James Malamatinas

I'm just watching Mary Poppins and was surprised at how well a certain effect holds up even now. The scene is near the beginning of the film when there is a large queue of potential nannies waiting outside the house for an interview, when a breeze picks up and starts blowing them all away. It obviously not entirely seamless however it looked a lot more genuine than a lot of even CGI effects I have seen in even very recent films.

What kind of techniques would have been used for this? Is it some kind of back projection with wire-work? I'm not very knowledgeable on VFX so I don't really have a clue.

I'm just watching it on TV in the UK so have no idea what version it is but it looks quite clean so I imagine it is some sort of digital transfer, I'm not sure if this would have helped the effects look less dated.

Thanks.

I've not been to the school myself however I have worked with people who have done the Cinematography course and I've worked as a 2nd on one of the NFTS films - I'm yet to meet someone who has anything but great things to say. The access to resources and tutors appears to be second to none (in the UK at least) and the people are worked with always knew exactly what they were doing and were very professional. The school also has great links to help get graduates noticed and get work after the course has finished.

Thanks Gregg, I'll make sure I got through it all with the technicians when I get there, I'm planning on getting there as soon as they open so I should have a full day. Thank fully I don't think there will be an enormous kit lists to go through which should mean I can get to know everything properly.

Thanks Jax that was a really informative and helpful post. I spoke to the DOP about the registration test and he said there almost certainly won't be time for it and not to worry about it. Is the kind of scenario where I should really be pushing for extra time? The kit is coming from Panavision so I'm not sure if he feels the chance of such a problem is slimmer.

As for the FFD and collimation, what tests are these and do you have links to explanations of how they should be performed? In terms of testing actually sharpness the DOP said that setting up charts and then eye focusing through the viewfinder should be suitable – is this something I can rely on or again, should I really be trying to get a roll of film shot? Also, and this may be a silly question, but does how the eyepiece dioptre is set during my testing affect focus. If for example I check the marks at a setting that is sharp for me, if the DOP has to change the diopter how much it will affect what he sees as sharp. Generally with RED’s and Alexa’s the DOP have generally gone for on-board monitors.

I will pick-up a DoF calculator, I do not have a iPhone so it will be a Kelly’s for now, and I’m already reading through the SR3 manual and learning feet to time conversions as you suggested.

I have never had to check the gate and I will look around this forum for advice on how to do it. Do you have a preferred method?

As for practising distances I have a disto which I purchased recently and I’m using that around my house to guess distances and measure up.

It probably worth mentioning that I have not done a huge amount of kit testing, I am generally a second 2^nd AC who has had experience focus puller on smaller budget projects which have rarely had the budget to offer full testing days. The other occasions I have done tests they have usually been fairly rushed and basic such as checking that all requested kit is present, in working order, fits together as expected and that the lens marking are correct. This is part of the reason I’m taking extra time to prepare properly.

I've just been given a great opportunity to be 1st AC on my first film project. I don't know much about it yet but it is a two day shoot on an SR3. I have worked on a film shoot as a 2nd twice before, once as a clapper-loader and once as a trainee, other than that all my projects have been digital. I’ve got just under 2 weeks to get myself ready and I’m trying to take as much on board as possible.

First, what are the main things that need to be covered when prepping for a film shoot? I’m particularly concerned about the accuracy of lens markings given this will be absolutely critical without a monitor to check. We will have 1 days prep in a rental house what are the tests I should be doing and what should I be looking for?

Second, although I try to use the monitor as little as possible when shooting, I do use it for spot checks before rolling to check that I haven’t blown a shot, I’m slightly nervous about focus pulling completely blind but excited about as well! Would you recommend doing anything differently on film opposed to digital? I don’t have a DoF calculator but would investing in a Kelly’s be necessary or worth it?

Is there any kit that I may be overlooking from my floor bag that I wouldn’t use on digital but would need on film e.g. cleaning?

I will be spending time practising my focus guessing and reading through the Camera Assistants manual over and over but what else can you recommend?

Despite a few nerves I’m really looking forward to working with film again and getting that experience, just want to make sure it goes as smooth as possible.

Thanks for any suggestions.

Thanks for the advice. Phil, that sounds like a kind offer thank you - I'm currently waiting to hear about a project that might be going ahead in Jan which I've been trying to get on for a while, however if there it falls through I'll definitely get in touch on the slim chance you still need someone. Stephen, thanks for you're advice too, I've actually done work experience at Panavision ad it is a really great place to meet people, I make an excuse to go and visit at least once a month!

Ooops, just noticed the typo in the title, can I change this? I can't see an edit button.

I'm trying to get myself work on larger, more experienced productions so that I can improve my capabilities as an AC but I'm uncertain about the most appropriate etiquette for contacting productions and individuals about these potential opportunities. Is it better to direct my enquiries at Clapper loaders, Focus Pullers or Line Producers?

There are obviously no set rules but suggestions or experiences of others are very much welcomed.

Thanks David, another detailed reply, thank you. I thought that would largely be what it was but I thought that perhaps there you may need to set up a lot of flagging to avoid light on the foreground subject and such.

I'm not too familiar with lighting so this question may seem very basic for this forum, I'm asking it purely from a curious film enthusiast point of view!

What are the basic techniques to getting silhouetted shot, by this I mean a completely dark shape with no illumination at all? Obviously you have to make sure all of the light is coming from behind the subject but is it that easy or are special techniques employed to ensure a sharp, well defined silhouette without any light spill?

From a camera assisting point of view I assume the light behind the subject and the corresponding background has to be bright enough so that when exposed the silhouetted subject is outside the dynamic range of whatever medium you are shooting on? Or with well designed lighting is this not necessary?

I know it's not a unique, or probably difficult technique, it's just something that been on my mind after a few shots in films I've watched recently.

Thanks!

Thanks for getting back to me, in the end the smallHD was only had HDMI and we didn't have the right cable to run it to the 24" so we made do with just directors LCD and the 24", it all worked out ok though and was great practice for pulling by eye. Will definitely think about using that in future though, cheers.

Thanks Justin, I don't think we can get any sort of HDMI converter in time for tomorrow but hopefully when I find out which monitor model we have it will have this feature. So, to be clear, I would connect the smallHD via HD-SDI to the camera and then, providing the smallHD has signal pass-through and HDMI, connect the video village monitor to the smallHD? With this method will I have picture on all three monitors simultaneously?

Haha I know, I just always find it impressive that they can spot and keep track of it, I can't even do it with my eyes when I play the sport!

Thank you both for the detailed replies. I've been a bit to busy to follow up on some of the links and information you refer to but I will do as soon as I get a chance, I've had to work with these types of cameras yet but would like to find out more in case that changes! I want to find out if the cameras have special 'golf ball tracking' features installed too - I have no idea how they track the balls from the tee shots when you watch the golf!!!

Hi,

I'm working on the Epic tomorrow and trying to work out the best solution to utilise three monitors taking into account that the standard EPIC brain does not support simultaneous HD-SDI and HDMI. In researching this I've come across this article: http://www.theblackandblue.com/2012/04/28/shooting-red-epic-3/

Unfortunately we do not have the Pro I/O module so we're stuck with the second option; we only have the RED LCD, a smallHD monitor and a 24" reference monitor for video village. The RED LCD will be used by the operator so has to be connected. In describing the second option Evan mentions that the second monitor should have signal pass-through. What is this signal pass-through and how does it help?

It seems my only other alternative is to have the smallHD and 24" plugged into the camera and then switch output to the relevant monitor when needed, not ideal at all. What is the simplest way of switching feeds between the two ports?

Thanks,

James

I was lucky enough to get tickets for the Olympics this week and whilst I was somewhat distracted by the Women's Beach Volleyball athletes I did have time to look around and survey how they were broadcasting the event.

They had two main Studio/Broadcast cameras which were supported by numerous handheld cameras and it made me wonder - what are the major differences between these cameras and a digital cinema cameras such as the Alexa, Epic or F65 - both the Studio and handheld models they use for broadcast? I obvious understand that there use is very different but I have now idea how this has been translated into the design.

Also, who are the major manufacturers of these cameras and lenses? Through some quick research I've found Sony appear to be quite widespread, but who else?

Thanks in advance for any responses.

P.S. on a side note does anyone have any insight, or links to resources that describe the kind of pipeline footage from these cameras goes through before hitting our TV screens.

Hi Damon,

Did you ever find an answer to this, I'm very interested in the answer too.

I completely agree with Marcus, that was a really great post and was very helpful in answering exactly what I was trying to ask. Are you aware of any articles or sites that detail this process further? I'm really interested in exactly how afinished film is made transferred ready for projection e.g. which various formats (both film and digital) are available for film and digital projectors and what the advantages and negatives of each are?

Thanks,

James

When I was reading this a question came to mind several time.

When a movie shot on film is projected digitally, how much of the film aesthetic is lost compared to projecting the movie on film?

When people say they prefer watching film, how much of this is down to it being shot on film and how much of it is the aesthetic the film projection element brings e.g. film artifacts, cue marks and so forth. Is digital scanning of high enough quality yet to capture the 'organic'essence of film?

Thanks,

James

Thank you guys for the responses, as ever I'm very impressed by the thoroughness of the answers! I'm not actually looking to recreate it for any particular project at the moment, I was just more interested in what contributes to such a look and how, most of which has been answered.

Out of curiosity what film has a look that is closest to a 'modern' version of this look? I know that's kinda vague but hopefully you know what I mean :unsure:?

I was watching The Good, The Bad and The Ugly today and was curious as to the kind of lighting/make up effects used for much of the close-ups and shots of faces. In these shots the film image looks amazingly sharp, sharper than most of the hi definition digital images I've seen recently. The lighting in the scenes is normally very bright and with a golden glow used to light the skin and show off all of the imperfections and marks on the characters face. This appears to be bought out further by using some kind of shine on the skin.

Are there any special tricks being used in terms of lighting or make-up? Is the film stock more of a contributor, or possible the colour timing? I'm not too familiar with lighting so any feedback would be really appreciated.

I couldn't find a perfect example online, but I've included a slightly soft image from the opening shot that has the kind of look I'm talking about.

I find it an amazing look which I really have noticed too much outside of westerns. If you could point me to anymore films with similar examples that would be great! Thanks in advance for any replies.

Hi,

I've only covered this topic a little bit whilst researching cinematography in general and I found the chapter in the book below really eye opening since I had absolutely no knowledge prior to this.

I would definitely recommend checking out the whole book actually, it well worth reading.

http://www.amazon.co.uk/Cinematography-Practice-Cinematographers-Directors-Videographers/dp/0240805003

Hope this helps.

Definitely keen!

Haha, cheers for that Phil. I think that is definitely a far more fun way of getting questions answered!

Hey Guys,

I was just wondering if anyone was aware of sites for film-making profressions which focus around a chat-room type interface whereby you can talk in real-time to help troubleshoot problems, or ask questions etc. Basically a live chat for filmmakers!

Anyone heard of this or think it would be useful?