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Tons of stuff out there but not sure they fit your needs: Olympus, Super Speeds, Lomos, Fuji EBC’s, Kowas, Minoltas.
You mention ARRI SP’s but those are probably a perfect lens in every way, especially when handling OOF elements.
If you want a really clean lens on a budget i’d maybe look into Sigma FF Primes, if you want a zoom then maybe an Angeniuex EZ-1 or EZ-2 depending on your needs. Great lenses.
Ah that makes sense and thank you for answering that. So for the second shot as an example, are you intentionally letting the window ‘blow out’ for the scene—as in, was there an actual background to be seen, albeit many stops over your shooting stop, and you didn’t set up any sort of big bounce card to act as a bright outside exterior?
The reason for asking is that I had recently wrapped a feature on a stage and couldn’t really achieve this look due to not being heavily resourced enough. I figured the easiest way would be to take an ultrabounce card pulled away some feet from the window, punch a lamp into it from low angle, and above the card i’d have a bigger unit angled down punching sunlight down into the room.
I think there is a photo floating around somewhere where roger has a Asph. Summicron 35/2 on an M9 digi body. Not saying that’s his ‘favorite’ though…
Funnily enough, the day after listening to this episode, Bill came into my work! Such a nice and humble guy
I own one, mostly use as a backup to my Sekonic, but I think they are extremely easy to use, thanks to the fact that it uses a null (zeroing) system. You essentially get to see how far over/under exposure you want to be once your settings are set. It’s a bit chunky and if you’re used to using a Sekonic\Spectra where the dome is facing you, you have to hold the Gossen in a bit different of a way, then it’s pretty decent.
I would just make sure it’s calibrated to either a known calibrated meter or using Sunny 16 method.
Also make sure you’re getting the 9V battery one!
Would you shoot it as it were though or were you working under a targeted stop for the scene? IE, if you wanted to shoot at a T2.8 but metered at an 8.0 (depending on camera settings) would you ND down to get your T2.8? Conversely if you wanted a 5.6 but metered at 2.8 are you bring in your lights to get your desired working stop? I’d be very surprised if you were shooting as it were from the meter.
Not Roger,
For me I’d probably decide my stop, IE. shooting at a 2-2.8. If I metered at a 8.0 then I’d have to ND until I achieved my T2.0.
I think what is more important is maintaining consistency throughout the day or over the course of several days. It may be overcast one day and a bright sunny day the next. Or maybe you want the look of a sunny day so your lighting department might have to recreate a sunny day on an overcast day.
A follow up question for you roger is how you create lighting depth that you want while shooting on overcast days as to not have a flat look IF you are trying to achieve something with more contrast?
That’s a good ‘mistake’ to realize. If you shot a scene where you bounced around from a 14mm to a 24mm then a 75, how would that feel to watch and be cut together? Part of a DP’s job is to help visualize the scene with the Director. Some directors will tell you straight up, “I want this on a 50mm” or they may say something like ‘let move to a close up’ and you may think to either move in closer or flip to the 75mm.
It’s a balance in how it’s all being cut together but also how does it feel in your gut? Some DP’s shoot on only long lenses and then you have a Chivo who shoots on extreme wides but will move in close.
Study films and see what you like then bank a bunch of shots in a folder and refer to them when you want the same feeling.
Go to the rental house with a friend and test a set of lenses with all the focal lengths and see what each does to your talent as well as the environment.
Unfortunately you really get the best sense by just doing it yourself and by what’s available to you. If you have ‘X’ budget that allows you to get an Alexa Mini and 2 lenses then you’re forced to choose right? Maybe you want a 28mm and a 50mm, and that’s enough to cover your movie. Sometimes those limitations end up creating a style that’s unique to you and that’s what gets you hired?
Watch movies, do tests, shoot, read ASC magazine, study what your peers are doing, go to the rental house and play with lenses you’ve never used before. It all adds to your repertoire and you’ll be that much better for it!
Good luck!
Why don’t you test as opposed to taking someone’s word for it and hoping they’re right? Shooting film is very expensive and you don’t want to really take any chances unless you’re absolutely certain it would have the desired effect. You could do a test where you underexpose the film and have the lab push it for you and see what the results are. You may like what’s there, but you may not. 500t is going to have more grain than 250d but since 35mm is a bigger negative, the grain will appear smaller.
If you have a short end, you could use that for your test. Maybe shoot like 20-30′ and tear off the film, spool it onto a core and have lab develop it (if they do that sort of thing).
I would think they did this with lights that were already built into the room. Imagine walking into an office with overhead ceiling lights and just putting a camera up—Similar approach.
Bigger light + closer it is to object, the softer it will be. You could also pepper many lights into the space effectively making “one” larger source, but you’ll have to be careful of multiple shadows.
Master Primes are amazing lenses but they aren’t all that much better than some of the other affordable options out there. The problem I think you’ll face is that once you buy one, you’re likely going to find yourself wanting another.. and another, just to complete a set. If I were you i’d look into a set of Zeiss Super Speeds or even Standard Speeds. Perfect lenses albeit older and finding a decent matching set can be tricky. Sharp but still have a quality that won’t resolve “too much” detail to where it’s a bit sterile. IMO that’s the way to go!
Yea I think that’s an interesting question because I think off the bat, you’re boxing yourself into a style: Comedy needs to look like this or that. Rather, you should do what comes natural to you rather than try to do something because it’s some “established” look to a genre. I was just speaking to a DP whom I respect that shoots according to his taste no matter the setting. Roger Deakins is a perfect example of being able to shoot comedy (albeit dark comedy) with the Coen Brothers, yet still have the traditional look of drama. I think Bradford Young is also another prime example of this. I’d say motivate your main key from the door then use practicals to balance out your interiors. If you need to give extra level, then maybe bounce a light that is “motivated” by the practicals throughout the room.
Last I might say is hire good gaffers/grips that can take your ideas and make them work for you in a tasteful way.
A bit of a separate question for David, but when you’re designing a shot like this are you planning well before to set your framing for how the trucks will sit and the characters both in the fore & background? Like this still is incredible…
It definitely varies as each scene mostly likely is different. Night vs. Day. Interior vs Exterior, etc. Sometimes you don’t have control and have to lean into those obstacles.
What you can do is, let’s say you want to shoot at a t/2.8 the entire time. Then maybe your subject at key is always a 2.8. You can modify through lighting or in camera via ND, shutterspeed/angle, ISO..then work from there.
Maybe the fill or shadow side of your subject always lies at a t/2 or 1.4, then adjust accordingly. Same goes for background or practical’s.
A light meter is your best friend, buy a combo if you can! I think Roger (and myself) own the Gossen Luna Pro which have both. Cheap to find and take a 9v battery.
