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Jonathan Kemp

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  1. Thanks for your insightful answers guys. There's plenty for me to chew on there.
  2. Hi all, I was wondering if I could get the benefit of your collective experience on a subject that I'm wrestling with. I've been shooting dialogue scenes for the past 5 or 6 years, where I've done a BA, MA and landed a job making corporate training videos etc. as well as writing/directing my own short films. The last film I've made involved lots of dialogue and people moving around within a scene fixing things and chatting as they go. Now I've started editing it I've come across a familiar problem, which is that there seems to be almost only one way to cut it together and keep the continuity correct. One take will have an actor with a pen in his hand, or his arm in the wrong place etc. and it's severely limiting my editing options. It seems like there is a problem with the directing/camera work that the options are so limited in post. I wonder if they have this problem in bigger budget films?! can actors be expected to move the same every time?! Does it require a more on-the-ball director or even a dedicated continuity person on set. If that's the case, is the continuity person really saying to the director "the actor moved her hand to her mouth as she delivered that line, which is different from the wider shot". If it's the directors job it seems like an insane amount of detail to have stored up in someone's head, especially when the director should be watching for performance. Any advice you have on this would be greatly appreciated. Jonathan.
  3. Hi all, I've been struggling to shot list in the most logical and thorough way. I've been using Adobe Story CC and its shot list feature, but I'm struggling to make it as fool-proof as I want it to be. My problem lies in that often one shot (say a close up of a character) is used again and again throughout a scene. I'm unsure whether to keep marking it as a new shot every time I want to use it, or to assume that I'm filming the entire scene from that angle and every time I see that angle assume that it's already been covered. Obviously I wouldn't want every angle shot for the entire scene. Some shots would be the entire scene, others would be from when the character sits down until the end of a scene (for example), others would be only for specific action. I've found that things have a way of working out on set when you can see what you've actually got, but it seems a little like its leaving it to chance relying on figuring it out when you're shooting, when you're rushing to get through the scenes. I'm just interested in how DP's and Directors approach this problem. i.e. making the shotlist detailed, specific and fool-proof. (I know inspiration will inevitable strike on set, but I'm talking about the bare essentials.)
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