Todd Terry
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COW Coin
Forum Replies Created
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The operator on the ground typically uses a monitor.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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The camera you use likely doesn’t matter as to how the mechanics of the shot are designed, but I think you’ll need to clarify a bit what exactly you mean by “film a stationary car and the create a 360 degree shot.”
Not sure what that means exactly, that could be interpreted a number of different ways.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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[Stephen Reese] “My shooter cannot for the life of him figure out what the issue is.”
Your shooter is not doing anything wrong, and there’s nothing for him to figure out. The XLH1, like virtually every tape-based camera, doesn’t divide shots in to “clips” no matter how often you start and stop the camera. It is what it is, continuous tape.
Now personally I didn’t do this very often, but some NLEs will allow you to capture tape as clips. All of our suites are Premiere (CS6) and we don’t use FCP at all, so I really can’t speak of those capabilities. Premiere however will allow you to “scene detect” when capturing from tape will does break the captured footage into clips. I never touch Final Cut so I couldn’t say if FCPX has such a feature. You say FCPX “by default only captures tapes as clips.” That likely is the default setting, but is there a “non-default” setting that will allow you to do that? If so, easy breezy.
If not, the only other option really capture the tape, throw the footage on a timeline, and then export new individual clips as needed for your post team.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Read the license agreement for the font you purchase, of course… but keeping in mind this as a general guideline….
The vast vast majority of commercial fonts’ licenses allow you almost any use that would come up in most of our usages… television commercials, industrial films, print, posters, billboards, magazine ads…. almost anything like that is virtually guaranteed to be included in a commercial usages license for a font.
The exception that that blanket is usually anything that is resold. For example, you’d probably be perfectly free and clear to use a particular font on a band’s tee-shirt design that they give away to fans. Key words being give away. If the band wanted to actually sell that item, you’d likely need a different (and more expensive) license for that.
Again… just a guideline, but it will apply almost all of the time.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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The remote follow focus units from RedrockMicro are among the more affordable units out there….
https://store.redrockmicro.com/Catalog/microRemote-Bundles
There are a few others as well, but some are really really expensive.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Yep.
A lot of these I don’t even think are multiple takes. It’s very conceivable that many of these are long single takes with edits in them, since most of this dialog does not seem scripted.
Imagine someone speaks on some subject for 30 seconds… but you cut all the “fat” out of it so that it is condensed to 15 seconds of the real meat of what they are saying. Your end cut would have one or more jump cuts in it… and they might look great, as-is. We might look at it go “Wow, what clever editing,” but in actuality the cuts are just, as Bob Ross used to say, “happy accidents.” They happen all the time in editing.
And in life.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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I only saw one instance where there appeared to be a focal length change, which could have come from blowing up the frame, or moving the camera in, or shooting with a longer lens. We don’t know. But it was obvious that it wasn’t just a “pop in” from a continuous single piece, there was obviously a “time edit” there as well. In fact, the subject wasn’t even in the same position before and after the edit.
Most of these are just jump cuts. Just paced really well by an editor who really knew what he or she was doing.
But yes you certainly CAN shoot 4K and crop in, giving you wide-shot and close-up flexibility just from one camera setup. We actually do this all the time. You don’t even have to shoot 4K… you can shoot 1080 and blow it up as much as 150% and still have 720 resolution.
But again, that’s predominantly not what was being done in these examples.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Mark’s right about the way to do this, if you want seamless edits with different (or apparently different) focal lengths.
But here’s the thing… you said you wanted “these seamless edits” like in your examples. The thing is, those aren’t seamless edits at all, in fact they are very obvious (and purposeful) jump cuts. The pieces are just edited with such a style, pace, rhythm, that the jump cuts work perfectly.
But they weren’t created by any of the methods that Mark mentioned… they are simply butt-cut edits out of straight interview footage, jump cuts and all. And the jump cuts work really well, the edits are so well done and pacing so spot-on.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Cool, just be very judicious with this effect. Much of the time you’ll see it waaaaay overused.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Yes Mark’s right… that’s mostly shutter speed (not to be confused with frame rate).
It’s a little funny, your two selections, Private Ryan and Gladiator, happen to be the exact two films that I point people two when talking about narrow shutters (Ryan, which did it very very well… and Gladiator, not so much).
In short, a “normal” shutter is the equivalent of a 180° shutter in a film camera. That gives you a shutter speed of “one over twice the frame rate.” Ergo, of you are shooting 24p, a “normal” shutter is 1/48th of a second. That shutter speed gives you the amount of motion blur in each frame that your brain needs to interpret a series of stills at 24 frames a second as smooth motion.
Now, if you crank the shutter speed up higher, eventually you’ll get to the point where the frames are razor sharp (no motion blur). We call this “narrow shutter” because in a film camera this is actually done by mechanically narrowing the portion of the shutter disc that exposes the film. This gives you the staccato-looking motion that you see in Ryan and Gladiator. It’s often used in an attempt to make action movies look more “action-y.”
The look of a high shutter speed must be done when shooting… it’s not an effect that can be done in post.
Long explanation for a simple thing… they’re using a higher shutter speed.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
