Robert Olding
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Any lens can look really smooth but it’s holding focus on the subject as they and the camera move that really difficult with longer lenses.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
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The shot from Cast Away with Tom Hanks is defiantly an arch dolly shot. You could perhaps DIY it with some fat rubber tubing or curved PVC pipe from a local hardware store. Then put the camera on a tripod and the tripod on a low platform (dolly) with wheels to fit the diameter of the tubing/pipe. Make sure you weight the tripod/dolly down with to help keep it stable and smooth.
Using a steadycam or a gimbal with a long lens such as an 85mm is very difficult. Just holding focus is a nightmare for those with lots of experience. I’m not sure what type of framing your planning for the running shots but if you need to capture closeups of the face, perhaps you can have the actor jog in place while the camera is on a monopod. You can then wiggle the camera around a bit to give the illusion of movement.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
We white balance. We also include a DSC Lab’s OneShot Plus right before we slate the first take of a scene. Most of the time we shoot using a camera’s RAW codec, so white balancing isn’t as big of a deal for post. But doing so helps us when monitoring both the scopes and the Director/Client/DP monitor. When we shoot to a ProRes codec, we believe that setting the white balance is imperative.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
My setup is almost the same as Jeremy’s. I keep the cache files on a very fast SSD two disk RAID 0, the media is stored on a four disk RAID 5, the Library is kept on a two disk RAID 0 that is backed up hourly to a Time Machine disk and daily to a networked server via Retrospect.
Once a job is completely finished, I consolidate ALL the files into a single job folder and archive the entire project on to tape. The tape is then duplicated, one goes into a vault on-site and the other in a vault off-site. I then remove all the work files associated with that job from the drives and servers. I keep a master file of the delivered final cut on a server.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
From page 660 of the current DaVinci Resolve manual …
“Limitations When Grading With the Viewer on a Computer Display”
“Most computer displays do not operate at the color critical tolerances or specifications required for broadcast or theatrical delivery. An additional issue, however, is that the Viewer does not necessarily display each clip’s image data as it is displayed by the calibration that your operating system applies to your computer display, depending on which OS you’re running DaVinci Resolve on. This makes your computer display potentially unsuitable for monitoring projects destined for the sRGB standard of the web in its default state. For example, if you grade a project using the Color page Viewer on your computer display, the resulting clip may not look the same in the QuickTime player, or in other post-production applications.”If you’re not using a reference monitor that’s attached to your computer with an I/O device such as a Blackmagic DeckLink what you see is NOT what you get when using Resolve.
Calibrating your computers’ monitor with a high end calibrator such as an X-Rite’s i1 Pro 2 while using calibration software such as DisplayCal will help alleviate the problem and get you much closer to WYSIWYG.
The developer of DisplayCal has excellent instructions for creating a display LUT for your computer monitor that DaVinci Resolve can use.
DisplayCal’s website: https://displaycal.net
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
What your seeing is motion blur.
If your shooting at 24 FPS, set your shutter to at least 1/50 of a second. This still may not help so you’ll have increase the shutter speed to something higher. To capture a human in motion sharp as a tack, a shutter should be set to 1/250 of a second or higher. Be careful though, if you go too high, the motion (although sharp) will look unnatural.
Increasing the shutter speed will let less light into the camera so you’ll have to do one or more of the following to compensate: increase the light falling on the front of the subject, increase the camera ISO, open the aperture on the lens, drop your frame rate. Dropping your frame rate will help, but in your case I wouldn’t recommend it.
My recommendation would be to open the aperture as wide as you can. Set the frame rate to 24, set the shutter to 1/50 of a second. Then, set the ISO to something no higher than you need to avoid noise (visual grain and splotchiness).
At this point, if your overexposed, then close the aperture until the exposure is correct.
If needed, add light to the front of the subject. In your case, you’ve got a lot of light coming from the background windows that you can put to work. Just hang up a couple of white sheets on both sides of the camera just out of the frame. These will bounce that light right back on to the subject and help balance out the light coming from the windows.
Robert Olding
http://www.8streetstudio.com
Minneapolis, MN -
The source and/or modifier won’t matter. The inverse square law will apply equally.
Robert Olding
http://www.8streetstudio.com
Minneapolis, MN -
Depending on the cut you’re attempting to smooth out, you may have to try a variety of “optical flow” workflows. Give MotionFX’s mMorphCut a try, it works great. If that doesn’t do the trick, here’s a tutorial that shows you how to do it manually; Optical Flow Transitions.
Robert Olding
http://www.8streetstudio.com
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Hi Tom … read this response I posted a little while ago. It might help you.
https://forums.creativecow.net/readpost/277/41024
Robert Olding
http://www.8streetstudio.com
Minneapolis, MN -
Hi Paul … read this response I posted a little while ago. It might help you.
https://forums.creativecow.net/readpost/277/41024
Robert Olding
http://www.8streetstudio.com
Minneapolis, MN