
The Matchbook Mystery
2 months ago
Created as part of the 2009 National Film Challenge: filmchallenge.org
The entire film was written, directed, filmed, edited, scored and mixed in 72 hours. The assigned elements were:
Genre: Film de Femme
Prop: A book of matches
Line of dialog: "This is like deja vu all over again"
Character: Mary Shapiro, unemployed
We used two cameras, a 5D Mark II running Magic Lantern with a Canon EF 85mm f/1.2L and a stock 7D with a Canon EF 50mm f/1.4. Both cameras were in 1080p30 mode with a 1/60th shutter and typically f/1.2-f/2.0. All of the rack-focus moves were on the 5D using the excellent Cinevate Durus follow-focus, which didn't cooperate well with the 85mm's awful focus-by-wire system. The two cameras mixed together well after the extensive desaturation; the color balance between the two was widely off even with identical temperature settings.
Audio was recorded on the 5D with Magic Lantern, using a juicedLink CX231 preamp and a AT875R shotgun mic in a Rode blimp for on set audio and a AT4053a for the voice-overs. The in-camera gains were +0 dB analog, +12 dB digital. The 7D's audio was used as a guide track to align the clips in the one set of clips that required simultaneous shots.
Onset monitoring was with a Small HD DP1. Dolly shots were with a GlideTrack HD.
The entire film was written, directed, filmed, edited, scored and mixed in 72 hours. The assigned elements were:
Genre: Film de Femme
Prop: A book of matches
Line of dialog: "This is like deja vu all over again"
Character: Mary Shapiro, unemployed
We used two cameras, a 5D Mark II running Magic Lantern with a Canon EF 85mm f/1.2L and a stock 7D with a Canon EF 50mm f/1.4. Both cameras were in 1080p30 mode with a 1/60th shutter and typically f/1.2-f/2.0. All of the rack-focus moves were on the 5D using the excellent Cinevate Durus follow-focus, which didn't cooperate well with the 85mm's awful focus-by-wire system. The two cameras mixed together well after the extensive desaturation; the color balance between the two was widely off even with identical temperature settings.
Audio was recorded on the 5D with Magic Lantern, using a juicedLink CX231 preamp and a AT875R shotgun mic in a Rode blimp for on set audio and a AT4053a for the voice-overs. The in-camera gains were +0 dB analog, +12 dB digital. The 7D's audio was used as a guide track to align the clips in the one set of clips that required simultaneous shots.
Onset monitoring was with a Small HD DP1. Dolly shots were with a GlideTrack HD.
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Douglas Williamson 2 months agoHey, T, I've just seen this now and it looks really good. The titles and credits as well as the piano music are lovely and the dolly shots and close ups look fantastic. I also really like the color correction or filters you used. The feel is very impressive. I think I would have made some different shot choices but yours work well and I like the "if" sequence at the end. Congratulations. I hope we get to work together again soon. Douglas -
Trammell Hudson
2 months ago Our angles were really tight in the office scene. You can see one of the making-of photos that we're shooting through a doorway. The reverse angle shots were on a monopod behind the chair with a 50mm; any wider and we saw all of the junk in the office. Any narrower and it was too jerky. -
Blue Green
2 months ago Great camera work.
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