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Global shutter is not all that important, even the Alexa has an electronic rolling shutter. It's all about how fast the sensor reads.
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Jun 9, 2015 22:33
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magnificent7 posted:HOW DO I BECOME A DIRECTOR? Directing is the only job in the industry that has no set obvious path of progression, everyone directing films in Hollywood basically got there in their own unique way. An old joke on amongst film crews is that the only entry level jobs on set are runner and director. If being a director is all you want to be and you have no interest in any other job in the industry, then my advice is to not just start applying for runner roles in big productions and try to work your way up. That's how it is for all the other departments and it may have worked that way for directors in the 1940s but not anymore. The only way to be a director is to actually go out and direct stuff, and hope your last job is good enough to convince someone to give you money to make the next thing. And that applies to David Fincher or Denis Villeneuve just as much as you or I. If you've literally never done any film directing before then the best advice is to just get out there and do it with whoever you can find in your local area that also wants to make a no budget short you can shoot in a day. Other good ideas are offering to make a music video for any local bands (you can basically use it as an opportunity to make a silent narrative film about whatever the hell you want) or make online content for some local businesses (not narrative, but you will learn about story construction and how to shoot for an edit very quickly). The director is basically the only person on set who doesn't have a defined job, but basically 1. Have a vision of the film in your head - tone, mood, atmosphere, what it will feel like to watch. 2. Communicate this vision amongst the cast and crew clearly, convincingly and get them all to buy in. 3. Take advantage of all the great ideas your cast and crew will offer you - be flexible enough to incorporate the best ones, strong enough to discard the poor ones, and lucky enough to be able to tell the difference.
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Dec 22, 2016 17:54
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Dr. Fishopolis posted:If you have any film industry where you are, go PA for indie films. Volunteer if you have to. The director's job on set is a management position, you need to know what people's jobs are to be able to keep them happy and doing what you need them to do. On micro / no budget sets, you can work your way up from there to 2nd 2nd AD to 2nd AD to 1st AD pretty quickly. It isn't strictly necessary to go that far, but you do need to understand set etiquette and terminology, how/when to stay out of people's way, how/when to help expedite something. Yeah, probably a more precise way to say what I mean is that the director is the only person on set who doesn't have a specific set of tasks that they need to be doing every step of the way, whilst a clapper loader, standby carpenter, dolly grip, make up assistant etc. all do, and also to a slightly lesser extent each head of department. The director is a floater who can spend their time talking to whichever department they think most requires or would most benefit their input at that particular time, and their time is a valuable resource they must spend wisely because you can't be everywhere at once and if you try to be you end up having no impact at all (which I have seen happen and it is both very obvious to the crew and extremely frustrating). I would slightly disagree that working your way up the AD tree is helpful to directing. I mean i guess it wouldn't be unhelpful but really it's a totally different skillset. In my experience there is very little to no correlation between a director's history in non-directing crew positions and their skill and ability to direct and lead a crew. As an anecdotal example, one of my best and most enjoyable jobs was for a director who had literally never set foot on a working film set before day one of principal photography (they were a playwright making their first film) and they were really great right from the get go despite their technical ignorance and the film turned out very well (it didn't make much money, but hey what does these days?). I have also worked on one film where the director had a long career as a director of photography and it was their first directing role and it was a terrible experience. Directing is really unique in filmmaking and I think the only way to tell if a) you enjoy it and b) you are any good at it is to have a go. As for me personally I've directed a few shorts with very little budget and would probably enjoy doing a low budget feature or some episodes of a tv drama, but you couldn't pay me enough to direct a studio feature. As soon as you are talking eight figure budgets the stress levels are through the roof and there's no loving way I would put myself through that three year process of constant pressure. Camera crew is much more fun! 
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Dec 23, 2016 01:23
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If by smooth you are imagining something like a steadicam or a gimbal, then no. What you do get though is the ability to do handheld shots at heights other than on your shoulder and also it significantly smooths out the shakiness of handheld shots, whilst still giving a handheld feel. They are also incredibly useful in conjunction with a gimbal, to take a lot of the weight off of your forearms allowing you to do longer takes and shoot for longer durations. I would personally never operate on a Movi or Ronin without an easyrig. tanglewood1420 fucked around with this message at 17:53 on Jun 6, 2017 |
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Jun 6, 2017 17:47
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Decent sized v-lock, say around 180kwh, will run a 1x1 litepanel for around 90 mins, longer if you are turning it off when not needed obviously. If you are purchasing a litepanel and thinking about your battery solution, then just go for the v-lock/gold mounts. Two batts per light should be enough if you have access to power - two panels with four batts and one dual charger will be fine for one day 98% of the time, easily so if you have the mains adapter and are near power some of the time. If you're spending $1k+ on a panel it seems silly to cheap out on batteries, you will spend a lot more time pissing around with smaller capacity batteries that is wasted time on set plus good v-lock/gold mount batteries will always be useful for other pieces of kit if you aren't using the panel or sell/upgrade in the future. If you are renting the panel then the difference in cost of renting Sony NPFs plus an adaptor versus renting v-locks must be miniscule.
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Aug 3, 2019 09:44
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Poo In An Alleyway posted:Shot my first short film a couple months ago for college despite the assignment being scrapped, I filled it anyway. Thing is we ran out of time on the interior house set we used and I missed out on getting an establishing shot of the exterior of the building with the lead actor and 2 extras at the house entrance, and I didn’t clock that I missed the shot until I brought it all into editing. Can anyone suggest a quick alternative shot I could put together outside the house location to establish the shot without getting the actors back for it? Get a clean exterior shot and pre-lap the audio of the scene over it. Even without seeing the cut, you 98% likely do not need to show your characters outside the house.
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Aug 1, 2021 04:04
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You will absolutely 100% require more than one light, even in a relatively small space. For static product shots you at the very least will need some fill to remove shadows. If you are ever going to do interviews with people then just lighting them with one soft light is going to end up looking very flat on camera. If you are doing green screen you will also need enough lighting to evenly light the whole screen and eliminate shadows, it will save you a lot of time when keying in post. I don't know what your budget is, but one big key light, two soft sources and a small compact punchy light you can move around is a good starting point for a studio. Also look at getting a set of flags and reflectors, they can make the world of difference in shaping and controlling the look. For work in a small 11x16ft space a jib is total overkill. You don't have anywhere near the space to physically be doing tilts and crane shots and besides in a confined space it will look very boxed in a claustrophobic anyway (which may work for narrative film, but for corporate videos is not what you want). Get a decent slider instead, it will give you the shots you are probably thinking of in your head with way less hassle to set up - which means you work more efficiently and get more done on the shoot. Audio wise, in addition to two lav mics you should get a boom mic with a stand. This audio quality on booms is higher plus you having two sources adds depth to the sound and also to hide any ruffling or scraping on the lav mic in the mix. If you plan on doing product shots then a macro lens would be a good investment.
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Aug 12, 2021 06:42
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Sound team is in charge of timecode, with the recorder acting as master timecode for all devices. Cinema cameras all have robust internal clocks, usually the recordist will just jam once in the morning and then once at lunch with each camera every day. Likewise, they will jam with the digital slate before first turnover and again at lunch. During any extended downtime it's common for the sound recordist to swing by camera department and do a manual timecode check with help of one of the ACs. You can get timecode boxes that sit on the camera all day, Tentacle is one brand I've seen, but generally they aren't used on professional sets. Camera team (me included) hate anything that takes up real estate on the camera body that isn't necessary, especially when running steadicam or gimbals. An Alexa or a Venice is more than capable of keeping sync for five hours without one. tanglewood1420 fucked around with this message at 03:04 on Aug 21, 2022 |
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Aug 21, 2022 02:58
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Yep, set the camera to external timecode and connect aka 'jam' the sound recorder (or intermediary device) with the camera. It will overwrite the internal clock and start a new cycle based on what is being received.
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Aug 21, 2022 03:53
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| # ¿ Apr 29, 2024 07:54 |
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CVP will be helpful and should give you a decent package discount if you are ordering 30k worth of gear. A simple videography set up to that budget would be something like: Sony FX6 Set of G Master zooms (16-35, 24-70, 70-200) Sachtler/Miller 100mm bowl tripod (do not cheap out on a 75mm bowl) 2 x Sennheiser radio mic kits 1 X boom mic and stand with XLR cables 13" Director monitor with BNC cables 2 x cheap panel lights (Felloni or whatever the new Chinese hotness is) 1 x more directional light (Apeture 600D or something) with a soft box (soft box essential) A set of Dedos or similar smaller output directional lights Stands and batteries for lighting and monitor Nice to haves if you can make the budget stretch would be (in order of priority) Some polyboard, reflectors, scrims, flags etc. for light control A Zoom sound recorder for easier monitoring of audio Wireless video transmission system (ideally Teradek, maybe Vaxis for budget) EasyRig (if you're going to be doing handheld a lot) An onboard monitor 5" or 7" (the camera LCD screens at this budget level are not that great) And if you still have money left over, you can never have too much lighting! tanglewood1420 fucked around with this message at 12:23 on Apr 27, 2024 |
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Apr 27, 2024 12:18
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