Hope everyone is having a great start to the new year.
We just hit 100K views on vimeo for our documentary on Joe Yanuziello.
Thanks to all who checked it out!
MEET YOUR MAKER from Asylum Artists on Vimeo.
Happy New Year!
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Category Archives: Cinematography
Canon 5d MKII Neutral Profile Vs. Technicolor CineStyle Profile
This was a test to compare the new profile created by Technicolor specifically for digital cinema. The black detail and highlights are the main focus of this profile, and it definitely works for being able to get a solid palette to work with in Apple Color. Though the file is still limiting because it originated from an H264 file, this will be the way we do production and post moving forward. A special thanks to Technicolor for getting under the hood of the Canon 5dMKII and really pushing it to its full extent.
Music: Radiohead- Lotus Flower
Purchase Online: bit.ly/kH2iAl
Asylum Artists presents “Meet Your Maker”
View the Html5 video page here.
Meet Your Maker is a mini documentary featuring acoustic/electric luthier Joseph Yanuziello. The crew of Asylum Artists filmed Joe during the process of hand building of of his electric guitars in his Toronto workshop. The film features a live recording of guitar greats, Don Rooke and Kevin Breit playing a version of Rooke’s composition “Pool Jumper” on their Yanuziello resophonic guitars.
Scott picks up an Applied Arts Award
In the March issue of Applied Arts, Scott won an interactive award for his Contact exhibit last year “Street Perception”
Check out the article, or view the project case study.
Budweiser Showdown Facebook App – Case Study
Budweiser has a new partnership with the NHL® and wanted to launch it in a big way.
Enter the 2011 Tim Horton’s NHL Heritage Classic.
This epic outdoor hockey game gave Budweiser a perfect and authentic platform to build awareness and carve out a place in the hearts and minds of Canadian Hockey fans.
Agency: Grip Limited
Production Company: Asylum Artists
AASF.ca Website Launch and the EOJ Ensemble Jazz Night
We put together a short video to finish off the launch of the website for the Archie Alleyne Scholarship Fund (AASF). Through our efforts with the website, social media, and the jazz night held on December 2nd, 2010 @ the Asylum Artists studio we were able to help raise over $7500 for the fund. We are now able to help more underprivileged youth find a voice in the music community, and get the proper training that they need to get into post-secondary and to find their place in the world of music.
If you would like to help contribute to the fund visit www.aasf.ca for more information. Special thanks to all of our sponsors.
Post Production Workflows
We are trying to add some resources to the local community, and what better way than to share some of our workflows.
1) Canon 5d MKII Post Workflow:
Definitely one of the easier post workflows, but for on set monitoring this camera can be a bit of a pain. If you plan on just connecting an HDMI and monitoring while your DP uses the rear LCD, sorry… The camera doesn’t have enough processing power to send out two signals ( It’s a DSLR with video enabled what do you excpect? Still pretty great). So it cuts out the rear LCD to distribute the signal through the HDMI port. As a solution to this we grabbed a Blackmagic HDMI- HDSDI Mini Converter from Abel Cine. With this device you still lose the rear LCD once the HDMI is plugged in, but you can have an onboard monitor with one of the Blackmagic HD-SDI connections for camera crew, and the directors/client monitor can use the remaining HD-SDI port from the converter.
2) RED ONE Post Workflow
This worklow has been evolving since 2008. After two years of fan boys saying it rocks, and veterans saying it will never work. The workflow of RED is one of it’s graces. To be able to shoot 35mm quality footage @ 4k, and immidietly back that up and begin cutting within minutes of wrapping a day, and having dailies to your client almost instantaneously is a real push for the RED Revolution.
3) Arri Alexa Post Workflow:
One of the new heavy weights of Digital Cinema cameras, the Alexa gives you a high quality cinematic image, with the latitude of film, but with the ease of digital. This workflow can be done through SXS cards, or by tethering to a Tape recorder, or Digital recorder. By shooting directly to SXS you get files that are either Pro Res 422, or Pro Res 444. Which is really great for editorial, and a fast paced post process. If you want a bit more latitude in post you can record into a digital recorder that will enable ARRIRAW in post so you have the full gamut of sensor information as it was shot.
4) Sony F35 – Post Production Workflow:
This was Sony’s first big response to the release of the RED ONE. Looking very similar to the F23, this cameras upgraded insides make it a powerhouse over its predecessor. This camera feel is much like a traditional film camera, and was a pleasure to work with, giving me a great SLog image to work with in post. The downside to this camera is having the big recording unit attached or tethered, but nothing different from a giant film mag. For hand held shots though, I may look else where.
5) Vision Research Phantom Slow Motion Camera – Post Production Workflow:
This camera is an oddball in the sense that it was not made to be used in commercial and film, but for recording crash testing of vehicles to help with car safety. But for it’s technical ability and amazing image, it was quickly adopted by the film industry, and now the commercial advertising industry. With the ability to go to 1000 frames @ 1080p this camera allows the human eye to see things we didn’t even know occurred. This workflow can be achieved either with tethering the camera control unit to an HDCAM SR deck for tape backup, or the .CINE files from the Phantom can be stored and converted into Pro Res 444 with Final Cut Pro.
This is an open forum so if there are any issues or comments, please leave us some feedback in the comment section below.
Happy Shooting!
-Scott