Kmotion Media : Video Production · Animation · Post Production

More New Toys at Kmotion

Here’s the first spot we shot with our new Sony CineAlta video camera – Sony’s first professional handheld digital production camera with a cinematography grade, Super 35mm imager.

To take full advantage of the Super 35mm sensor, we invested in a set of matched Carl Zeiss Prime cine lenses (also used in this spot). These gorgeous lenses deliver low distortion, high resolution and excellent color rendition for sharp, punchy cinematically rich images.

This Sony CineAlta camera was just released in March 2011 and joins the latest Panasonic digital cinema video camera in Kmotion’s production line-up. Released in January 2011 that camera is the first hybrid combining a video camera with a DSLR camera.

Both cameras have a wide array of high-end features including the coveted 1080/24p format favored by filmmakers. Both cameras are able to record at just about any frame rate allowing Kmotion to create high-rez fast-motion or slow-motion effects right in camera. The CineAlta is also capable of high-end 4:4:4 sampling ratio, providing the highest color resolution possible. This allows us the ability to push the color grade and apply multiple layers of visual effects while maintaining pristine picture quality.

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Kmotion Unveils Avid HD and Final Cut HD Suite!

Our swank new edit suite is full of retro goodies. From the 1940’s View-Master complete with a wide array of reels to the groovy 1970’s Space Age Time Capsule portable TV, the room is a bright and fun place to kick back and enjoy your edit.

For those who like the technical stuff, our Apple Mac Pro is an 8 core 2.93 GHz with 8GB of memory and 4 Terabytes of internal storage. The Hi-Fi vibe comes from an awesome BlueSky sound system. A Marshall 32 inch monitor provides the image in SD and full HD quality. The system is complete with Avid Media Composer and Final Cut Pro Studio both capable of editing in any format from SD to HD. End of techie transmission.

So come on over, sit back, grab a martini and pick your favorite era to relax in.

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New HD Camera Prompts Romp in Field

We were so excited about purchasing our new Panasonic HD video camera and the gorgeous film-like results we’re achieving with it, that we’ve taken to bringing it with us everywhere. That includes the farm where we get our raw organic milk. While driving out to the farm, we saw a little gravel road off the highway where we filmed this scene. It was absolutely FREEZING out, so we shot for all of 4 minutes…seriously. Greg dashed out of the car, set up the tripod and established his master shot and THEN I got out of the car for my stunning no-makeup-no-hair-no-stylist-what-was-I-thinking moment. (Anyone who knows me, knows I’d rather be behind the camera! Please see the follow-up to this post, “Campaign to Save Susan from being on Camera”.) As for the footage, we cut it together, played around with some editing techniques, added a few post effects and motion graphic elements (just a sampling from our bag of tricks).

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Fun Graphics – Rich Interviews

Here’s more on-location studio style interview footage – all shot in a small room over a teal paper background. The interview style is fun and energetic – a great approach for Millennial marketing or upbeat corporate projects. We’ve incorporated motion graphics to underline key themes and maintain energy.

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Turning Negatives into Positives (On-Location Interviews Part 2)

Our last post showed examples of two On-Location ”Studio” Looks. In this post, we’re sharing a clip that utilizes available background.

In this case, we shot an interview in a room that had a bank of windows as part of the background. Instead of blocking out the light we decided to use the windows to our advantage.

By shooting with an 85mm lens, we were able to blur out the background – turning the “negative” obstacle of the harsh winter light coming in from the outside, into a “positive” interesting-looking background image.

Here’s the result:

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On-Location “Studio” Look

We do a lot of on-location interviews. In the last year, we’ve done almost 100 interviews. All were shot on-location. More than ever, clients want to shoot where they are. People, at all levels within any company, just don’t have time to travel to a studio. That does not mean, however, that clients want to sacrifice quality.

Below are just two examples of what is possible on-location. Each interview has its own distinct look and feel, but were both shot in the same size room. When shooting on location, the physical space limitation is the main obstacle. Unfortunately, the reality is that the largest room most companies can offer is a conference room. Below you will see the results of shooting in a very small room, while still achieving a studio look. Both interviews were achieved using our standard camera package, lights and lenses – no special rental camera, light truck, gear or lens rentals were employed. For the two interviews below, we took advantage of our 85mm lens. The lens imparts a cinematic effect, beautiful skin tone, and a shallow depth of field, which provides an infinite studio look. We have determined that we can achieve a studio look in a room as small as 16’ wide, 20’ long, with 9’ ceilings for standing subjects, 7 ½’ ceilings for seated subjects. Anything larger is a bonus.

White Background approach:

Black Background approach:

Although shot in the same size room, the production and post-production approaches vary considerably, resulting in two very different interviews, each with their own distinct look and feel. What’s most exciting is that these are only two possibilities – there are infinite approaches.

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