In October I spent 2 weeks in Morocco filming for Nissan with the guys at Kingdom Creative. We were there to film a journalist event showcasing the Nissan Navara and part of the task required us to drive sand dunes and really put the cars through their paces. I took my A7S with me and grabbed a bunch of snaps along the way. Morocco is such an inspiring place and the people were so friendly I will definitely back and next time I will be capturing more of the milky way in time-lapse as the sky is so clear!
An Issue with FCPX that seems to have gone under the radar and something I've come across recently is that; say, your doing a hand over of a project you've captured everything within FCPX creating an 'original media' folder.
The editor I was working with (who would be editing in Premiere CC) needed me to provide him with a hard drive of the footage. On hand over we both noticed he couldn't even view the files so assumed my computer had a plug in his didn't. He didn't have FCPX on his machine and this seemed to be where the issue was.
As it turns out. When importing in to FCPX, the software captures the files (such as .mxf from my FS7) and converts them (without warning) in to .XALG which renders them useless for any other NLE as this codec isn't recognised outside of FCPX. This is a huge Issue in that, because the footage was captured straight in to FCPX and the XQD cards were formatted having been captured and everything backed up leaving us with only the .XALG files...
Having scratched our heads and searched the net for hours nothing useful popped up so we then had to export 20 minute prores timelines out of FCPX containing all the clips. This was a long and painful work around but it was the only way we could edit outside of FCPX...
Have you ever bothered with the optimised media function in FCPX? Neither had I, but this hidden little tool transcodes all of your dirty xalg files in to beautiful Prores clips (at the cost of a ton of HDD space. This also opens up the possibility of editing and viewing the clips in other NLE programmes so even if you don't have access to the original .MXF files you are saved!
Consider, by the Telegraph is a new series exploring extraordinary people. The first in the series is a film I edited with "WONDERKID" Director Rhys Chapman who also directed the first episode. The films delve in to the life of ex army soldier David Birrell who, having lost both his legs after an IED bomb blew up and being discharged from the military needed something to help him push past his inflictions. David began racing cars and winning competitions in 2014 and has continued to gain sponsorship. The film shows us how he manages to race with prophetic limbs and tells his story of where he plans to go in the future.
You can view the film >HERE<
I headed down to Gear Factory in London and shot this quick test with the 50mm Lomo Anamorphic lens. I've got a shoot coming up and the client requested using a wider aspect ratio to give the commercial a more premium cinematic feel.
We looked at the Cooke S4 lenses but they were out of our budget at over 400+ per day so we went with the Lomo set which were around 300 per day. The Lomo's render beautiful images if a bit wide with the 2x squeeze.
We will be filming on an FS7 which unfortunately doesn't give us a 4:3 recording setting so with a 16:9 sensor the image is very wide. I think we will end up filming 3840 x 2160 50fps and have to scale the image up to fit the 2:35:1 aspect ratio we need.
To de-squeeze the image in FCPX in the scale option you just change the y axis to 50 instead of 100.
Our task was to capture an exclusive event with 200 spotify invited guests at an undisclosed location in London which was to have an unknown musician perform at. We had 4 FS7 camera's and were directed by the talented Daniel Morgan (who has worked with the likes of Rudimental).
The ventue was Shapes in Hackney, and the Talent was none other then Katy B. The shoot consisted of a few sections with our actors riding in the car and attending the venue, Katy B getting ready and general cut aways of the event and vehicle. We would have liked more shots of Katy getting prepared but time was against us.
The Final shots of the gig in full swing had all 4 cameras rolling at a mixture of 1080 150fps and 4k 50P to give the editors room to crop etc. The gig was awesome and everyone had a great time!