"Movies have already passed the point of optimum sound complexity, I think.
Way too many sounds bombarding the listener."
Couldn't agree more. Gee brought eighteen accordions to two separate Ice Age 4 sessions (at Fox no less) and they just sampled sounds from them.
Here are two more from Skywalker from a couple of weeks ago. Smaller rooms than at Fox but basically the same boards. Much different architecture. Both again the the 17mm. The first one stitched like the Fox image, the second basically one shot but with a bit added with shifting up and down. A very slight swing toward the right for focus down the board.
Akira Kurasawa Dubbing Stage, Skywalker Ranch, Nicassio, Ca.
Akira Kurasawa Dubbing Stage, Skywalker Ranch, Nicassio, Ca.
This is a shot from Farnborough Airshow 2012 which I nearly discarded but working on the RAW produced this. Taken as it looped overhead with a 300 F2.8L + x2 converter on a 5D3
Niall
A lot of the times with smaller MMA shows, you are shooting in not so hot lighting conditions, barely enough shutter speed to do what you need it to do, and still have to push your ISO a stop or more. When you get to shoot a big show and you see the 140 lights above that are 50' above, and everything is feathered really nicely...you'll appreciate it so much more.
The wedding photo is my favorite wedding one for me this year (my weddings have been lean).
I have other photos that I think are better, but that's mainly because the subject matter is my son and he's the bestest estetst!
Peter! That is such great work in the sound studios. I'm packing up and putting all my cameras in storage -- well, maybe I'll wait!
I'm curious about the lighting -- unless you painted with light, it looks like a lot of that is ambient with a little fill (reflectors?) light on the front chairs/console/carpet. But maybe all ambient and given a nice WB. Can you give a few details on the setting and how it affected the PP?
Gunzarro - Thank you for the compliments. The shots at the Fox stages were sort of lit. I had two Arri 650's bounced against the ceiling over the board area. It wasn't white, but at least it was light colors, then we used two Balcar strobe heads with grids but only for the modeling lamps - to put some light on the walls. There was one on each side crossing over to the opposite wall. Even though it's all RAW, I usually set the camera WB to somewhere around 2500-2700K so I get a preview that is pretty close.
At Skywalker, it was mostly ambient, but in a couple of shots I had to bounce a light on the floor to light the back of a chair. And those chairs, btw, can take half an hour to place precisely. When you're shooting that wide, the slightest change is quite evident. There were also a couple of the recessed lights that were either burned out or had been broken during a recent speaker installation, and didn't get replaced in time for the shoot, so I had to relight them in post, which was actually easier than I thought it was going to be. Even though it's the ambient existing lighting, there's a lot of balancing that goes on to get it to look like it does, particularly with the computer monitors and level meters.
5D2, EF16-35mm f/2.8L II at 16mm and ƒ/3.5, 1/1600, ISO 800
This is a superb one! Most shots here look fantastic. Makes me unhappy because I think I have no really good shot done in 2012 that makes me feel comfortable to show it here ...
Peter Figen wrote:
John - Awesome steeplechase image there.
Gunzarro - Thank you for the compliments. The shots at the Fox stages were sort of lit. I had two Arri 650's bounced against the ceiling over the board area. It wasn't white, but at least it was light colors, then we used two Balcar strobe heads with grids but only for the modeling lamps - to put some light on the walls. There was one on each side crossing over to the opposite wall. Even though it's all RAW, I usually set the camera WB to somewhere around 2500-2700K so I get a preview that is pretty close.
At Skywalker, it was mostly ambient, but in a couple of shots I had to bounce a light on the floor to light the back of a chair. And those chairs, btw, can take half an hour to place precisely. When you're shooting that wide, the slightest change is quite evident. There were also a couple of the recessed lights that were either burned out or had been broken during a recent speaker installation, and didn't get replaced in time for the shoot, so I had to relight them in post, which was actually easier than I thought it was going to be. Even though it's the ambient existing lighting, there's a lot of balancing that goes on to get it to look like it does, particularly with the computer monitors and level meters. ...Show more →
Thanks for sharing. I've got lots of respect for the work that goes into photos like that. Everything must be perfect!
"Thanks for sharing. I've got lots of respect for the work that goes into photos like that. Everything must be perfect!"
I only wish everything really was perfect. You quickly find out when setting up the camera that the rooms aren't square or the consoles or furniture isn't square to the room or a dozen other things like that - or in the case of the Fox stage - there was a pool table with huge lights bolted to the wall that just didn't want to be in the final shot. And because that room was not symmetrical (on purpose), the retouch was not an easy one.
