35mm adapter - increased setup time?

M

mrWr0ng

Well-known member
Hey guys,

I'm DPing a short coming in a couple of weekends and the director's secured a DVX w/ a 35mm adapter and an array of lenses. Although I haven't worked on one myself before, I'm familiar with them and I'm giving myself a whole day to set it up and familiarise myself with it a week before the shoot

My concern, however, is that we've got a 17 page script to do in 3 days. It's all interior shots in an office building with an emphasis on office lighting so while I think I might not too much time to spend on lighting, I am concerned about setup time for the adapter? We're aiming for about 6 3/4pages a day, it will be tough but after reading through the script I think it's doable.

Could someone tell me a bit about the additional setup time for the adapter? If they're really set on it then I'm fine with it, but if the time needed is too much for what we have available, then I'd like to make that argument and try to shoot with the HVX instead and use the open iris/zoom in trick to get shallow DOF for the shots they're asking for.

Thanks for any feedback
 
This doesnt answer what your asking at all (dont know the answer to that one, sorry), but I saw you mentioned an emphasis on office lighting. 2nd unit tv has a good 2 part interview with the DP and key grip from The Office showing off some of their lighting tricks. They use standard office flourescent fixtures but have some cool softbox type of attachments that help direct the light a bit. They also place an emphasis on speed in setting up their lighting. Anyways its some cool stuff that may or may not be of interest to you.
 
Right on, I will check that out. I was mostly looking at using some open face lighting to bring up the overall levels and a softbox or two directly on the talent to bump up their exposure directly, but the director wants flat, mood-less lighting overall with a couple of dramatically lit shots for tension. I'll check out the 2nd unit tv thing, good to know and I'm glad I posted early so I have time to look in to it
 
mrWr0ng said:
Hey guys,



Could someone tell me a bit about the additional setup time for the adapter? If they're really set on it then I'm fine with it, but if the time needed is too much for what we have available, then I'd like to make that argument and try to shoot with the HVX instead and use the open iris/zoom in trick to get shallow DOF for the shots they're asking for.

I don't know which adapter you are using but I have Letus Extreme and it took me about 30 minutes to setup the Rails, adapter and lock the focus down. After that It only takes seconds to switch lenses and a few minutes to frame the shot with the new lens. I am shooting a feature length film with mine and I could not see doing anything without it. It is worth the extra time and money for sure. You'll see. Just get there an hour early or set up the adapter at home keep it assembled. You won't lose any more time than usual.
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I agree with filthrich,
My LeX stays on most of the time. Changing lenses is simple. Biggest issue for me is keeping all of that glass / filters clean. Also making sure I have extra batteries charged and ready.
Sometimes the project calls for deeper focus or a cleaner / sharper look or needs better low light sensitivity. In these cases, I just use the bare HVX.

Zooming in and opening the aperture will result in perceived shallower depth of field, but does not replace the DOF produced by a 35mm adaptor. What if the shot calls for a wider, less compressed field of view, but want shallow DOF?

If you have the option to use an adaptor, take advantage of it, but don't be limited in your creativity by only shooting shallow DOF.


J
 
i also say if you have a really awesome AC, everything will go twice as fast. so if you have one, make sure they know that adapter inside and out too, and get quick with changing lenses. my last shoot my AC was just really locked on and kept everything moving so much nicer.
 
Here is something worth considering (although not your precise department):
Get a tape and shoot some 10 seconds with each of the lenses you want to use with the adapter (at the rental place); it might help you "visualize/materialise" your shoots.
Work with the director/AD and if possible have a detailed storyboard. You and the director should have a very clear image of what the finished piece should look like. Nail down each shoot ahead.
Say: "When he says- blahblah- let's use the 85mm at minimum focusing distance to get that ECU (aka "money shoot") on his mouth while he is talking on the phone" ........... and so on.
Start with wides and don't forget the CU's and inserts, dolly moves (if any), etc. Once the storyboard is in place (at least in one's mind if not rough drawings) ask the director and tallent to rehears the blocking/dialogue so everyone is comfortable with what they have to do, say, move and how to do it.
Locations are expensive, presure on set builds up on (as the time goes by) and if you don't have as much as possible well planned, is harder to get it all nice and clean. Think about how well the "russian ark" was planned in advance to the last detail. They've got 90min of finished product shoot in 90 minutes. I know the example is extrem but it it a nice planning lesson.
Sorry if I sound like I am babysitting but I hope my sugestions will help you guys accomplish the story. Best of luck and post stills/footage when done.
 
xmephestox said:
i also say if you have a really awesome AC, everything will go twice as fast. so if you have one, make sure they know that adapter inside and out too, and get quick with changing lenses. my last shoot my AC was just really locked on and kept everything moving so much nicer.
Click to expand...

Exactly. Whether you have an experienced AC will determine how fast you're able to go. An adapter adds an extra level of work on set every time the subject or the camera moves, because DOF is so short. Even simple panning shots require focus pulling. When you have to keep asking people to walk back and forth to their marks so you can get focus, the pressure starts to build and without an AC it's easy to get lazy. The result is out of focus shots or static blocking, both of which can really hurt the project. My advice is if you're operating without an AC, then get one. Don't hand the job to anybody who happens to be free; get someone whose entire purpose is to pull focus. Also important to get someone who is vocal and won't be afraid to speak up when a shot is out of focus or insist on a retake. It'll save you time and frustration.
 
Well, that's sort of my whole point. I have 3 days, 6 3/4 pages a day (one day with 3 1/2 pages but that's the day of moving shots, dolly shots, etc) and there isn't a budget for an AC, that's why I want to know about how much extra work is going to go in to this.

The adapters are nice but like I said before, I've always been able to get the DOF I need, adapter or not, it's up to the director who's going to decide whether or not to go with it.

I'll approach him about an AC and make a couple of recommendations, see if I can pick up someone decent.
 
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