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Patrick Taylor Brown

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About Patrick Taylor Brown

  • Birthday 03/21/1986

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  • Occupation
  • Location
    Houston, TX
  • My Gear
    BMCC 2.5K

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  1. I should have mentioned this... The movement of the camera on the dolly track will be a consistent speed through the entirety of the take, as well as consistent from take to take. I believe that's the only way to edit the two shots, both with movement, together seamlessly. The problem I'm having is determining what lens to use for each of the two shots. I believe I'd need a macro lens for the first section, something I can focus closely on the pupil of a person with. I'm not sure how far such a lens would let me dolly back before moving out of it's focal range. Then I'd need a second lens that's DoF would overlap the maximum DoF of the first lens (macro) enabling me to cut between the two shots/lenses at the exact same spot (framing-wise) and have the same DoF with both. Maybe this is the wrong approach tho? I've also considered using a camera with a higher resolution, and then cropping/uncropping to either replace/replicate the above effect or to supplement/support it.
  2. Hi all, I'm shooting a teaser for a project soon, and I'd like to end up with what appears to be one long continuous take, but would be actually 3 shots. The setup is simple the frame starts on black, the camera dollying backward to reveal the blackness is the pupil of the actor in the scene, focus would be pulled remotely, for a continually shifting DoF to allow for constant focus. The camera will continue to dolly backwards from it's initial position, using I'm assuming a macro lens, to it's final position across the room roughly 16ft back from the actor. I'm using a BMCC 2.5k and when the camera hit's it's final position, I need to be at an 11mm focal length to see the entire width of the room from that position. My thought is to use a Macro lens for the initial X feet of the camera movement, shooting as I retreat, getting slightly more coverage than I need, and having the second shot be on my wider non-macro lens, on the same dolly, moving back at the same speed, and then edit them together at the point the shots "overlap", creating a seamless transition between one shot/lens and the next. This seems possible, I'm not sure about the specifics of lens selection, but I think this is do-able. Any advice would be greatly appreciated.
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