Ryan Elder
Forum Replies Created
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Okay thanks, but I cannot shoot it the way you suggested while on a tripod.
Cause if I shoot on a non-telephoto lens like say an 85mm and get close to the actor as they are running, they are going to run to far away and the tripod will not be able keep up with them.
By shooting on a long telephoto lens, you have a more room in tripod panning that you can follow an actor running for an entire football field, and the actor will not get far away, like in Seven Samurai.
If I shoot on a wider lens like an 85, the 85 is not long enough to cover an entire football field of running while panning the camera. So I still need a much longer lens to cover that ground, don’t I?
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I’m not sure. It’s the DP’s camera and I trust him to know what it can do, but it seems the focus goes out of focus sometimes, when characters are moving, and than has to catch up, but it looks awkward to the audience.
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I’m using the Sony A7 right now, but I’m assuming the autofocus is not that good? The DP is using it and so far the autofocus is late in catching up I find and actors go out of focus for too long as they move around.
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Yeah I agree, I did the adding blur in post before and it looks synthetic so I try to avoid it, but let’s say I shoot with a really deep DOF to avoid actors going out of focus.
What would look better to an audience? Adding unnatural looking blur in post, or just leaving the whole movie with a deep DOF and not changing that?
I’ve had viewers tell me they find certain objects in the background distracting on a deep DOF, especially in public locations where I cannot control everything. So if I choose not to add blur in post, how do I get the viewer to not be distracted by the background, and just pay attention to the story?
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I pretty much do what Todd Terry does, and just dial in the color temperature I want, or have my cinematographer do it, to our liking.
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Plus, it doesn’t matter what is in the background a TV that adds extra frames. You can a movie where several people walk by in the background, and it still makes the extra frames look good. So how they do it so well compared to twixtor?
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Okay thanks. When it comes to frame interpolation though, a TV with frame interpolation can add the extra frames really convincingly. I’ve seen TVs that make 24 fps look like 60 fps, and the TVs do not add unwanted side effects to the footage at all, unlike twixtor.
So how is that TVs can add extra frames to 24 fps and it all looks like 60 fps, but when you try to do with twixtor, it causes these side effects?
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Well I was thinking maybe I could shoot deep DOF and forget about adding focus in post, but some viewers told me they find my footage distracting when everything in focus before. So how does make deep DOF look good, like older movies use to before the 60s?
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I tried the 50 before but it’s too wide on the faces, and makes the actors look too thin on a full frame camera. In order to get that nice close up on the face look, while pushing in, you need at least an 85 I find.
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Okay thanks. It’s just very difficult for a DP to light a scene for f11 in my experience, and they hate having to light that bright. They also do not like the look as they feel it looks too ‘homevideo-ish’, but a lot of older movies before the 60s were shot with a deep DOF, so how does one talk a DP into thinking that it can be cinematic like that?