Yeah I didn't have a battery on when I took this pic, it'd normally go on the back where the lav receiver is. Yeah for this we were doing interviews with just me and the director, so we were handling all sound in camera (though you can't see it in this pic but on the other side of the camera we had a Zoom H4 velcroed to the camera body so we could run XLR into that and then line-out into the camera A-box. We did it this way because the director wasn't happy with the quality of the audio when going straight into the A-box.)
cross-posted from: https://lemmy.world/post/312675
This is my camera, we used it for B-cam on a commercial recently. I had to pull focus and zoom while rolling so I hooked up one of my Nucleus-M handles to the camera and used it like a Preston Microforce. Not the most optimal setup, but it worked for what we needed.
This is my camera, we used it for B-cam on a commercial recently. I had to pull focus and zoom while rolling so I hooked up one of my Nucleus-M handles to the camera and used it like a Preston Microforce. Not the most optimal setup, but it worked for what we needed.
Some interesting quotes from the article:
Asked about the unused light on the bus ceiling, Lubezki says, “Sometimes you panic because you’re used to doing things in a certain way. I’m a feature-film cinematographer, and I haven’t done documentaries in a while, so my instincts are to always try to make the image appealing. It took me a long time to go back to basics and say, ‘No, I don’t want this movie to look conventionally beautiful.’ This is a movie I couldn’t have done when I was younger. I don’t know if I’m going on the right path. The more I learn, the less lighting I want to do.” With a chuckle, he adds, “Maybe I’m getting lazy!”
Shot entirely handheld with very little traditional film lighting, Children of Men has a visual aesthetic that borders on documentary. Lubezki recalls that the genesis of this look started with a decision to avoid standard shot breakdowns. He explains that he and Cuarón have an aversion to traditional coverage, with “A-B-A-B” intercutting of opposing shots of two actors. “We decided to have every shot be a shot in itself and avoid the A-B-A-B of coverage, even though we couldn’t get away from doing it sometimes. The more I work this way, the more I realize that conventional coverage is what makes most movies feel the same. You go to see a comedy, a drama, or a horror movie, and they all somehow feel the same. It’s as if the cinematic language hasn’t really evolved that much. Many films just cover the dialogue without really exploring the visual dimension.”
One of the key decisions Lubezki made early on was to shoot Children of Men with as few movie lights as possible. “I didn’t want to light the movie, or at least I didn’t want it to feel lit. I want the viewer to feel as though the action is happening for real. I didn’t want to make anything pretty or beautiful unnecessarily. For example, I didn’t want to put a backlight on an actor [for beauty reasons]. Of course, I couldn’t get away with not lighting at all. When winter came, the locations we were using between buildings started getting dark very early, so some of our locations had to be built on a soundstage. I had to light them, but I did it in such a way that the light was always coming from a natural source, usually through windows.”
Lubezki filmed Children of Men on Kodak Vision2 Expression 500T 5229 because its low contrast allowed him to shoot in extreme situations without additional lighting. “When I did tests in the car, the interior was f2 and the outside was f16! Because I had decided not to light, using this stock was a way to solve the exposure problem. It’s so low-contrast that if you expose it correctly, you will have enough information to show what’s happening outside. Of course, in some scenes, you will never be able to see the clouds because the sky is blown out. With [Kodak Vision2 500T] 5218, when you don’t light faces they look a bit harsh. I wanted the mid-tones to be softer in the faces, and 5229 allows you to achieve that. It’s very similar to flashing the positive.” He adds, “The blacks in 5229 are not very rich, but you can crush them in the digital intermediate [DI].”
If you have 2 filters in and flip the camera upside down, the front filter has a chance of sliding up enough to pop over the bottom lip, and when you flip the camera back right side up the front filter slips out of the top clip completely and falls out. Really shitty design.
I think I found it: BOYA BY-BM6060
Pretty cheap, not sure how great it is. The director brought it with him. It was more of a backup/b-roll mic since we used a lav for interviews.
cross-posted from: https://lemmy.world/post/249015
Little messy cause I had to find places for all the sounds stuff to fit that we normally don't have to deal with, but it ended up working out pretty well.
This is for some social media ads done for a very large potato chip brand doing a collab with another big time athlete
Yeah exactly, the battery just isn't on in this photo. That was the only free place I could find to stick the lav receiver without being in the way. What you don't see in this photo is on the other side of camera, I also had to velcro a Zoom H4 so we could go XLR into that and that line-out from the H4 into the Mini audio port for sync sound.
We had to set it up this way because the director/operator said he noticed the quality wasn't as good when going straight into the Mini's A-box. But ended up making the build pretty cumbersome, and the H4 has its own host of issues that made the process of recording sound pretty annoying (like that it doesn't send audio line-out unless you're recording, so we had to hit record every time we wanted to get audio even though it was being piped directly into the camera, and then had to remember to format the audio SD card before it filled up otherwise it would stop recording and we'd lose sound. That's why you always hire a sound guy...)
To address your other comment, yeah the boom mic ended up being kinda pointless since we just lav'd all the interviews. Used the boom occasionally for ambiance/b-roll, but the arm was pretty sturdy for the most part and didn't flop around. And yeah I agree, Bright Tangerine matteboxes can be a pain (don't even get me started on the cheap one that doesn't have filter trays, you just drop them in the front and they're held in by the lip. Have had 2 filters fall out and break before, that thing sucks ass)
Little messy cause I had to find places for all the sounds stuff to fit that we normally don't have to deal with, but it ended up working out pretty well.
Some photos from the article:
I've thought about it, but I'm curious, is there really any downside to being on another instance? Since federation just makes it all like one community.
One of my favorite films of all time is "Her" (2013). The color palette, the soundtrack, the Neo-Los Angeles backdrop, and of course Hoyte van Hoytema's lighting and composition.
Another one of Hoyt's greats, Interstellar (2014), probably my favorite "space" movie of all time (tied up with 2001). The high contrast and highlights and his use of light/shadows in space. The use of practical lighting.
Of course it's hard to mention Interstellar without mentioning its predecessor, "2001: A Space Odyssey" (1968). Stanley Kubrick was so revolutionary in how he was able to capture science fiction in 1968, so well that some people actually believe he helped fake the moon landing. Geoffrey Unsworth and John Alcott created the meta for science fiction space visuals.
We can't not mention the great Roger Deakins (who I seem to almost meet every week, I missed his book signing and his appearance at CineGear). Everything he has made is top tier. An all-around great movie I love of his is "No Country For Old Men" (2007). He's a master of lighting faces and creating a perfect balance between style and reality.
The same year (and filmed just next door to No Country For Old Men) was "There Will Be Blood" (2007). On top of the incredible performances, writing, and directing, Robert Elswit won the Best Cinematography that year for a reason.
Love having all my tools nearby and accessible at all times.
Another view in the light:
Yeah, it has definitely slowed down a lot recently. This was a non-union feature we shot about 2 months ago, but nearly everyone on the crew was union because none of the normal shows were starting back up, even months before the strike (because the studios knew it was coming) so the union folks were taking whatever they could get. Though this project was a lot of fun and has some very notable talent. We're actually shooting another week of pickup shots this month to finish it off.
That is Paramount Ranch, not too far away. Though I did find out that Melody Ranch did suffer a major fire in 1962 that burnt down much of this street you're seeing. When we were there it felt very old and authentic. We spent about a week filming in the same saloon that was used in Django Unchained when Christoph Waltz's character shoots the town sheriff towards the beginning of the movie. We also had a lot of live animals like horses, oxen, and chickens.
It took four of us to carry this up the mountain by hand, on a narrow path with soft loose dirt. Was a rough day but once it was up there it lived up there for the rest of the production. This was our fake sun/moon light
Yep, shooting content for a brand's social media. We just flipped a Red Komodo on it's side, and since the image was sideways on all our wireless monitors, I flipped them 90 degrees so I could see it normally when I pulled focus (that's what the wooden-looking device with the knob in the blue holder is, my wireless focus pulling hand unit Nucleus-M).
Yeah luckily they didn't seem to have any issues. Could've been a big problem for production though