Production value VS. shot quality.

[ironpony]

A lot of times I get good stuff to use in shorts by accident. Such as one example, during a fight an got chucked but fell the wrong way accidentally and hit her head into a wall, that wasn't planned. She didn't hit it hard, but if I speed it up, it works perfectly. Or I accidentally get cop cars driving by in a shot, that ups the production value of the plot, that I didn't plan on getting, they just so happen to drive by. The only problem is, is that shots like these are often out of focus cause I didn't have time to focus and catch what was happening since they happen accidentally at a fraction of a second. The shots might not have the best camera movement either, since I wasn't expecting to follow it. So the question is, if it's out of focus, is it worth keeping a fortunate accident? I am trying to get noticed more for directing skills rather than camera operator, so my decisions as director play the factor.

The people in filmmaking business I have asked before say no, but my friends who are just moviegoers say yes. When trying to show my craft to important people in the industry and trying to get noticed, and make a professional impression, what's the best way to go? Production value, or shot quality? Thanks.

[PopcornFlix]

Shot quality.

Here's why: people in show biz are hiring a director because of what he can create *deliberately* and consistently. They aren't interested in someone who depends on "happy accidents" for most of their good work. They're looking for someone who can plan and execute great shots, even when things go wrong.

They want a director with a strong vision, a clear point of view, who can deliver on time, on budget, consistently, no matter what goes wrong.

[ironpony]

Hmm okay. I would have thought that getting a few happy accidents is good as a bonus. Especially since this happens in real movies all the time. Like in the movie American Graffiti for example, the guy was suppose to park his bike in the parking space, but instead the actor accidently crashed it into the wall. George Lucas decided to go with that mistake and look at what a success that movie turned out to be. Not cause of the accident alone of course, but a little thing like that, might have helped as a bonus? And in Police Story, three guys flew through a windshield and it was caught on film when they were not expecting, but went into the final product. Plus the quality of the shot rests on the DP more than the director doesn't it, so what is happening in the shot rests more on me, doesn't it? Wouldn't they rather think, "this director could use a new DP, but wow he knows what to have happen in the shot"? I would have thought the better something happens in the shot, the better for the director, and not how the DP caught it.

[PopcornFlix]

Your reply makes me think you didn't really want the answer to your question.
Good luck.

[ironpony]

Lol thanks I appreciate the advice, just wondering how other movies, get away with it so well. I will use the best shots quality wise.

[josh-ozirigpro]

Your reply makes me think you didn't really want the answer to your question.
Good luck.

Agreed.
I think Popcorn really hit the nail on the head.

Yes, you CAN have lucky accidents ("Hey, I'm walking here!") but the thing is, those directors would have produced something just as great.

[ironpony]

Okay thanks. I am trying to pick the best shots otherwise now. For a couple of the shots, it's hard to tell if the takes are in focus or not cause there is action and fighting movement, and camera movement, and it creates motion blur. How do I tell if a shot is in focus, if there is motion blur?

[Egg Born Son]

In situations where you expect to get a lot of happy accidents avoid shallow DOF to improve the focus. I prefer a deeper focus anyway when there is a lot of motion involved to cover up my sloppy camera work. Still scenes or motivated by my character experiencing an internal moment such as making a decision then I prefer a shallow DOF.

[ironpony]

For sure. My DP shoots with shallow focus a lot. She says it's because she is not use to the DSLR as oppose to the cameras she used when taking it all in school, before the DSLR became a fillmmaking trend. Those cameras worked different which is why she's been having some trouble getting deeper focus. I am learning how to as well now.

[PopcornFlix]

Make the iris smaller for deeper focus.
Bigger f-stop = smaller iris. (f/22 is a smaller iris than f/1.4)
When you make the iris smaller, you will need more light. Take off any ND filters, add light when needed and turn up ISO if you must. (Higher ISOs add noise)
Keep your shutter at 180º (1/48 for 24p) if you slow down the shutter to get more light, action will get all smeary and video-y.