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Congratulations Roger, that shot is entering the territory of Ozu’s famous vase shot in ‘Late Spring’, which people try to understand until today, haha.
Take this with a grain of salt, as I never looked into it deeper, but as far as I know a camera needs the exact distortion data from a lens to perform it correctly. If a lens is not supported, correction will yield false results. Panasonic’s cheaper photography lenses for instance are much worse when not corrected in camera, usually by a Panasonic camera.
Our mind can zoom in but I still disagree that a lens zoom is ‘natural’ because that visual process does not happen in real life when our mind zooms in; the lens zoom is a creative effect to represent that process (one that can work very well). It comes down to how one defines ‘natural’. And more important, in the end it doesn’t matter if it serves the story and the audience isn’t pulled out of it.
Personally, I found zooms pull me out of the story much easier than dolly moves but they both have their place, and there they work.
I think zooms feel less natural because our eyes can’t zoom. We need to move physically closer towards objects for them to become larger, which is what the push in does.
The sun moves fast!
On the last image the actors are in the shade while unimportant objects in the back- and foreground are prominent from being in direct sun. Judging from the second frame grab, that happened because the sun had already moved away from where the action took place (unless this was intended for specific reasons).
Scheduling, blocking and time management already solve many issues and prevent others from happening.
Personally if I want it really dark but rather clean I go down to ISO 200, especially when shooting with cameras that have unaesthetic noise, to have some room to crush it in post.
Whether you put the tripod over your shoulder or hold it in front of you like a stabilizer, find the center of gravity. You can do this by balancing the whole thing on the side of your hand. Once you found it, hold it there (if using like a stabilizer) or have that be the point resting on your shoulder. You may need to attach counter weights depending on the weight of your camera setup.
I could use Google and find the links… but then I’d wonder why you don’t use Google and find the links!
I wonder the same.
Summing up, since I don’t have a 6k camera I’ll try not to use the post production stabilization to avoid the cropping from 4k .
Just to be clear, you don’t need post stabilizer with a gimbal, it just makes things ultra smooth instead of smooth.
The frugal tripod stabilizer hack will help reduce shake but especially micro jitter, which is the bigger evil anyways imo.
(im probably just having a bad day)
No, I felt the same. I was looking forward to get a glimpse into the people and work behind a film festival and film commission but learned hardly anything of that, just odd answers and what felt like marketing of Dallas.
After so many fantastic episodes, there had to be a blank at one point 🙂
I will have to disagree a bit and say that today the least elaborate and yet best method for following actors outside of a steadicam is a gimbal. It yields great results especially when combined with post production image stabilization – shoot a little wider as intended as the post stabilizer will crop into the footage a few percentages. You will still have to “ninja walk”.
I would note that there is a big difference between applying a print LUT in post to shooting through a print LUT on set as Roger and many other cinematographers do.
Very true. In Resolve you can export a monitor LUT that I then use in camera. It still can work without exposing for it but will not yield best results.
I don’t think the contrast of the LUT has too much bearing on what camera is used.
It does if e.g. shooting natural light and compare it to what it “should” look like. But it’s negligible.
