quijotesco24

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  • in reply to: In camera lens corrections #215379
    quijotesco24
    Participant

      About the Chinese lenses. I agree, I did try few of them and even I have a full set of Meikes s35 and waiting for an anamorphic set to arrive that I recently bought.
      IMO Problem with them is not optics, I’m sure in a very short time glass quality will be there as it is already scratching top contenders. But manufacturing and quality control is still bad or basic. They have their place and I enjoy using them but a mass produced lens will never reach a certain level and a skilled optics technician will always set up a lens better than a machine. I may be wrong. We will see.

      in reply to: In camera lens corrections #215376
      quijotesco24
      Participant

        Dear Roger,

        Yes. 20k is the average price for an Arri, Zeiss, Angenieux or Cooke prime lens nowadays.

        in reply to: In camera lens corrections #215352
        quijotesco24
        Participant

          Half world is using 20k+ perfect lenses or all the corrections in camera to have the cleanest image possible while the other half is using the dirtiest lenses available and filtering to get the most rough image available.
          Test with or without corrections and decide what you like most. There is no correct answer apart what you like most.

          in reply to: Zoom in vs dolly pushing #215340
          quijotesco24
          Participant

            I do like zoom ins. But I understand they are out of trend nowadays.
            A zoom in it’s easier to perform than a dolly in. No waiting time for the track to be laid down and cheaper on production.
            Agree with David. Our eyes can’t zoom in but our minds do. So in part both movements are natural to us.
            We should all agree the dolly in has been abused to the limit to the point you see it perform when it doesn’t make much sense.

            in reply to: Zoom in vs dolly pushing #215321
            quijotesco24
            Participant

              Without entering to stylistic and fashions trends, to me the difference between a dolly push in or a zoom in is on the dolly you take the audience and bring it closer to the character you are pushing in and with the zoom in you are isolating the character from his surroundings.
              But push ins have been used for isolate characters too and zoom ins to give us closeness to the character we zoom in.
              There is no proper or a single way to tell something. That’s what is great about what we do!

              in reply to: Considerations when lighting daytime exteriors #215304
              quijotesco24
              Participant

                IMO without ingent budgets or even with them, time of the day and proper carefully planning and scheduling is what it is when doing exteriors.
                There is no wrong or bad and different stories need different approaches.
                And some people favor certain approaches more than others.
                Personally I avoid sun-sandwichs like the plague, but few super awarded DPs use them all the time. To me they look unnatural and that’s my reason to avoid them. But the audience are used to them. So it’s personal opinion. When backlighting were you using proper flags and avoid the sun entering the lens? Were you bouncing some level back to the actors?
                Usually what I do is plan the wides to be shot at the exact time I want because I can’t control the sun. Mids and CU can be faked easier with flags/reflectors or lighting.

                in reply to: Skill vs Equipment in low end production #215299
                quijotesco24
                Participant

                  Knowledge, Intention and sincerity.
                  Without a proper deep knowledge of visual language you can’t talk with images.
                  It’s like learning a new language, you need to know the codes in order to communicate.

                  After it comes the intention. Once you know how to say something you need to say something meaningful that moves you.

                  And sincerity because you have to be real to yourself. No point on working on anything if you are not truly speaking yourself. There is only one you. To watch others I watch others films. But people watch a film by you to really know you. So don’t waste your time and everyone else’s if you don’t plan to put yourself on it.

                   

                  in reply to: On cleaner anamorphics #215102
                  quijotesco24
                  Participant

                    Realistically any production that could afford a V-Raptor and a set of Master Anamorphics wouldn’t be so stretched for budget that the data rate would become the deciding factor in something as essential to the look of the film as the choice of lenses.

                    I know I’m leaving the main subject of discussion. But data management and postproduction dpt requirements have, at least in my experience, mandate many times how we need to film something. Even on crazy cases as the one you exposed.

                    in reply to: Subjects appear in the frame #214997
                    quijotesco24
                    Participant

                      If you feel overwhelmed about what focal to use think where should the camera and by definition the audience stand.

                      In my mind, the distance between subject(s) and camera it’s what’s important. And it’s what tells the story. Imagine a 2 people conversation in the middle of the street. It wouldn’t be the same standing 2 feet away of them than 20 feet away.

                      Once you know that, you choose which focal length to use based on what shot size you want. On the example of the 2 people conversation in the middle of the street. If you want a close-up of them and you are standing 20 feet away you will need a very long focal length. If you want the same close up shot size standing 2 feet you will use a wide lens. Shot sizes are the same but what has changed it’s the distance between camera (audience) and subjects. And this is what really affects us as viewers. The distance between camera and subjects, not which lens was used.

                      Some lenses are more common than others because they cover standard shot sizes at common distances we usually stand on our daily routines. So they feel natural to us and they feel natural to the audience watching.

                      Being that said lenses have also particular characteristics. Sometimes a meaningless difference between focal lengths as a 28mm and a 30mm lens doesn’t seem much but it can be quite different because the distortion or lack of it a lens has or because a lens is rendering completely different, etc. This also happens to same focal lengths but different lens models.

                      As you start working and employing lenses to create images patterns will emerge in your work. You will favor more some focal lengths than others in an organic way. This is why people tend to stick to same focal lengths for most of their work. Because it’s how they see and relate to the world.

                      in reply to: Subjects appear in the frame #214990
                      quijotesco24
                      Participant

                        An iPhone is a phone but also a camera with a lens.

                        Same as an Imax camera. Which is also a camera and a lens.

                        Life appears the same on both of them. You can use an iPhone to learn all cinema theory and even to shoot all the movies you like.

                        The actual lens of an IPhone is actually a 4mm lens I think. But the field of view it’s equivalent to 26mm or 28mm found in 35mm film photo cameras.

                         

                        in reply to: Subjects appear in the frame #214989
                        quijotesco24
                        Participant

                          I don’t want to be the smart ass kid in class here.
                          But as someone who is starting is asking questions is better to have this right on first place.

                          Focal length has nothing to do with image compression. It’s all about distance from camera to subject. And subject to background.

                          Focal length is only the field of view we are able to see.

                          I know it’s a common mistake but as I said, if someone who is starting get this right at beginning, understands how important are distances between camera, subject and background the easier the ride will be.

                           

                           

                           

                           

                          in reply to: James scares me when she talks about sloppy exposure #214832
                          quijotesco24
                          Participant

                            Every time I need to shoot with a new camera I haven’t I rent or borrow it for few days and test how much I can push the sensor. Lots of under and over tests, middle grey tests, colors tests, noise/iso tests. I also test all the codecs and frames I plan to do on set. I never go with a special LUT, always whatever log to rec709. And I test everything with my meters, I don’t trust monitors, so I know it’s consistent. If I’m lucky I take the tests to grading lab and I do some screening.

                            Sometimes I have even rent new cameras that have come out just for the sake of testing if I’m on a slow tide.

                            So my tip to keep it consistent is to do a lot of testing and notes. So once in a busy set you are not guessing and not losing precious time.

                            in reply to: Natural & available light #214831
                            quijotesco24
                            Participant

                              Just a quick question. Did you get the funding without a script?
                              Before any style comes the story. What story is and what you want to tell with it. Then you can plan how to tell it, a budget of 100k€ isn’t that low for an indie production in Europe, if you keep other expenses at minimum you don’t need to shoot it ala Dogma 95 because there is no money.

                              in reply to: High Key Lighting/The Commercial Look #214715
                              quijotesco24
                              Participant

                                Big part of the look you are looking for is how you expose for it.
                                Big soft omnipresent light is usually used for that commercial look but exposing faces hotter than usual for that super bright skin will get you there.

                                 

                                in reply to: Visualizing #214695
                                quijotesco24
                                Participant

                                  I’ve never understood how someone can read anything, a script or a novel, and not visualise it in their minds. I think visualisation is inherent to any human when we read, so, imagine someone who has devoted his/her life to create images!

                                  I think the lesson here is not to not visualise but to not force any preconceived ideas when you read something, at least, be open to other interpretations, mix your own visualisation with others’, a film is a creative process by a bunch of people so create it together.

                                  Even if I heard it before few times I always find hard to believe DPs come to director meetings without a visualisation after they have read the script. One thing is to have a visualisation and not force it or try to sell it right away and the other is not having one at all. Actually if you as the DP have been invited to the meeting is because someone thought your visualisation of the script is somehow worth to listen, so have one.

                                  This goes hand in hand with some previous discussions here about each person own style and work methods. You, whatever like it or not, have one and if you are there is because of it.

                                Viewing 15 replies - 1 through 15 (of 60 total)