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Satsuki Murashige

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Satsuki Murashige last won the day on June 20 2018

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About Satsuki Murashige

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  1. Hi Ben, There are two main goals that I like to keep in mind regarding eyelines for ensemble table scenes. 1. Establish the spatial geography of the characters. Where is everyone sitting? Where are the key character interactions happening? The audience needs to be able to keep track of these things. This is usually covered by shooting a master shot. You may need more than one master angle to cover the whole scene if the actors get up and move around the room. For example, here is a dinner table scene from the film 'Pride & Prejudice' (2005): Master Shot: In this particular case, the master can only be used for the first half of the scene because after everyone sits, Judy Dench's character at the head of the table is obstructed by the table setting. This actually works well to disguise the fact that the scene's main conflict will be between her and Keira Knightley's character. Though it is faster and simpler to shoot the coverage from roughly the same camera position on long lenses, so that each character consistently looks camera left or camera right throughout the scene, it’s often more interesting to move the camera and actors around in the scene so that the eyelines shift as the scene unfolds. Once the geography has been clearly established, then you have some freedom to cover parts of the scene by changing the direction of eyelines from the master, so long as you respect the eyelines of the matching coverage angles. Two-Shot, changing direction of the eyeline from the master: In the master, Keira is frame left of Matthew MacFadyen's character, and here she is on camera right, but because of the established geography the cut works fine. Matching Singles, respecting the new eyeline: 2. Establish eyelines between individual characters for specific story beats. Remember, there is a 180 degree line between each pair of characters who interact in a scene. Now here's the really clever bit from the scene. Same shot - rack focus to Judy Dench as she speaks to Keira, establishing another new eyeline: Keira's eyeline shifts to the new character on the cut: Slightly different angle, with a cheated eyeline closer to the lens to match the previous angle: The rest of the scene basically plays out in these three shots, with a few cutaways to round out the scene. MacFadyen checks Judy's reaction. Foreground character chokes on his soup. Keira spoons her soup. Regarding shooting angles on every character, this is not always necessary - even with seven characters around a table as above, the scene may only require a master, a two shot, three singles, and a few cutaways to tell the story. Because time is always limited on set, it is more economical to decide beforehand which coverage you can drop and just concentrate on what’s needed to emphasize the story beats in the scene. One additional thought - it’s often better to spend time on specific coverage at the turning point of a scene (assuming the scene is well-written and has such a beat). It may be an insert of an object that a character suddenly notices, or a dramatic eyeline shift, or a sudden change in shot size or angle that emphasizes the moment. These are usually the first shots to get dropped when you’re rushing to complete a scene, which is unfortunate as I believe these shots can really help to make the scene memorable. I hope this has been helpful.
  2. Um, ok then. Takes one to know one? ;)
  3. One of the 4K models, I imagine. You would also have to check if the free version of Resolve actually outputs 4K video. Again, the LiftGammaGain forum would be a good resource for these types of questions. Honestly though, you don't necessarily need to monitor your edit and grade in 4K just because your camera shoots 4K. Monitoring in HD is still a lot more common, as higher resolutions tend to eat up a lot of graphics card resources for minimal benefit, especially once you are working with a lot of nodes or layers. Personally, I don't think monitoring 4K makes a lot of sense unless you're regularly delivering for theaters and other large displays.
  4. Can you at least specify the type of geography and time of day for the plates? Otherwise, you may just have to go as generic with the lighting as possible.
  5. I think the important thing is to shoot or acquire the background plates first. Otherwise, how do you know what to match with your lighting?
  6. If a subway train counts, maybe a few months ago. Otherwise, a few years ago, all over Japan. Trains are a way of life there. Look, I'm aware that is what happens in real life. But I'm not convinced it's necessary, unless it's for a specific story point. Sometimes less is more. I tend to think verisimilitude is great for rides, but potentially distracting for stories. Just my opinion though.
  7. The funny thing is that the 'still rolling' type of shooting isn't cheap, which is the ostensible reason why so many commercial productions insist on shooting digitally in the first place. And if there's a DIT with their full-size cart on set, transcoding and grading everything and going into hours and hours of overtime to do it, I can't imagine that ends up being any cheaper than shipping a bunch of film cans to the lab for processing and scanning.
  8. I don't know anything about that model of monitor, so unfortunately I have no idea. But yes, you'll still need the Ultrastudio because it's not about having compatible computer ports. It's about converting color spaces and getting a broadcast legal video output out of the computer. You should try asking grading specific questions over at: http://liftgammagain.com/forum/index.php, a professional color grading forum. You will get more specific answers there.
  9. That 'dumb cluck' has an Oscar for best original screenplay, and has also worked with a ton of great directors over nearly 30 years. I'm sure he's picked up a few things in that time. Just sayin'...
  10. Please don't post the same topic multiple times. You've already started a thread on which computer to buy for editing that people are responding to. If you want to update your question, continue posting in that thread instead of making a new one.
  11. If possible, hire a post sound mixer with a home studio to run it through their system and tweak the levels at least. They should at least have a 5.1 setup that approximates the movie theater. No idea about the video settings, sorry. Your test sounds like a good idea. Maybe also test to see if you can simply plug in your laptop directly to the HDMI on the projector. Just in case the Blu-Ray player doesn't work.
  12. Don't know anything about that model, sorry. But for grading, I think you actually want a TV or broadcast monitor with HDMI or SDI. The reason is that computer monitors operate in a different color space (sRGB, Adobe RGB, etc) from broadcast video monitors (Rec709). So in order to accurately preview how your work will look on TV monitors and home video projectors, you need to work in Rec709 color space. Editing programs like Adobe Premiere and grading programs like Davinci Resolve have those proper video outputs available to you, as long as you use a device like a Mini Monitor or an Ultrastudio HD to convert the signal. You connect the device to your computer's Thunderbolt port, and the device to the TV monitor with an HDMI or SDI cable. Then the program recognizes that there is a video monitor attached and outputs a proper Rec709 video signal to that monitor. If you just plug your TV or computer monitor directly into the computer via HDMI, then the computer will simply treat it as a second computer screen and not convert the signal to broadcast video standard. Which is fine for editing when you simply want to have a larger workspace. But if you want accurate looking video, you need to pass through a conversion device first. So just using any computer monitor with an HDMI port is a bad idea for color grading. You can use that monitor for your GUI or as a second screen for more work space, but you can't rely on the color or contrast to be accurate.
  13. The 16mm Super Speeds should fit the SR3, they are no larger in diameter than the 35mm Mk2 Super Speeds. Maybe some of the wider ones have mirror clearance issues, I don't know. The Ultra 16 lenses are the same barrel size as Ultra Primes, I know for a fact that they will fit an SR3. You may lose a bit of viewfinder orienting movement and not be able to swing it around as freely (it's been years, so forgive me if I can't remember the details), but I've used this combination before. Those are also the sharpest and cleanest lenses by far for the Super 16 format.
  14. I don't think you really need to shake the set, unless there's some specific story point that requires it. You could try shooting plates ahead of time and projecting them outside the windows to get interactive lighting on the windows and seats. And then maybe additional lighting rigged outside for more effects to help sell the effect.
  15. I think also there is a big difference between narrative films and documentaries, interviews, industrials, etc. In narrative filmmaking, action is usually blocked to the camera. There's time to discuss the shots and to design compositions into a sequence. Almost everything in the frame is intentional. So to re-frame these compositions is to effectively re-design the sequence in post. Sometimes, that's necessary to make a sequence work. But usually not very often if the scene has been shot and directed well. If a shot has been re-framed in post, 99% of the time that is not the DP's choice - it's usually either the editor or the director making that call. On the other hand, in documentary work and especially interviews, you often cannot control the frame to the same degree. Actions are not repeatable. And if you do not have multiple cameras for interviews, punching in is sometimes the only way to cut without resorting to b-roll or jump cuts.
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