Beat Takeshi
Two-Hip Shakur
My fav shots were the one of her on the bed you took out and the one with the bottle. Looks like there was some blow out problems in some of those other shots, no zebras on?
Grabs From new Short
- Thread starter Mark Harris
- Start date
TimurCivan said:
I was hoping you would say that. I think that's a good choice for the material and I can imagine it working well in that book case makeout shot.
Aram Bauman said:
I like those shots too, but I was thinking the blowout was an intentional part of a gritty naturalistic look.
Maybe naturalistic is not the right word since things don't blow out like that for our eye (I don't think) but gritty and realer than real, maybe like a doc or a Dogma95 thing or something? but just a taste of it for flava, dunno.
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Mark Harris
Pain in the ass
It's all by design, sensei. I have a pretty specific list of things I am working on as a director in this project.
I took some out because it told me I had too many.
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Going after an 90% natural light aesthetic. its not like we couldnt do it lit the right way, but thats safe. I wanna take some chances.
Brandon Rice
Distributed Producer
Yeah, I assumed the blowouts and look was intentional. Definitely has a cool, realistic look to it.
Beat Takeshi
Two-Hip Shakur
They definitely look dogma style so if thats the idea it looks legit. I just think it would be better to do that in post so you can control how far it blows out with a soft edge so doesn't just clip to white. Something about that bottle shot I really like though.
true dat on control in post
but it saves sooooo much time on the shoot day to just have to expose for the actors and let the windows blow out if that is the aesthetic anyway ... or at least it would save me a lot of time, I am not a lighting stud like you and Timur.
but it saves sooooo much time on the shoot day to just have to expose for the actors and let the windows blow out if that is the aesthetic anyway ... or at least it would save me a lot of time, I am not a lighting stud like you and Timur.
i dunno, mark and i kinda stopped trying to force the light. The moving footage looks remarkably good. The blowouts become invisible because of the consistency between the scenes. after 10 seconds your eye accepts the aesthetic and then it loosk awesome.
Mark Harris
Pain in the ass
Well like I said, I had very specific goals in shooting this. The first and foremost was to loosen up the camera, and give the actors a lot of room to breath. Like, at some points we shot through the bookcases, and Timur noted that the performances seemed better because there was no camera in their faces. I agree. those seem to be particular moments where they could really just live in that world and we just happen to catch what they are doing. They are extremely believable and small and no one is acting at all. And that's the feel I want for this movie.
We experimented with this on the newest Man-Hole as well. In that case - a comedy, we set up the world and let it play out as a kind of controlled chaos. But I didn't want a bunch of lights everywhere because I wanted the camera to move anywhere and I wanted to just catch whatever the actors came up with in the moment.
And in all of these shots the actors are beautifully lit and exposed. So it's not like they are all dark and the windows are overshadowing the action. To my eye, the blown out windows are kind of like Bokeh. You don't sit there and go: Wow, most of the picture is blurry, becasue you are focused on the part that's not. Likewise, my hope is that the audience will be focused on the action - which will hopefully be compelling, and will not care that the windows are blown out (unless of course they are a dvxuser member
)
If we would have tried to expose for those windows, ND gel them and all the rest, we would have needed about 75 lights on the actors and they would have had to remain frozen in place to stay in the light. I really didn;t want this project to be about gear or technical stuff. I wanted a small crew that knows what they are doing (Timur). I invited Jack to help out one day but he was busy. But I really needed to work on directing actors and getting the most dynamic nuanced performances I could out of them, so everything in this shoot is geared towards that end.
In every shoot, I set some personal goals. Plus, in terms of what I am trying to sell as a director, I want to work on and perfect what I am best at. And I think I am best at getting performances. I come from an actor's background. So I think as my career gets more and more serious, that is what I will have to bring to the table.
I am meeting with two actors tomorrow to schedule rehearsals for the next short. Which will be thematically tied to this one. And in that one I am going to try improvising the whole thing. We had really good success with that in the last Man-Hole, so I want to try it in a drama.
BTW, my auto-Timuring failed me Thurs. That bastard shot 24p too!!!!!
We experimented with this on the newest Man-Hole as well. In that case - a comedy, we set up the world and let it play out as a kind of controlled chaos. But I didn't want a bunch of lights everywhere because I wanted the camera to move anywhere and I wanted to just catch whatever the actors came up with in the moment.
And in all of these shots the actors are beautifully lit and exposed. So it's not like they are all dark and the windows are overshadowing the action. To my eye, the blown out windows are kind of like Bokeh. You don't sit there and go: Wow, most of the picture is blurry, becasue you are focused on the part that's not. Likewise, my hope is that the audience will be focused on the action - which will hopefully be compelling, and will not care that the windows are blown out (unless of course they are a dvxuser member
) If we would have tried to expose for those windows, ND gel them and all the rest, we would have needed about 75 lights on the actors and they would have had to remain frozen in place to stay in the light. I really didn;t want this project to be about gear or technical stuff. I wanted a small crew that knows what they are doing (Timur). I invited Jack to help out one day but he was busy. But I really needed to work on directing actors and getting the most dynamic nuanced performances I could out of them, so everything in this shoot is geared towards that end.
In every shoot, I set some personal goals. Plus, in terms of what I am trying to sell as a director, I want to work on and perfect what I am best at. And I think I am best at getting performances. I come from an actor's background. So I think as my career gets more and more serious, that is what I will have to bring to the table.
I am meeting with two actors tomorrow to schedule rehearsals for the next short. Which will be thematically tied to this one. And in that one I am going to try improvising the whole thing. We had really good success with that in the last Man-Hole, so I want to try it in a drama.
BTW, my auto-Timuring failed me Thurs. That bastard shot 24p too!!!!!
Mark Harris
Pain in the ass
Here's a grab looking through the bookcase. And the one I think Aram liked:
I noticed on The Office the other night that some of the floundering would-be love scenes between Jim and Pam are often shot through vertical blinds ... like the obstruction ads a voyeuristic quality and heightens the intimacy of the scene, I think, because it underscores the fact that we normally wouldn't be privy to the private moment these two people are sharing.
Here's a grab looking through the bookcase. And the one I think Aram liked:
IT did not fail you! you told me it didint matter cause you got Edius Broadcast! lol.
I dunno man, do you see blow outs as a problem? ive noticed that if they are aesthetically pleasing like in the Book store, thay enhance the image. i was going after putting them in the background and letting the lens flare out, and let it get noisy, and gritty. People pay lots of money on post to get it to look like that. If it fits the story, and the mood of the piece why not utilize the aesthetic choice. ITs interesting, i have found my self caring less and less about style and more about what the story needs.
Beat Takeshi
Two-Hip Shakur
Those 2 last shots look good. I can't wait to see it in motion though, it has a whole different feel and like you said, if it fits the story then its the right thing to do.
I don't think its about "style" but about putting the camera where it feels it needs to be and then tweaking to make the best shot possible in that location.
I'm not knocking the look and if thats what you are going for then you achieved it.
I don't think its about "style" but about putting the camera where it feels it needs to be and then tweaking to make the best shot possible in that location.
I'm not knocking the look and if thats what you are going for then you achieved it.
jah mon..... i know.
Mark Harris
Pain in the ass
Yeah, the Office - britsh one - was one of the models for the new Man-Hole, and the same idea here.
Mark Harris
Pain in the ass
No sweat. You're one of the opinions I respect most around here so I;m happy to hear what you think.
I will post some clips for you guys maybe tomorrow.
Lighting ninja has spoken. Yes sensei!
Yes sensei!Matt Wicker
Member
HVX footage is just so versatile
HVX footage is just so versatile
Hi Guys,
I really liked the screengrabs, so much so I couldn't resist a quick tweek to see what looks were lurking inside such fabulous footage.
Attached are a couple of different feels from one of the grabs.
Hope you like
Matt
HVX footage is just so versatile
Hi Guys,
I really liked the screengrabs, so much so I couldn't resist a quick tweek to see what looks were lurking inside such fabulous footage.
Attached are a couple of different feels from one of the grabs.
Hope you like
Matt
Attachments
Matt Wicker
Member
Addendum
Addendum
PS:
Forgot to say, personally I really like the blowouts here, they bring a lot to the whole feel of the composition etc.
Just my 2p!!!!
Addendum
PS:
Forgot to say, personally I really like the blowouts here, they bring a lot to the whole feel of the composition etc.
Just my 2p!!!!