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Laurence Good

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About Laurence Good

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    New

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  • Occupation
    Student
  • Location
    Leeds
  • My Gear
    Canon 70D Owned - Trained on Sony F55, Canon C300, Blackmagic PCC
  1. This is all interesting stuff! Interesting to see how the real change to departments is within production design, I think I'll have to follow this up and include it in my research. Following on from the topic of colourists and cinematography; with the advancement of software, and the improvement of cameras to give more flexibility in post, would any of you say that this could be a threat to a DoP's work? Could DoP's, at some point (if not already), have the ability to completely undermine a cinematographers choices? And could the role of the colourist ever become more crucial for cin
  2. What would you all say to the notion that cropping in post, made available by shooting in 4k and exporting in 1080, could be deemed as offensive to a camera operator? I'll provide this quote as context: 'I think one of the negative things about 4K is that camera operators spend their time getting the ideal framing and then with 4K people can try and reframe in post. It takes a tremendous amount of exactitude in terms of artistic choice potentially out of the hands of the operator.' I feel inclined to agree, but what do you think, from a professionals perspective?
  3. Thanks Robin, bloody BBC eh! Cheers for the info, that's very interesting to hear. I don't think I have any more questions as of yet, so than you for all the responses. Feel free to add anything though!
  4. Thank you for your response David, That's interesting to hear about 4K having little effect on operations themselves, thank you for clarifying that. Judging from what I've heard so far, would you say that in actual fact shooting in 4K lends very little challenges for the operator, compared to HD, 2K etc? I also heard a comment from a producer in the UK, that shooting in 4K, and the limitations that this provides in terms of storage space and cost were similar to that of shooting on film,in the sense that due to the extremely high data rates, and the cost of cards, one must take
  5. Apologies for the vagueness Freya, I suppose this is a reflection of the stage at which I am at within my research. I realise that my question was open ended, I suppose I was hoping for a varied response. But to answer your questions; Yes, changes compared to shooting both HD and 2K. I am specifically interested in how shooting in 4K changes for the operation of the camera, rather than the scope that this gives one in post. For example, today I listened to a podcast by the BBC on the topic of what 4K means for production companies, and during this they mentioned that operations such
  6. Currently a cinematography student at the Northern Film School in Leeds, I'm in the process of researching for my dissertation the subject of 4k, and what this means for film. Specifically, I'm studying the impact that 4k is having on producers/studios, consumers, and the production process itself. To aid in my research in the latter section, I'd like to know whether shooting on 4k causes any changes for camera operators in terms of shooting requirements, extra research/learning or a change in operating style etc. Any information or guidance would be greatly appreciated! Th
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