No. The Scarlet with the Canon glass was so different from everything else. It really cemented my hatred for Canon glass. I used to hate it, now I despise it. It's total dogshit. (Not to be confused with Dog Schidt)

@shian ... that list of different cams/lenses all mashed up ... holy crapper that's a load of doo with so many different starting points. Definitely had to earn your pay on this one ...

@shian Yeah, I hate Canon glass too. I've been using old Pentax 35mm primes on my GH2 and getting a look that really amazes people. Wide open they are a bit soft, but otherwise look great.

Very cool man. I've been a King's X fan since high school and even won a radio contest with some early CGI to see them perform at a private show for me, my buddy and about eight or so other winners so I recognized Pinnick right away. I always liked Lynch when he was with Dokken. I wasn't ever terribly aware of the drumming in Korn but this guy seemed 'aight.

You can definitely feel all those cameras in there. It works though. I'm curious, how did you go about some of the setups? I guess what I'm really wondering is do they play along with the recording of the song pretty much top-to-bottom for each of the cameras/angles covering the main performance or did you know you wanted to focus on certain members or groupings of members for certain sections of the song and you did just that?

Which camera were you on for ~00:38, the angle on Pinnick?

Also, which was the camera for the semi-tele two-shots angle on Lynch and the drummer, like around ~2:31?

I'm going to assume most of the sweeping side to side and booming footage framing the the whole band (like the larger still posted on previous page) is from one of the RED cameras but which angles are Intravenus II, or is that a secret? ;)

Nice.

Hmmm, interesting. What was it that you didn't like about the Canon glass. I think that angle, more than any other, I get a sense of facial texture on Lynch and it overall feels a touch punchier than the rest.

I borrowed a buddy's bag of L lenses a while back and the only one that I'd keep would be the 85mm f/1.2 which was pretty phenomenal looking on APS-C.

:)

Yeah, I get the sense most folks either drink the kool aid and go all-in with Canon or they stay away, with not a lot of mixture. I was only shooting Canon in that instance but knew I preferred, in the wider range, my Nikkors overall. He was all about rectilinear in his wide angle selection and I prefer natural, subtle bowing in non-fisheye wide angles.

:) it is very well done and the sync is fucking great.

@shian 's description of the shooting of this thing alone has my head blitzed. Shooting, editing, grading ... heck of a job there. All done quite well. Curious ... how "rigged-out" were the various cams? Mattes, ND's, follow-focus, what?

I only did the clean up edit. The cams were surprising lo-tech. The only Mattebox and follow focus we had was on the Epic and the Pocket.

The whole thing was done with a combination CG Pro and CGT, and some custom GHears I used to balance everything out that I created in Davinci. I'm working on a tutorial to show you how that's done. (It's the first time I've ever had to do something like that)

@shian

Um ... no-rigged but for two cams, you got that footage? Hell of a job there. And yea, I so want to see that tutorial ...

@shian ... ok, so some do ramble a bit ... but also there's a lot of general learning stuff in those bits too. Most of your tutorials are pretty solid.