Rolemodel@earthlink.net
Represented by Jacob & Kole
Agent Steve Jacob
323 460 4767
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Early in the prep of any Job some questions must be addressed that set the course the job will follow. These are some considerations that must have answers before shooting begins. 1) Where is the show Going once done? Feature, TV, DVD, Internet, Interactive CD-ROM? This lets you know how critical everything needs to be. 2) What Frame rate will you shoot? 1080 is not an answer. 23.98Psf, 25Psf, 29.97Psf, or interlace 50i, 59.94i (they're all 1080 on the F-900). 3) What Aspect Ratio will you compose for? HD is 16x9 so, 16x9 (1.78), 1.85, 2.35, 4x3, or 16x9 letterboxed to 4x3. 4) What safe area will you use in the viewfinder and through Post? 90%, 95%, 92.5%, 80% or a custom size. Then roll on a chart. 5) Will you record sound on the camera as it's shot AND/OR record separately? Sync sound as it's shot vs. manually syncing sound in Post $$$ or both. 6) What timecode method will you use? Free Run TOD or Record Run? Free Run TOD is broken code, Record Run Hour# = Tape#. At Tape# 21 roll TC back to hour "1" keeping tapes in 20 tape blocks. 7) What is the route the footage will take through Post? What medium will you record to: HDCAM, D5, Hard drive?? Downconverts to DigiBeta for AVID offline then Online in HD take Locked master in for audio layback and Color Correction. Consider VFX and what medium will they receive. Film Out?? 8) How do you intend to move the camera? Dolly, Boom, Ped, Sticks, Gear Head, Fluid Head, SteadiCam, Hand Held, Underwater, Aerials, Crash Cam. 9) Are you shooting with Primes and Cinestyle Zooms or ENG style Lenses? Consider all accessories and setup time for both. I use both whenever possible or practical. 10) How much work do you expect to do in Color Correction? Getting as close as possible to the intended look will only help. Having at least some CC available will help in a pinch. 11) How will you monitor the HD in the field/on set? In HD and/or Downconverted and will there be Video Playback? Size and proper viewing environment must be considered. 9-inch for composition only, 24-inch for true tech look in dark. Video Village and Engineering workstation are two different places. EDP -100 from ECinema systems is very light and has better quality. 12) Are you going to hire a DIT or are you going to fly the plane? Extensive testing through Film out is critical for a DP and everyone on the camera crew. Everyone should have a solid working knowledge of shooting HD but getting an experienced technician will help insure success. If you intend to do all the work in post (not recommended) having someone that knows what they're doing is still a good idea. Every show is different. This is intended to open up the necessary dialog with those people responsible for the successful production of the show. Understanding the ramifications of each decision will help guide you to the decision that's right for your show. Let me give an example of some choices I tend to make. 1) Feature, TV, or Commercial I do a little of each 2) 23.98Psf 3) 1.85 cut from 90% safe, 16x9 cut from 90% safe , Same as #1 4) 90% Safe Area, shoot Frame chart so Post knows your framing. 5) Sound on Camera and separately 6) Record Run Time Code, Tape 1 = Hour 1 TC 7) Downconvert to DVCAM to keep them from considering the option of onlining and color correcting straight off the DigiBetas. Ultimately it's up to them. 8) All of the above I also do lots of Handheld. 9) All of the above the ENG style lenses are great for Handheld. 10) You never get enough time in Color Correction. Do as much as possible in Camera. 11) 24-inch HD on an HD Cart with a special HD Tent (www.filmtools.com). Downconvert for Video Playback whenever possible. "Don't use the HD camera as a playback source". 12) Hire a DIT or learn to fly. I Learned to fly but I hire DIT's whenever possible. |