"Batman: Dark Knightfall" Full version.
A Batman fan made stop-motion animation
directed by Hong Kong based directors Derek Kwok and Henri Wong of Parabucks co. (黃智亨 郭子健)
using Batman toys. This is our first attempt on stop motion.
A Parabucks co. production https://www.facebook.com/Parabucks
Special Thanks to Hottoys Ltd. http://www.hottoys.com.hk
In the course of refurbishment works ART+COM was commissioned to create a signature art installation for the Departure-Check-in hall of Terminal 1 at Singapore Airport. “Kinetic Rain” is composed of two parts, each consisting of 608 rain droplets made of lightweight aluminum covered with copper. Suspended from thin steel ropes above the two opposing escalators, each droplet is moved precisely and seemingly floating by a computer-controlled motor hidden in the halls ceiling. The drops follow a 15-minute, computationally designed choreography where the two parts move together in unison, sometimes mirroring, sometimes complementing, and sometimes responding to each other.
This film was produced to demonstrate the 200fps mode @1080p on the New Sony NEX-FS700. This camera will do up to 960fps but at reduced bitrate and resolution. We wanted to maintain 1080p so did not shoot beyond 200fps. Directed by James Tonkin, produced by Den Lennie, Camera, James Tonkin and Director of Photography Den Lennie.
More information and Den's Video Blog can be found here: http://www.fstopacademy.com/blog/sony-nex-fs700-hands-on-video-overview/
Check out the making of here: http://www.fstopacademy.com/blog/making-of-vs-sony-nex-fs700/
Plus the post workflow for grading here: http://www.fstopacademy.com/blog/sony-nex-fs700-a-post-by-james-tonkin/
dancer SARA TONKIN
drummer KOBY ISRAELITE
camera JAMES TONKIN
director of photography DEN LENNIE
lighting tech DUNCAN RICE
production manager SAM LENNIE
costume TASTE OF BRASIL
production photography EMMA JANE RICHARDS
production camera JAMES MILLER
camera support KANTA YAMAMOTO, DAN ROBB
post HANGMAN STUDIOS
vfx ANDREW PHILIP
music ALAN WITTS
rental SHOOT BLUE
shot on a pre production Sony NEX-FS700 with Carl Zeiss CP.2 lenses
4/1/12- Regraded version posted. One thing I noticed is pushing the C-Log footage can introduce a fair bit of noise. I didn't run a denoiser pass but it may be advisable in some cases.
I received my Canon Cinema EOS C300 mid Feb, 2012 and invited over Rick Macomber (@Boston_Camera) of Macomber Productions and Mike Murie (@notesonvideo) of the excellent Notes on Video blog to play around and take some test shots.
But test shots are boring. Why not put a story together? We quickly pressed Mike into service as our actor, came up with a quick story in 30 minutes, and then with the 4 hours of light we had left in the day, went out shooting. This is what we came up with, which was edited and completed the next day. It's a message about our economy, our veterans, and more.
NB: Do download the file if you're looking to see what the C300 can do. The vimeo compression is harsh on C300 footage; you don't see all the detail like you have a chance to see even in the compressed download. It's better, trust me.
Normally I don't talk about what tech I utilized, but this is a C300 test so I will this time. I may blog about the experience or talk about it with Mike and Rick on someone's site or podcast sometime soon.
Canon Cinema EOS C300 camera obviously was used. We used it handheld with just the built in EVF and grip, and also on a slider and sticks with the full monitor setup. The waveform monitor is a godsend. It was difficult judging white balance in the setting sun however, even with the EVF, because we shot C-Log the whole time. The camera has a View Assist LUT but it isn't foolproof.
Lenses used were the Canon EF-S 17-55 F2.8 IS (the lens hood can come slightly into the frame at 17mm so be careful) which had useful IS for handheld shots, the Canon 70-200 F2.8 IS II, The Tokina 11-16 F2.8, the Canon 100mm F2.8L IS Macro, and the Canon 50mm F1.4 USM.
Sound was all recorded foley effects on a Zoom 4HN with a Rode NTG-2 in the backyard, except the gunshot.
Music by the talented and giving Kevin Macleod from his website.
Locations were in Haverhill MA, and Salem NH.
Kessler gear supplied by me (opening shot is a programmed Oracle/Elektra Drive slide) and Mike Sutton for full length pocket dolly.
Graded in Magic Bullet Looks. Edited XF Codec natively from the cards using Adobe Premiere Pro. It was pretty fast and rendered out very fast (as compared to AVCHD). The only place codec fell apart was when I took a nearly white shot (one of the ECUs of the face in the beginning) and crushed the tones severely. You may or may not notice it over the Vimeo compression.
The download file is encoded at 10Mbit 2 pass VBR. The original render out file is ProRes 422.