thefoundation

Music Video »Angry Young Man« for Artist »Get Well Soon«

2010-02-25T01:13:46Z

In November and December 2009 the team of the Bildundtonfabrik worked on the new music video for artist Get Well Soon. The outcome is a philosophical piece on mankinds attemps to fight and control nature.

I can't remember exactly how we had the idea, but the visual style of Lars von Trier's Antichrist was definately an important inspiration for us. We saw the movie in a small cinema in Cologne and were amazed about the highspeed shots and the color look of the movie.

Preproduction began in the end of October, while screening Der Tag An Dem Herrn Müller Einfach Nichts Einfallen Wollte on the 32. Biberacher Filmfestspiele on the 31. Filmfestspiele in Biberach. During the days, when there were no films to go to, we brainstormed a lot about the project and finally visited a beautiful forest not far from Philipps hometown. It was that forest that gave us confidence for our ideas.

Back in Cologne we started to tighten everything and began the official production. The were several very difficult decisions to make. One of the most difficult decision was the decision of our production format. Our idea was to shoot on S16mm or S35mm, but our budget was tight and we were thinking about switching to a digital system like the RED. Everyone recommended to shoot digital, but somehow we were not happy with that approach. It took a lot of time and many hours of budget planning, but in the End we decided to shoot on S16mm and S35mm ;-)
The next very difficult thing was our idea to shoot everything on minimum 50-75fps and two special shots on 1000fps. We knew the Phantom HD and the WeissCam, but theses systems are extremely expensive and the film rentals in Cologne couldn't make us a good offer. That was a big problem for us, because the majority of our concept was based around these ultra highspeed shots.
So we began an intense research and found Norbert, a guy specialised on highspeed crash test and nature shots. He supported us with the PCO Dimax camera system, which is basically the same as the Weisscam HS-2, but a little more complicated to use.

Production DAY 1 // Nov. 19

We began with the highspeed shots of the kids and the bird. We built our set in the garden of the KHM and used a backdrop and a bush to let it look like it was in the forest. It turned out to work very well using the printed backdrop. I had some concerns about the color matching later in post, but we had so much color detail in the footage that it worked.
The slingshot shot was a little dangerous, because the actor had to aim directly on the lens of the camera, but we constructed a safety box around the camera and shot through thick glass.

The small packshot set needed a lot of light for the highspeed camera.

Alex in front of the backdrop.

Production DAY 2 // Nov. 20

Day two was our first day with animals at the Wildgehege Hellenthal. It was an about 1:30h drive from Cologne. We did not work with so many different animals before, so we were a little afraid of the situation. We had no animal trainers. The deal was to go into the enclosure and work everything out by ourselves. That was a huge risk when considering that we were shooting on S16mm at 75-150fps!
In the end we were very lucky and managed to bait them with some food :-)

The deer park

After shooting with deers, goats, racoons, ferrets, and roe deers we switched over to falcons and owls. The park had a special bird of prey section and the supported us very kindly. We shot a falcon ripping a dove, which they usually use bird food. Later on we shot with Hugo the owl. Because they were all trained birds, it turned out to very comfortable to shoot with them. They were doing precisely what the trainers wanted!

The bird trainer, Hugo the owl an me

Philipp checking a place for the falcon to start from.

Production DAY 3 // Nov. 21

Again we spent day three in Hellenthal shooting with two teams in two different locations. Team one was shooting with the actors in a nearby forest on the big S35mm camera and team two was in the deer park shooting on S16mm some of the animals we did not manage to shoot the day before.
The logistics of that day were very complex. There was always a car somewhere on the dirt road between the two sets. We learned a lot about how to manage two camera units and all what they need to shoot.

Unit one on production in Hellenthal.

Unit two shooting with animals again.

Production DAY 4 // Nov. 22

On day four we relocated everything to a forest near Windeck, Kreis Sieg. Again it was a 1:30h drive from Cologne, but to a completely different direction. Just like Hellenthal we visited this location about a week before production. We got the forester's address from the Anitchrist production manager, so in the end, we were shooting in the same forest as Lars von Trier did.
In the morning of day four we began everything so early, that we did not have enough light to start shooting :-) . During the day we had a lot of rain and so everyone and everything was soaking wet and full with mud. In Hellenthal we were a bit more lucky with the weather and lighting conditions.

Creating fog.

Unit one shooting a running scene.

As nearly every day, day four ends when the sun goes down. Unfortunately that was already at about 16:30, so there is not very much time to shoot on one day. But somehow we managed to shoot everything we needed.

Production DAY 5 // Nov. 23

Day five, our last day of production, was divided into three parts/locations. We shot the majority of the day in the forest in Windeck and as the sun went down we moved to a little pub in Windeck to shoot the old man singing. After that we drove to a dive centre in Siegburg where we shot the underwater scenes.
During our preproduction we found a nice location in the forest. The ruins of an old gunpowder factory look really beautiful through the camera. We finally shot the climbing and some running sequences there.

The crew shooting some last shots.

Director Philipp and artist Konstantin.

The 20m deep dive pool.

We decided shooting in the dive center, because there we had the chance to shoot through a window at a depth of about three meters. Hence we could save a lot of money we would have spent for underwater housing equipment. But still, the shooting turned out to be very difficult, due to the angle Konstantin had to jump in. It was very narrow and so we had to practice many times before we could actually roll the camera. At about 23:30 of our longest day we finished the production of the music video!

Postproduktion // Nov. 25- Dez. 7

Just one day after the exhausting production marathon, we continued with the postproduction. Therefore we first had to gather all of our footage which was mostly analogue but there were also some digital clips and still photos from our 5D MK 2. Philipp, Jakob and me drove down to Baden-Baden to scan our footage. Once again we did our standard film workflow. The S16mm and S35mm footage was scanned at 25fps directly onto HDCAM SR and 10bit Apple Prores HQ files. The tapes were actually just a backup solution, just in case something happens.
Back in Cologne Philipp started editing everything while Julian and I were already working on several composites. We did a lot of complex stuff, like to the bird shot, where we gave life to the dead bird. There were also a lot of removals to do.

Bluescreen elements.

On our 5D the 2. Unit team shot several small animals like grasshoppers, a mouse and a rat in front of a bluescreen. We composited these elements in the foreground or background of the final clips.
Overall there was a lot of compositing to do for this project, but everything we managed to accomplish on our own.

After about two weeks of postproduction we mastered the video and passed it over to the label. Again one week later it was released on tape.tv and youtube.

Reactions

We receive very positive reactions about this video. The people recognize the distinctiveness of this video and discuss it heavily on the web. Many people ask how the bird shot was done and think that we used a living bird for it! I hope now no one thinks that any more.
Altogether I think we can be very proud of our creation and of what we learned by making it. I hope we'll have the chance to do this kind of project again in the future! The next time we will not shot in a rainy November, with animals and kids, with only 7 hours of light and everything on film at 75-150fps!
What we did was insane and we were not very far from a failure, but again somehow we did it!

Shortly after our release on Tape.tv and Youtube the blog Feingut contacted me with some questions about the music video and posted an article with my answers about the project.

A BIG thanks to every team member and everyone who helped us during this project!

The entire gallery

Short film »Der Tag an dem Herrn Müller einfach nichts einfallen wollte«

2009-08-12T13:47:35Z

A short film about a writer, who suffers from writer's block. In several short attempts he tries to stem this blockade. The film is now watchable on Vimeo.

I wanted to write this article for a long time, but I simply didn't find the right time…until now.

After we finished the final edit of Gemeinsam Allein the next project was already planned and Robert and Philipp were on location in southern Germany to shoot Herr Müller…. DP Jakob Beurle used an old Arri 2C 35mm Camera for filming, which was extremely loud, so that sound had to bee dubbed in sound post.
The Film was shot on 35mm Film and was scanned in full HD (Apple's ProRes HQ) for post production. For some shots we did animation and vfx, but the majority of the work was the grading that was done at our studio in Cologne, Germany.
In the end we created a nice, cinematic look for the film.
And now, about seven month after finishing the shooting, we finally mastered the film.

The film (about 7 minutes):

Der Tag an dem Herrn Müller einfach nichts einfallen wollte from thefoundation on Vimeo.

The postproduction workflow

For this short film we worked the same way as we did with Gemeinsam Allein, except that we worked on standard 35mm Film.
The scan was done at the SWR in Baden-Baden with a Decklink Extreme HD directly into Final Cut Pro 6 using the ProRes HQ codec. After editing Andy got an offline version for sound recording and design and I started to work on the look and the VFX. For compositing I used Shake and the grading was done in Color.

I hope you like the film and we would be very grateful for any feedback. Just send comments to matthias [at]thefoundation.de

P.S. At the moment we are planning to dub the whole film for an english version.

Wallis Bird - To My Bones [Official Video] released now!

2009-08-03T23:55:30Z

After animating 1200 single frames, we finally released this new video from Wallis Bird's new Album New Boots.

I was diving Palau's Blue Corner when Philipp had some hard time in Cologne writing the concept and managing everything for this great music video…
But anyway…it turned out to be one of the best projects I was ever involved in!

Even me (I have seen the video so many times during the production) can watch the video over and over again. Every time I watch it, I find new little details on the animated wall I didn't see before. Every animator created his own little world, with its own little moving objects. I am also very fond of the night scenes with the fast burning candles and the window shadow moving across the wall.

The Making Of

While I was still very far away, somewhere in Bangkok I guess, Philipp, Alex and Robert had organized and planned everything for the first shoot. Two days after I arrived the party scenes were shot. The plan was to shoot a very realistic and cool party and we knew, that you cannot stage such a party and direct everyone around and do a shot by shot thing. So we decided to just have a really cool ;-) party and run around with the camera without too much directing. Thanks to Alex and Robert, we had enough to drink (if you now what I mean ;-) ) and the party turned out to be a really funny and great party! 90% of what you see in the video has happened spontaneously! Even burning out studio sofa was not planned :-( . Well it didn't smell good anyway…
We shot all the live action stuff on an old Arri SR II with Kodak Visions 2 500T. The processing and scanning was done at the SWR in Baden-Baden. They sent us a HDCAM Tape which we captured to Final Cut (using ProResHQ) at KHM.

The days after the party we continued to shoot the stop motion animation in the KHM Studio. The set up was actually very simple. We used a wooden studio wall and painted it to a normal concrete stone wall. After that we startet capturing single frames using a Canon 5D MK II with Hasselblad Lenses. The camera was mounted on a tripod and secured so no one moves it. We shot at full resolution (21 MegaPixels) to have enough resolution for the shoulder camera movements we added later in postproduction.
On location we used Macbooks to check and save our images and to control the camera with Canon's EOS capturing tool. This tool was a great help for our production because you don't have to touch the camera, you can control every funktion of the camera remotely.

The next 4 days we repeated this 1200 times…

Postproduction

Throughout the planning and production we were facing some severe brain damage because we didn't really know how to deal with all those frame rates ;-) We shot the party scenes on film at 25fps, the animation on the wall was done at 8fps. For the animated wall we shot clips of Wallis singing with Canon 5D MKII using 30fps. So we ended up with three different frame rates with the plan of finalizing the video at 25fps. I actually don't really know how we did it, but somehow we did…
For the camera movement on the wall we built a setup with a back projection screen and a thin grid. On the screen we projected the image sequence we shot in the studio. Again with the Canon camera we filmed the screen performing the camera movement we wanted for the final video. After that we matchmoved the movement of the camera using Pftrack. Finally we could import the camera data to After Effects and render the final movement.
We could have animated everything right away in After Effects, but we didn't want to have the perfect bezier style movement. We wanted to have a handheld camera in front of the animated wall and this was an easy quick method of doing this.

Wallis Bird music video shoot

The Crew

Wallis Bird and band
Philipp Käßbohrer
Alexander Rechberg
Robert Windisch
Matthias Schulz
Sylvia Bußmann
Katharina Huber
Matthias Gerding
Julian Schleef
Theresa Locker
Evy Hack
Marius Beyersdorf
Lisa Krane
Philipp Grußendorf
Holger Pest
Paul Trommer
Andreas Fabritius
Julia Kotowski

Thoughts on Apple's Color

2009-01-12T23:22:03Z

Sometimes while working with computers you run into stupid problems. The computer wants you to start everything from the beginning, only because you forgot to set a setting. But mostly, one hour of creative thinking lets you develop a fast solution. This time I ran into Apple's Color.

After I solved my problem with Color it again approved our way of working:

Never choose the think less, click more way of solving an issue...

But now to my problem: My friend Jens from Barracuda Film helped me out on a color grading project a fellow student shot last summer. We worked with Apple's Color 1.04 on am MacPro. He worked the entire weekend on that project, but when I came to the studio today and wanted to render the grades and export everything to Final Cut Pro, I discovered that Color's framerate setting was set to 24 fps. Unfortunately Color does not allow you to change this setting during working, so the rendered ProRes Quicktime files were all in 24fps. And the timeline export to Final Cut Pro was also in 24fps so the sound was not in sync anymore. We had a DVCPRO HD 25fps timeline in Final Cut Pro. But the editor worked with sequences as source material, so we had a timeline full of nested sequences and Color cannot deal with that at all. So the send to Color option was not a good deal for us. Because the film is only about 15 minutes long we decided to add the edits in Color while grading. In Color the source footage was in 25fps, but the project was set to 24fps. And that messed it up as I discovered later...

I searched every handbook, forum, website which had anything to do with that problem but none had a solution for me. But then I tried my own Shake style way. Because Shake saves everything in a script you can alter it, i.e. when Shake keeps on crashing on boot up, because it can't find the source footage. In this case you can solve the problem by relinking the footage manually or simply disabling the node.
In my case Apple hides everything in the color project file. You have to access the content by right clicking it and then show package content. There your find a file with the ending *.pdl . In this file Color saves a lot of stuff including the framerate setting. I simply changed this setting in row 6 to 25fps and Color started without crashing. After that the final renderings were correct and the export to Final Cut Pro worked. I think this only worked so easily because the source footage is also in 25fps. But I wonder why this setting is greyed out in the GUI.

Test your color IQ

2008-11-03T02:07:47Z

Have you ever tested your perceptivity of color? An interesting test can be passed at the xrite color IQ test.

Somehow I was fascinated. The test was fun to do and cost me several minutes – dragging and tossing each color field from left to right and vice versa. I ended up, getting this screen:

Needless to say, I am a bit proud. Nonetheless, I see the problems with this method of testing ones color IQ.
This little test maybe a fun game to train your perception of colors. But it is unsuitable to compare the results with other peoples ability to sort little motley squares – unless you perform the test at the identical display! A display calibrated with high contrast should make it easier to score well in this test.

Furthermore, this test does not tell anything about a persons ability to chose suitable, harmonic colors or to deal with color composition, which would be the real intelligence of colors.

Despite all these aspects, the interaction with this small application was kind of enlightening for me: As a designer (or artist) I should be able to handle the technical part of colors. I should be able to sort colors in matters of hue, saturation, brightness. Otherwise I will not be able to work reliable and reasonable with this important segment of design!

Persons working in the area of screen and/or print media should know the basics about color models like the RGB- or CMYK color models.

via Michael Preidel's esse est percipi – http://qxm.de/

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