1917 wireless video (5 replies)
I do not know if this topic was already touched in the forum.
1917 wireless video setup
Could you talk us trough the wireless video set up.
Maybe also with a rough layout (as this may be easier)
How did you solve the transmission(latency) issue?
What system where you using?
I can imagine the wireless video setup was a huge technical challenge on a shoot like 1917.
I cannot comment on 1917 but the following may help to fill-in some details. https://www.arri.com/en/camera-systems/cameras/wireless-video-system#accordion-49630»
Thank you for the link.
I am well aware of video-setups, as I am working for 2 decades as a camera assistent/focus puller in features & commercials.
Besides the technical Equipment (transmitters/recievers/antennas…) did you had some sort of a licensed frequency/channel area? (I am not familiar with that in the UK, but I know that in Europe there are concessions for using slots for such purpose)
We did have a licensed frequency, yes. We certainly had transmission issues and James spent many weeks working to find the system we finally used.
how did you went about videoreplay?
being aware that playback is time consuming, but on the other hand key on a one-take-shoot..
would you go through every take in replay on the same monitor as the director and with other crew members(involved in that shot) in attendance?
Or did those crew members(e.g. focus puller) watch playback on their monitor, and communicate with you through radio about certain issues? (As you might be to far from each other, depending on the shot you where doing)
Without getting to technical, it would be interesting to hear about the video-setup and workflow (LIVE and replay) on set from this shoot.(knowing that this rather be addressed to the video-recording-operator)
Thank you for your time!
James, our DIT, Josh, and I were in the back of a small van alongside a second van occupied by 1st AC Andy Harris. Andy, who generally prefers to be at the lens, was focusing the entire film remotely, sometimes as much as a quarter of a mile from the camera. We had headsets and radio contact with everyone at the camera. James was usually talking to whomever was on the camera during a take as I was operating the wheels, and/or pulling stop, so I didn't want to talk so much. It sometimes reminded me of those films where the control tower talks down the plane being flown by the passenger, though in this case we were talking to the equivalent of very experienced pilots!
For a replay, I would walk to where Sam was in a trailer with our playback operator and 1st AD. When we were shooting on the Trinity or Steadicam rig, Charlie or Peter would also be watching the playback with us. We would study the first completed take and make adjustments from there, often including the actors in the discussion so they had a clear understanding of their movement relative to the camera's. Often we had to study the end or beginning frames of the shot in more detail, as the 'joins' between each had to be a match to the preferred take of what had been shot previously.