SEALS, next week. GOOD LUCK!!!!
Great video!
Here’s my guess… It was all in shot in 5D!! hehe.
I wish I could say that but that wouldn’t make this a game,,,
so here I go.
00:08-00:15 Helicopter shot (that goes around the boat)
00:15-00:22 Ladies
00:23-00:26 Underwater shot looking up to a guy in sunglasses
01:20-01:22 In boat scene
01:32-01:33 Close up of helicopter pilot
01:33-01:34 Close up of army
01:40-01:44 Camera on gun first person view
01:52-01:53 Through the window shot
To my eyes, the only way I could tell was looking at the dynamic range in the clouds and the ocean. I might be wrong but on some othe shots, the whites were blown out,, and I thought this was due the difference in the bit rates like you’ve mentioned,, 8bit:)
btw, I think I saw a reflection of the camear operator right around 00:30., but I can’t tell what camera he’s using:)
I really want this camera:) I saw your other video where you’ve mentioned that you’re using a 28mm nikon lens, do you preffer the nikon lenses or would you say any lens would do now that 5D can manual control?
Thanks!
*I’m submitting this from Japan!
Looks like level pegging to me! Pure Dynamite!
Clark, I think the best small still lenses are the Zeiss primes, the ZE and the ZF series. I have done extensive test with them and they resolve the best. The sharpest image is the key to getting the limiting 8 bit color space to perform. When it is soft all detail is lost. Thanks for your breakdown.
Hi Shane,
Great work, I hope the box office results reflect it.
How are you dealing with the rolling shutter, horizontal lines issue with the 5D. Almost all panning shots I have taken at some point are effected by this?
How are you getting around it?
Awesome work again.
Luke
This is so sick!
I have no clue as to what camera you used when.
But how the heck did you pull off getting the snake eaters to help you out!?!?
So exiting what can be done with these puppies!
Thanks for taking the time, and thanks for sharing!
Alright, here are my guesses:
Shot 1: wide helicopter shot above boat: sony. The highlights hold reasonably well, the image is very clean, and whatever kind of rig is being used for the camera probably makes it very inconvenient to change mags every 2 or 4 minutes like you would have to with the 235, so I’m guessing it’s the f950. I’m using this logic on all the helicopter shots, so if I’m wrong on this one, I probably missed a bunch.
Shot 2: closer helicopter shot above boat: sony
Shot 3: helicopter shot behind boat: sony
Shot 4: girls lying on deck: arri. I see some grain here and there and the white surfaces of the boat don’t seem overly blown out.
Shot 5: guy with machine gun from under water: arri. Again, highlights are under control, and I see a white speck or two of dust on the film in a couple of frames. Since I’m guessing that this is the arri, and you had an underwater housing for that camera, that leads me to guess that several other shots from that angle are also with the arri.
Shot 6: girl by bell: arri. again I see some film grain
Shot 7: girl picking up drink: arri. It seems to be on Steadicam, and I imagine the 5d would be very awkward to use on a Steadicam, and the f950, being tethered to an SR deck, is not ideal for Steadicam either.
Shot 8: girl going below deck: arri
Shot 9: girl from bottom of stairs: arri. more film grain.
Shot 10: guy toasting: arri. This whole sequence seems to be the 235 on the Steadicam.
Shot 11: following close behind girl: arri
Shot 12: close up on balls vibrating: arri. Out of context I might guess 5d, but since the rest of the sequence looks like the arri to me, I’m sticking with arri.
Shot 13: guy getting shot from inside boat: arri. Again, I see a dust speck or two on the film.
Shot 14: guy getting shot from outside: 5d. Blown out highlights and the handheld low-angle shot makes it seem like a shot for the 5d.
Shot 15: from behind helmet: 5d
Shot 16: boat passing shattered glass: 5d
Shot 17: boats from helicopter: sony
Shot 18: helicopter from helicopter: sony
Shot 19: boat driver: 5d
Shot 20: speedboat going past camera at water level: arri. Too quick to tell, but I’m sticking with my theory that most of the shots from water level are with the arri.
Shot 21: from behind gun in raft: 5d
Shot 22: boats from helicopter: sony
Shot 23: silhouette of helicopter pilot in cockpit: 5d. I went back and forth between the arri and 5d on this one, but some later shots in the cockpit look like 5d to me, so I’m going with 5d.
Shot 24: in raft: 5d
Shot 25: helicopter overhead: 5d
Shot 26: in speedboat: 5d
Shot 27: speedboat from water level: arri
Shot 28: silhouetted speedboat: sony. I thought arri for a while, but changed my mind.
Shot 29: from behind guy: 5d
Shot 30: guy getting ready to jump: 5d
Shot 31: silhouetted helicopter: sony
Shot 32: guy jumping out of helicopter: 5d
Shot 33: helicopter shot of guys getting out of helicopter: sony
Shot 34: guy landing on boat: 5d
Shot 35: silhouetted speedboat: sony
Shot 36: helicopter pilot: 5d
Shot 37: seals that just got off helicopter: 5d
Shot 38: following behind seals: 5d
Shot 39: overhead of seals getting off raft onto boat: sony
Shot 40: seals getting onto boat: 5d
Shot 41: following gun: 5d
Shot 42: seal getting on boat: 5d
Shot 43: silhouetted seals going into boat: 5d
Shot 44: in front of silhouetted seal: 5d
Shot 45: silhoutted helicopter pilot: 5d. Was confused for a while, but saw what looks like moireing above the pilots head, and that clinched it for me.
Shot 46: helicopter shot of seals on boat: sony
Shot 47: seals through boat window: 5d
Shot 48: behind helmet: 5d
Shot 49: close up from front: 5d
Shot 50: pull back to gun firing: 5d
Shot 51: whip pan to guy getting shot: 5d
Shot 52: guy getting shot from behind: 5d
Luke, so much about this camera is creating your own cocktail. My cocktail is Neutral Picture Style, 1/50 shutter speed, Twixtor plug-in for you 30-24fps pull up. This combo platter works like a champ and I feel gives it more of a filmic look. All the best, SHane
Kabcar, this project has been in the development stage for over 2 years. The Navy has been unbelievable in the cooperation and their assets. They see it as the best recruitment film ever. Hell when I see this I want to join for Christ sake. working with the real navy seals has been an incredible experience. This is what is so unique about this film. The stars of this film are real Navy SEALS. They are so bad ass.
Hi Shane,
I love the passion for the 5D mk2. I have been shooting on it since late last year and we are in exciting times!
Couple of quick questions:
Is this Navy Seal movie for theatrical release?
Have you had a chance to play around with the 7D and if so, what are your thoughts? I have both, but the 5D is tops in my opinion. Looking forward to 24p.
Thanks for this great new blog! I will work on a breakdown this weekend of the shots.
Shane how long will you be in San Diego for? Any way you could spend an hour with the local film maker meetup? There are dozens of DPs/filmmakers here who’d love to pick your brain about the 5D.
[...] the difference between digital and film. Check out the video here, and enter his contest here. [Shane Hurlbut via Vincent [...]
[...] to tell the difference between digital and film. Check out the video here, and enter his contest here. [Shane Hurlbut via Vincent [...]
[...] to tell the difference between digital and film. Check out the video here, and enter his contest here. [Shane Hurlbut via Vincent [...]
I downloaded the 1080 version, to really see the difference, and you can tell it is shot with different cameras. Especially the slower opening shots of the girls look slightly different; only us train spotters though would see.
By the way I am an editor in New Zealand; so wouldn’t be able to come over to claim the prize!
There is nasty aliasing on the opening fly overs, the worst is the third shot!
That can’t be film, and not wobbly so not 5D.
I’m guessing Sony.
White spot at Fr541 – do the digital cameras do this? Surely film.
White spot Fr 651.
White spot at frame 1156, and black spot at 1158.
I could spot the film anomalies all day, but will rather say what is not film!
Fr702 – 5D, girl grabs glass, color looks different, just not as nice.
Following shot is 5D…
Really handheld and tight action shots are 5D.
It’s to dull to go shot for shot, I tried but got bored.
It all looks good, and apart from some CMOS wobble, and grain/color/contrast/sharpness subtle differences almost impossible to tell.
The head mounted 5D is where the DSLR camera shows it’s potential as a true tool in its own right.
I respect you guys for pushing the limits, and the results look great.
5DmkII on
4,5,6,7,8,11,12,19,20,21,22,23,24,26,34,36,37,47
hope i didn’t skip a cut!
cheers,
start scenes from high above where we see the boats and a flyby near the boats: all 5D MkII, I recognized its main shortcoming: no anti-aliasing in the scale down from a 21 Mpix (CCD) to a 2Mpix(HD1080) you normally use some scaling algorhytms, 5D MkII does not.
Next scene with the ladies: some 24fps flickering, must be film (although this could be simulated but I would say film anyway)
coming out of water: dust specs, film
following the girl: dust specs, film
incoming soldiers: from higher altitude; still 5DMarkII (aliasing)
many scenes that move too much to get a real idea…
Small white boat passing by: lots of noise, not 5DMii, must be that other digital
first soldiers landing on boat, close-up: lots of noise…. the other digital
first soldiers landing on boat, flyby: 5DMii
close-ups soldiers on catwalk: I see some HDR going on… must be that other digital…
Fantastic! The crisp arry is simple to found (no chromatich aberratons and mega resolution), but this footage remuxed on PS3 is a BLOCKBUSTER! why ps3 ? beacause i’m tryng to enhance compressed footages and ps3 have 10bit 4:2:2 scaler, block correction, etc… and HDMI out
)
Also passed throught madVR directshow render for GPU 16bit dither chroma/luma channels and on ps3 “it’s a kind of magic”, try a raw d5 footage.
Only a request:
PLEASE! TELL ME THAT THE SCENE OF GLASS FROM START TABLE TO THE END DOWN THE STAIRS AND THE 2ND TABLE ARE ALL EOS 5D MKII !!
AND IF I SAY: RESAMPLING TO 4K, CORRECT AND ENHANCE AND DOWNSIZE TO FULLHD ?
TRY. but with the right tool that i’m developing. can help me?
ciao, sorry for my baaad english.
p.s. lens ZEISS ZF or CANON EF BLA-BLA L IS USM?
When I was analyzing the video and writing out all the shots, conventions took a back seat to just getting it done, so hopefully you can decipher what I wrote. Of course, there are a few I wasn’t sure about.
1 – arri
2 – arri
3 – arri
models – 5d
out of water – 5d
model, bell – 5d
drink on table – 5d
down stairs 1 – 5d
down stairs 2 – arri
old guy – arri
behind – arri
shaking table – 5d
pan to window – arri
guy hitting window – 5d
marine over the shoulder – sony
boat passing by window – arri
shot of all boats – arri
helicopter top – 5d
interceptor boat past other interceptor – sony
boat over wave – 5d
looking down machine gun – 5d
boats with red flare – arri
helicopter cockpit – 5d
marines in interceptor boat – sony
helicopter turning – sony
marines overtaking large boat – sony
speedboat – 5d
hazy boats – arri
looking back out of marine boat to yacht – sony
pushing bag out of helicopter – 5d
helicopter with bag dropping – 5d
marine reppelling from helicopter – sony
marines landing on yacht – arri
snippet of marine – sony
interceptor speeding away from yacht – arri
boat pilot – 5d
line of marines and subsequen shot – 5d
flying over boats – arri
marines moving up stairs – sony
marines at top of stairs – sony
marines walkign though sun – 5d
shaky marine – sony
smippet of pilot – 5d
marines walking down side of yache – arri
view of marines from inside boat – 5d
looking down marine’s gun – 5d
shots fired – sony
bloody window – 5d
So yeah, there ya go.