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Phil Connolly

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Phil Connolly last won the day on January 12

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About Phil Connolly

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  • Birthday 01/12/1979

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  1. The old IMAX documentary films kept pans slow enough but Hollywood faster camera moves are shown up on the big screen. I do remember some pans in "Everest" looked juddery - but on a 30m screen the subject was moving about 2-3m between each frame drawing attention to the frame rate. But I guess 1917 gets round the IMAX edit pace issue 🙂
  2. Crew can cost more then equipment hire. Getting the number/experience of crew right will typically have the biggest impact on the production. Losing time because there's not enough people to do a unit move/rig or fluffed take due to less experienced ops - can push a shoot into overtime easily.
  3. I don't think there is a set method that works. It's also important to be realistic - nothing worse than films that spend 50% of the budget on film stock or fancy lenses leaving nothing for cast, art and costume. Personally I would ask up front about the films actual budget, producers may be coy about this. But it's better to have an honest conversation about cash up front. Of course producers might low ball you etc.. but the good ones should have a fair figure in mind Then you can, be realistic in your resource requests and no waste as much time. Depending on the project it's probably realistic to spend maybe 10- 20% of the total budget on the camera dept (including kit hire, personnel etc...) So if you know what the producers can actually afford, then you know what's realistic and can make a judgement about pushing for more when really needed. It really depends on the production, you will have examples of well funded productions where the producers want to cut further corners in the camera dept because they profit from spending as little as possible. And, you will encounter passion projects where there is barely enough money to cover the basics. Going into the project you need to know which of those types of projects it is - some projects you should push for more stuff and others you have to (creatively) make do with what they have.
  4. 2.39:1 scope is the same width as DCI 2k of 4K. So if your framing for 2.39:1 you'd typically shoot in a 1.89:1 mode. The extra room at the top and bottom of the recorded frame is useful for reframing, hiding tracking markers, spotting the boom and giving you flexibility to make a pan and scan 16:9 It's rare to make a 1.89:1 deliverable, but it's a good ratio to shoot in when you crop to other aspect ratios. The point of 1.89:1 is that its in between 2.39:1 and 1.85:1. It cinema cameras for instance had a 2.39:1 shaped sensor, you'd need a massive crop to get to 16:9. Digital cinema projectors have the same shape 1.89:1 sensors - so crop at either the sides or the top and bottom for different aspect ratios
  5. I believe the "User Box" setting should allow a 2:1 frameline - but don't have the FS7 to hand to test. Or if you shoot DCI 4K, its native aspect ratio is 1.89:1 which as Aapo states is pretty close and you could get away with a minor crop off the bottom of the frame. You could get away by eyeballing. I've shot on 16:9 manytimes for 2.35:1 delivery and been able to arrive at acceptable framing by guessing. The difference between 1.9:1 and 2:1 is going to be very minor and if you crop from the bottom rather then top and bottom your not going to mess up your headroom. Or just use masking tape on the top and bottom of the viewfinder screen, to make a 2:1 framing reference.. easy peasy, Cut it neatly enough and you can still probably use the loupe. You should get a bit of paper and draw a 2:1 rectangle on it. Point the camera at the rectangle till the left and right edges just touch you edge of frame. The top and bottom lines of your rectangle are now the bit you want to mask off. So with masking tape cover the top and bottom of the screen using the lines of your reference rectangle as reference. Record a bit of the rectangle chart so you can use it in post to line up your 2:1 letter box. A lot of field monitors have built in 2:1 framelines or custom framelines. Or you can do the masking tape approach the same way by filming your homemade chart for reference.
  6. If you need a moving cat shadow, might make sense to film the cat first and project the "shadow" with a video projector.Then you have complete control of the cat movement/timing etc..
  7. Might have to squeeze a cheeky matinee of 1917 in this week. That Deakins chap looks like he knows what he's doing
  8. Don't most people travelling with film request hand inspection and bypass the scanner?
  9. Parasite is the best film I've seen in a few years, its great. But not seen enough of the others to judge if its my favorite
  10. Yoga probably makes sense - because often your forced to hold uncomfortable positions and be still. I think camera operating is less about pure strength, but more about having stamina and flexibility. Equipment is getting less heavy, but if your operating on a longer shot it can still get painful. There's nothing worse than starting a shot in the wrong position and being forced to hold it while you start to cramp. Narrative film isn't too bad from an operating pov because takes typically only last a few minutes and your going to have breaks for rehearsal etc.. But multicam live TV (particularly sports or shopping) can put you in a world of pain if your not prepared for it. If your covering golf or cricket you may have to be offering usable shots for hours at a time. So if you are looking for that kind of work building stamina and fitness is super important Yoga also helps you stretch and recover. Bad technique with camera operating can risk back problems, so anything that builds your core strength. Running is also good. You can also experiment with yoga by using online exercise videos and skip the expensive gym membership. Other things with shoots, if you not used to it you can get tired from standing 10-12 hours a day. So when I'm doing office work, I try to use a standing desk so I keep my stamina up for shoots.
  11. I didn't know that, that makes it more impressive. The discipline about not cheating on the light sources was already impressive enough. I'll have to put it on my rewatch list, I'm starting to develop a low budget single location idea and I'm looking for inspiration in ways to keep it visually interesting. "Shallow Grave" is one of my references, contained location, great blocking and superb lighting. Its my favorite Danny Boyle/Brian Tufano collaboration
  12. Buried (2010) is a good example of being visually inventive for such a tiny location
  13. Yep we are back to digital vs analogue
  14. good/experienced actors are pretty good at watching their own continuity. I've found if you cast well you don't have too many issues in the edit. We didn't have a continuity person or 1s tAD on my last short film and had no major issues. It also helps if you've written the script, since you know it so well, you can spot straight away when a line is skipped/changed etc..
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