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Bruce Greene

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Bruce Greene last won the day on June 13

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About Bruce Greene

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  • Occupation
    Cinematographer
  • Location
    Los Angeles
  • My Gear
    Steadicam
  • Specialties
    specialist in narrative projects, features and series.

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    http://www.brucealangreene.com

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  1. Since you may not know how the scene will be edited, if you have time, it's best to shoot (at least the close ups) from both eye lines. When I've worked with two cameras, I've sometimes shot the close up of a single character with two cameras. One looking right to left, and the second, left to right. If you don't have time to shoot every actor with two eye lines, it can be useful to pick out a couple of the main actors and shoot only them from two eye lines in order to give the editor an opportunity to change eye lines when necessary.
  2. If you do this test, also test developing the film at different development times. You might find that "pulling" one stop on development protects your highlights for the scan. It might also make for a more grainy final image, and that's why you would need to test this 🙂
  3. I've done the opposite. Background in fast motion, foreground in normal speed. We did this by lighting the foreground and background, removing the foreground actors and furniture, shooting the background as a plate, and then bringing in a green screen to shoot the foreground against and composited in post. It worked quite well. Ours was complicated by the requirement that the lighting change from day to night during the shot, and this required that the lighting changes be designed into the setup in advance...
  4. Daniel, this a beautiful photograph. Thank you for posting! But, just to avoid confusion here... "HDR", for still photography, refers to capturing a wide dynamic range and compressing it into an SDR image or photographic print, as Daniel has illustrated very well here. Usually by capturing multiple exposures of the same image and combining them. Or, in this case, by multiple exposure scans of the negative. "HDR" in motion pictures refers to capturing a wide dynamic range image (usually in one exposure) and presenting it in a wide dynamic range display or projection. Which is a related, but different concept. It's unfortunate that the two concepts both use "HDR" to describe themselves.
  5. I think there are a number of choices in camera operating that are "unconventional" and call attention to themselves. Short siding close ups is one of them. Others that come to mind are framing in dead center of the frame (often accompanied by symmetry), and framing a wide shot with people very low in the frame and lots of headroom. Even shooting an actor from behind their head can be an interesting technique in the proper circumstance. In general, as there are always exceptions, is that I try to reserve these framing techniques to moments when I'm trying to put the audience off balance and call attention to the framing. And this means not over doing these compositions so that when they do show up in the film they have maximum impact. Of course, as David so nicely illustrated above, there are times when the background or environment become paramount, and short siding, or other unconventional framing becomes most effective. David also mentioned the situation of two actors sitting against a wall and this is an interesting case. Here, the background will always show the same information: A blank wall. But how you frame this will say something about where the character's mind set is. If the actors are spaced far enough apart, one could cover this conventionally and let the performances speak for themselves in single close ups. If the close ups are shot straight against the wall, this will show and emphasize the distance between the characters. If the singles are shot center frame, this would emphasize, perhaps, that the characters are really in "their own space", even though they are together. And if the actors are framed short sided, this might suggest that the characters are drifting apart emotionally, as if they are longing for the empty space in the frame, even when looking the other direction. I think the power of cinema, and cinematography, lies in directing where the viewer will be looking in a way that reveals just the "right" information in a way that makes the viewer want to see what comes next. And part of this power is achieved by making the viewer think that they themselves chose where to look! But they didn't really. We directed them 🙂
  6. You've got it right Stephen. The focus puller views the displayed distance and sets the lens to match, either directly by hand, or by radio focus if they're using one. And yes, the focus puller is watching the scene, judging the distance, and using the cine tape to confirm or fine tune their estimate. It takes some practice and experience as the device doesn't show exactly what it is measuring, but it's generally the closest subject or thing directly in front of the camera.
  7. If you’re going through all the work of color correction, please use a properly calibrated display. dont trust the image played in PP or QuickTime player. if you view on a properly calibrated TV, it should look very close. If it does not, something is wrong with your workflow. i do find for streaming on Vimeo, that REC 709, gamma 2.2 works best.
  8. Laser disk was not quite as good as DVD. For widescreen releases, laser disk cropped the image, reducing resolution by close to 50%. DVD used the full frame with an anamorphic squeeze, to maximize the picture area. laser disk was also interlaced video vs. progressive scan for DVD. lastly, laserdisk was analog vs. compressed digital for DVD, so the advantage here was with laser disk...
  9. I think it’s not necessary to go to film school and pile up debt. You can learn filmmaking now with a phone and a laptop if necessary. Though I think a college degree from a state university, in any subject, can still be valuable. My daughter ended up as a writer / producer with an English degree and no dreams of a film career. It’s not rocket science, but good writing skills are very valuable in many industries. And I’m a cinematographer with an Economics degree 🙂 I heard a lot of advice like yours David... and just thought, “screw em”!
  10. If you use a gimbal, it will be harder and more time consuming to rig, so keep that in mind. Hard mounted to the car will show all the shaking, and might even be desired. The gimbal will show a smooth background with shaking car and people, and you might like that effect as well. Also, on a trailer you may not need hostess trays if the trailer is wide enough. You can just strap down a tripod to the trailer.
  11. With my small exposure to sports broadcasting ... most cameras use big zoom lenses that are manually focused by the operator. some cameras shoot high frame rates, but broadcast live at the standard rate. The higher frame rates are recorded for slow motion playback to review the play. they also employ smaller cameras and lenses for handheld, Steadicam, and robotic camera systems.
  12. David I will stipulate that your math is correct. But, the odds of becoming a professional filmmaker if you don’t try are zero. If you give it everything you’ve got, maybe 5 - 25%. And when you’re young, there is always time to reconsider and choose another path. So I’ll go further. If you need to study the odds, your odds are about zero.
  13. Phil is correct. But, someone is going to make the movies. Why not you? The odds are always against you in any popular profession. If that worries you, find another career. If not, stop posting these questions and get to work! 🙂
  14. Watched the video and it's reassuring to know that in Kiev, where I spent 5 months last year, the background radiation is near normal. 🙂 But, I don't know about the food and how much contamination it may have contained... BTW, I was never tempted to take the tour of the forbidden zone, but I did go to the little Chernobyl museum in Kiev 🙂
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