Hey all! I’ve just found out that a fast food commercial that I have a call for this afternoon is going to use an LED wall. So that escalated quickly! AFAIK the production company is handling all the content going into the wall. I know they can moiré if they’re too in focus and generally lag the camera a bit, so no fast moves. Is there anything else I have to watch out for? TIA!
Paging @toddfreese, anything you can think of?
I’m not sure where the wall is yet, but the call is with redacted, so they might have one now? I’ll know this afternoon.
Ooh that’s good to know. I think you have the bases covered. Let us know how it turns out.
I can talk endless about this… we shoot with LED walls all the time.
It’s more of a conversation. Feel free to give me a call.
SVP / CTO
Mark Klein? Wow! I went to a couple of great tabletop shoots at his place.
It’s not their wall. They’re bringing in a vendor, but yeah that redacted.
Shoot straight at the screen as much as you can. Shooting at an angle will cause moire.
Well, I’m way too late for this one but one big one I found is that the screen content’s white balance and color levels in general need to be very carefully established so they’ll match whatever is in the foreground. Trying to fix it afterwards is no fun
The footage from this job is finally making its way to me. It’s been a ride…both the director and then the agency producer got fired because of it. And now I can see (at least partially) why. The LED wall looks like bad rear projection. I guess step one of making the Mandalorian is “have ILM on retainer?”
Some penny pinching clown in the production team is now stacking the odds against you with the drug & alcohol induced mantra that “everything will get fixed in post” after having spent some time selling the “we will get it all in camera…” nonsense.
Evolution - who needs it?
New technology == Status quo
i would certainly be curious to know more about this, obv a very touchy situation so understand if not. I’ve heard some rumors of much more being replaced in post than advertised with LED shooting but i keep seeing more and more work shot this way. case in point this Lincoln campaign helmed by Andre Stringer:
Looks like a single exterior shot of the vehicle in each spot and a couple of interior shots made on the wall. Packs were their own deal and a small unit to shoot the other establishing shots.
That being said the atmospheric additions were thoughtful but don’t really change that cramped feeling of a small stage shoot on the vehicle shots.
 not trying to belittle the work that went into it… they’re well done, just feel staged to me.
don’t disagree from an aesthetic point of view, and we all know these brands shoot a library of pack shots to regurgitate for a year’s worth of spots (or more) and that’s likely a full post bg replace. But the rest of it looks technically good and more importantly a far cry from @hBomb42 recent experience. So it must be the DP or maybe the dot pitch of the monitors or maybe a bit of both…
Agreed. The right kind of people worked hard on these and that hard work paid-off on those hero shots. It is notable though that there is only a single hero exterior per show. That might say how much work was required to get it to look right.
I can also see a blurred matte line on the right edge of the car in that first shot, although the colorist may be the guilty party on that one.
And have the Unreal developers right there on set to fix any software problems…
And the camera manufacturers and the on set recorder manufacturers, light manufacturers and the combined weight of all of those industries’ r and d departments.
Go big and make it your house, everyone else can go home.
100%. “Hey guys, wanna work on Star Wars and win a bunch of awards” is a completely different pitch from “let’s make an ice cream commercial.” This feels like stereo and 360/VR all over again…groundbreaking initial work done by the best people in the world followed by quasi gold rush of substandard imitiators. At least LED walls don’t make the viewer throw up if used incorreclty?