Nowhere to be found. Of course.
House 5D Finale first 2 minutes posted online
- Thread starter Jason Adams
- Start date
Nowhere to be found. Of course.
Except grips have nothing to do with camera... You are still going to be needing grips to setup flags and lights. I don't understand where people think this is going to be less people. Unless you think the Director is going to be setting up flags to control the light. You will still need lights, perhaps this means less wattage but the DP is still going to need extra hands to control and create a dramatic image with contrast.
And your camera crew is still going to consist of a DP, a 1st AC to pull focus, and if you're smart you will have a 2nd who is offloading and backing up footage so your 1st can just focus on focus.
Ha, none of this is going away, thankfully.
Again, I have not seen any films shot with just one person directing and pulling focus at the same time that are any good that can be used as an example. And I mean dramatic film with actors and dialogue. I have seen plenty of "tests" of people in apartments but that doesn't signify a big shift in how people are going to work.
This is a collaborative medium, and there are limits to what one person can do, especially when shooting with larger sensors.
Again, I have not seen any films shot with just one person directing and pulling focus at the same time that are any good that can be used as an example. And I mean dramatic film with actors and dialogue. I have seen plenty of "tests" of people in apartments but that doesn't signify a big shift in how people are going to work.
This is a collaborative medium, and there are limits to what one person can do, especially when shooting with larger sensors.
Blaine
Mr. Hollywood
That's part of the problem, Isaac. What I'm hearing from a lot of these people is that these DSLRs are so good in low light, YOU DON'T NEED LIGHTS AND FLAGS. They seem to believe that all the supporting equipment to make a real movie is no longer needed. All you need is a couple of actors willing to work for free and there you go...movie.
You know what. Lights and flags don't make a movie. A script makes a movie. I can't tell you how many people I've met who raised 500k-1mil and made a movie that was garbage. I'd rather spend 3k on a movie that ended up being garbage, but you know what? You can still make Clerks or the Following or El Mariachi or Frozen River or whatever without a huge light package. Script and talent make a movie live, and with a 5D or whatever you can still make an incredible film.
Blaine
Mr. Hollywood
I won't argue with you about the script making the movie because I'm a "story first" kind of guy. I WILL say that I was responding particularly to the techie side of the equation, however. Choosing Clerks as an example tells me something about what your idea of a good script is, though. :lipsrseal
Let me point out the irony that almost all of your examples are shot on film. And Frozen River is shot on a Varicam, pretty far from the dslr market.
Not sure how that relates to this equation of one man + 5D that people are pushing.It's pretty obvious that good script is part of the equation, but, you still need a crew to make a film which is what the debate is. People are thinking they can do this whole thing alone with a DSLR and no lights. I am still waiting to see that breakout film shot on a 5D/7D/GH1 for no money with a crew of 1 that has everyone amazed.
Woah, down boy! Sorry Kholi, I guess given your recent forum headaches, I shouldn't have thrown a slightly tongue in cheek snide response in there.
All I was getting at, is that Hollywood crews these days appear to be a bit bloated, and sometimes, you see damn good movies where the director got involved, maybe too involved, in everything from operating the camera to designing the costumes. However, I'll agree that it's rare, and Kubrick aside, when it does happen (say Rodriguez) it doesn't always result in a better movie. (If you look at some of the stuff Orson Welles tried to do on his on also...it can be downright depressing)
I probably shouldn't have said anything. I'm not one of these people who would rather tackle something important by myself on a 5D instead of with a crew on the RED, believe me.
Rory_B
Well-known member
This should be a future DVX Fest. a Quasi DogmaFest in which a person has to shoot the entire film on their own. Maybe let someone else operate sound, or you can just make it where they gotta do that too.
Could make for an interesting time or a complete and utter cluster f!@#$
Mark Harris
Pain in the ass
But Kholi, can't you take the same thing the other direction? What if I said: "Go shoot something better than this one episode and show us that a better camera makes a difference?" I think they could have made this episode just as thrilling if they had chosen to tell it from the POV surveillance cameras. Or cell phone cameras.
What about soap operas? For decades, soap operas looked like shi*. Yet millions of people would hinge on what would happen next week. some of the longest-running entertainment in history. And it looked like ass.
Or am I misunderstanding what you're saying?
PS: Of course I agree crew choice is important no matter what camera. Frankly, I think the art dept deserves the most credit in this episode(and probably the most credit for a lot of other cinematography)
Last edited:
Barry_Green
Moderator
Interesting. I'm of mixed feelings on that because on the one hand, one of the major purposes to the DVXFest is to promote collaboration.
On the other hand, I bet we'd be pretty amazed with what some of our members would be able to accomplish, single-handed (and yes, if you're gonna be a one-man-band, I say you have to run sound too. Truly a crew of ONE.)
SoloFest? Story concept/script/producing/shooting/all crewing/post/sound design/music... all one guy. The only other people allowed at all would be actors... would people be up for that?
Mark Harris
Pain in the ass
Hmm, I was going to propose a Fest with those wearable HD cams...the super small water proof ones...but thought people would freak. For the same reason, I figured we would get some insane stuff...
Let me point out the irony that almost all of your examples are shot on film. And Frozen River is shot on a Varicam, pretty far from the dslr market.
It's pretty obvious that good script is part of the equation, but, you still need a crew to make a film which is what the debate is. People are thinking they can do this whole thing alone with a DSLR and no lights. I am still waiting to see that breakout film shot on a 5D/7D/GH1 for no money with a crew of 1 that has everyone amazed.
Shot on film by amateurs at the time with little to no professional lighting...
I'm shooting a skeleton crew 5D feature here very soon on an incredible script. I don't understand why you want to put people down for using what is at their disposal. If they make a shitty movie on a DSLR with no lights then who cares? But the more people making movies the better. When that break out film does happen, we'll have another great filmmaker to enjoy. Before the 5D, shooting outside at night without a truck and a gene or a tie in was next to impossible--now you can shoot under a street light if you want. So what if there's noise? If the films good you won't care.
Mark Harris
Pain in the ass
Let me point out the irony that almost all of your examples are shot on film. And Frozen River is shot on a Varicam, pretty far from the dslr market.
It's pretty obvious that good script is part of the equation, but, you still need a crew to make a film which is what the debate is. People are thinking they can do this whole thing alone with a DSLR and no lights. I am still waiting to see that breakout film shot on a 5D/7D/GH1 for no money with a crew of 1 that has everyone amazed.
Well, one of the best examples is probably Primer. Largely a crew of 2. Shot on 16mm. But no reason they could not have done the same(much more easily) with a DSLR. Possibly a better film than about 95% of us will ever make in our careers(me included).
one thing about primer they discovered is that if you use curved dolly track, the focal length remains the same, so no focus puller. Dolly shots are on curved track.
Blaine
Mr. Hollywood
I think that would be a major step backwards. Unless, of course we have a handful of Horrigans out there. And wouldn't a one man crew have to include all post work, too?
The problem is, most of what's being produced in that manner is an absolute waste of time.
Blaine
Mr. Hollywood
Produced by
Shane Carruth .... producer
Original Music by
Shane Carruth
Film Editing by
Shane Carruth
Casting by
Shane Carruth
Production Design by
Shane Carruth
Sound Department
Shane Carruth .... sound designer
Reggie Evans .... location sound
David Ho .... sound re-recording mixer (uncredited)
Camera and Electrical Department
Daniel Bueche .... camera operator
James Russell .... assistant camera
Anand Upadhyaya .... camera operator