I’ve been working with water and particle simulation for some time now. It’s fascinating how computers software is able to mimic real world dynamics, and translate that to amazing visuals that sometimes wouldn’t be possible without the insane control of nodes, and rigid bodies. This was just a simple product test having the particles interact with a tabletop product. Still a work in progress, but shows potential in the amount of control that an operator has while simulating.
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.
On December 2nd,2010 Asylum Artists held a Jazz night with Toronto Jazz Legend Archie Alleyne and his Evolution of Jazz Ensemble. Over the fall months we were busy producing, and developing a website for the Archie Alleyne Scholarship Fund (AASF). Through our efforts with the website, social media, and the jazz night we were able to help raise over $7000 for the fund, and 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.
Before the holidays, we were lucky enough to have Rick Mercer drop by the studio to snap a few portraits for our on going
personal project of Canadian Icons. Thanks Rick!
You can now purchase your tickets for the event being held on December 2nd, 2010 @ The Asylum 100 Carlaw Ave, Toronto, ON.
All of the proceeds from the event will be going to the AASF, to help ensure young musicians can get financial support and learn from some of the greats in Jazz music.
Without the Past… There is No Future…
The website for the AASF.ca will also be launching on December 2nd, 2010. We have been in production on the website since late August, and now are working with TA2 Sound + Music, and Xerogravity.net to finish off the post of the production, and develop the flash site for all of the amazing content we have been getting. Thanks to all the support of our sponsors, and all of those who have come down to the studio to talk about Archie.
I went out before most of the leaves were gone in Northern Ontario and shot some backplates and HDR spheres for cg car visualization.
There was a big rain storm two weeks ago, and since it wasn’t too cold I seized the opportunity to get some great backplates and hdr spheres with lots of light reflections, and ground details.
Mercedes GLK-350 through Tunnel , HDR and backplate provided my MAground
Models Created By : Squir
To view more renders go to Scott’s blog
Today we were working on an interactive production with Proximity. After a great morning of shooting, and some beautiful footage. We sat down and had a nice Italian meal before wrapping for the day. Nothing better than some fun and food.
My apologies to our Post Production Supervisor/ Sr. Editor Chris Reesor, I was so excited to get back to my plate. I didn’t frame him correctly. 1,2,3, CHEESE!
If you haven’t been there yet, check out www.AsylumArtists.com, we just updated our site’s intro and put up a show reel for 2010. A youtube link to the reel below.
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This was one of the latest projects we have completed for Grip Limited. It involved a walk and talk scene through the U of T campus. We used a Steadicam rig with the Sony EX1 to achieve this scene.