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Shooting a crash scene with a bike
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[Jason Jenkins] “So perhaps we will soon see more control and restraint exercised in the use of depth of field.”
Let’s hope that’s the case.
Steve Wargo
Tempe, Arizona
It’s a dry heat!Sony HDCAM F-900 & HDW-2000/1 deck
5 Final Cut (not quite PRO) systems
Sony HVR-M25 HDV deck
2-Sony EX-1 HD . -
Jason, the “gotta shoot wide open” biz is largely a restriction to some of the lower-end adapters.
When I was writing an article on DoF converters for the COW mag a while back, Redrock sent me footage with their M2 stopped down to f/16. No grain.
Personally, for quite deep DoF I’ve used my P+S Technik with lenses stopped down as much as f/11 for exteriors, with no grain. For interiors, I can go up to f/8 (although inside one would rarely if ever need to go that high unless you have a room full of fairly high-wattage HMIs).
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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You could always find some old rights free footage and do a montage of various bike crashes – in my head I see ones from the early days of film – the real slapstick/physical comedy type stuff. If it’s not a comedy – then I wouldn’t really worry about showing the crash as much as eluding to it.
Mal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
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I am amused by the polar opposite responses to the initial problem. You can tell the cinematographers from director/producers because the DP’s are all still arguing about DOF adapters and the producer-director types are trying to solve the practical problem at hand involving staging the effect successfully while preserving safety of the talent. Don’t get me started about the “change a lightbulb” jokes:-)
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Mark,
It’s funny that you mention that because I had a similar reaction; except my thought was that the job of Director of Photography (DP) is so broad and all encompassing that both technical and creative aspects must be considered and if not that it’s up to the DP to bring the discussion around to include all aspects of the solution.
It’s really only by knowing the job skills of all the other crafts that this is possible and it reinforces the thought that one never stops learning how to become a really complete cameraperson.
JS
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The whole point of “how to” is moot without reading the script and feeling the tone. Whether it’s a comedy or drama matters.
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[Todd Terry] “Jason, the “gotta shoot wide open” biz is largely a restriction to some of the lower-end adapters.”
Agreed. The very ones that the “masses” can afford; thus the proliferation of narrow DOF shooting
[Todd Terry] “Redrock sent me footage with their M2 stopped down to f/16. No grain.”
The original M2 may have been able to do that, but it also ate so much light that it would have only been feasible in bright sunlight or in “a room full of fairly high-wattage HMIs”. The latter case effectively putting the capability out of the range of the low-budget masses. The new M2 Encore apparently loses only 1/2 stop of light. It’s funny how none of these low-end adapter companies tell you what the limitations are. You only find out after the purchase. It’s been worth it for me, though. Coming totally from the digital video side, it’s been a lot of fun learning about lenses and film-style shooting.
It’s great you have that flexibility with the P+S Technik –that’s how it should be. Too rich for my blood though, so I’m waiting on this next generation of low-end adapters.
Jason Jenkins
Flowmotion Media
Video production… with style!
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