[Richard Herd]

The Wrestler by Aronofsky was shot on the Arri 416 with 7219. I believe lots of TV is shot s16 also. It’s a long way from a “dead” format.

[Richard Herd]

You’ll also need a meter.

https://www.sekonic.com/products/Sekonic%20L-398A%20STUDIO%20DELUXE%20III.asp

[Richard Herd]

Please upload the picture.

[Richard Herd]

Errata. The W = Width needs to be H = Height. Doesn’t change the calculation.

[Richard Herd]

I have never heard of doing this, but here’s some algebra.

L = Length
W = Width
R = Aspect Ratio

L/W=R

If you assume you’re going to work in a “4k-like” environment, the most pixels, then you have to solve two separate equations, and the producer needs to pick one.

Equation 1: L/3112=1.85
Equation 2: 4096/W=1.85.

The answers I got are as follows:
Either the composition in AE is 5757 x 3112 (which I believe is undefined),
Or the composition in AE is 4096 x 2214, which is possible, by working in 4k and using a mask, guides, or precomp, for the film area.

[Richard Herd]

This is a good example of where your cinematographer, editor, and fx guru need to have a conversation. If you’re wearing all three hats, you’ll need access to something like After Effects. You should also ask in the After Effects forum because rotoscoping is its own sweet science.

Also there’s a recent Cow magazine on digital effects, which I’ve found very helpful.

Rotoscoping is when you draw a mask around an image to delete the stuff you don’t want, and then very meticulously frame by frame, you adjust the mask. Man, what a pain.

You might consider doing this in two steps. Step 1, go shoot the footage you want without an actor. Step 2, shoot the actor against a green screen.

[Richard Herd]

The only problem I see is the video you linked is not real. That is, cameras are heavy, and actors get tired. Some of the camera moves are literally impossible in real life. Not to mention, the physics of jumping don’t work like they do in animation.

Keep in mind that (generally speaking) pacing is created in the edit, not in the shooting.

One trick you should use is to put your camera reasonably far from the action and zoom way in on it to get your frame. Have the actors do their thing. Then move the camera 15 degrees one way (and then the other) and change the zoom lens to something different. If your first set up is a close up, then make your second set up a wide shot. (or vice versa). Any time you zoom in from a distance, please put the camera on a tripod.

To really vary your coverage, you can use set up 1 to zoom in on a tripod. Set up 2, on the tripod but wider and closer to the action. Set up 3, hand hold it. See what I mean?

The point is: if a guy punches a guy, and you want it to feel all fast and high pace, you’ll need that punch from two-maybe-three angles. Then in editing you can cut-cut-cut.

If you don’t move the camera 15 degrees, you’ll create a jump cut feel–which ain’t so bad sometimes. Another complication is negotiating the 180 degree line. There’s a whole school of thought on what to do, why, what the audience will feel.

[Richard Herd]

Frameforge3d allows you to animate the characters and the camera, so if you want to spend the time, you could create a very reasonable facsimile.

BUT!

Storyboarding a fight scene may not be that important. It seems more important to choreograph it and then take it several times from a few angles (or multi cam), because, in my mind, fight scenes have a unique pacing problem during the edit. There’s so many ways to treat it too.

[Richard Herd]

frrameforge3d.com
https://www.frameforge3d.com/index.php

[Richard Herd]

That’s what I thought. Thanks for clarifying.

‘Nother quick question: How are you lighting the background?
Thanks again!