F3: MARRY US FOR CHRISTMAS trailer

Nice job George! F3 is still going strong in your talented hands. Out of curiosity, how fast were most scenes shot? I've never worked in the TV arena, but I imagine the overall pace for this is blindingly fast. Some scenes look like they received more lighting attention than others. I'd like to hear your experience. Thanks again for sharing and I'll try to watch. Cheers.
 
pchristoph said:
Nice job George! F3 is still going strong in your talented hands. Out of curiosity, how fast were most scenes shot? I've never worked in the TV arena, but I imagine the overall pace for this is blindingly fast. Some scenes look like they received more lighting attention than others. I'd like to hear your experience. Thanks again for sharing and I'll try to watch. Cheers.
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Thanks Paul! I've shot 9 TV features, and we'll be shooting a half-hour sitcom series next year. I've learned quite a bit of how to handle the F3 SLog, along with the help of my DIT/Colorist with the company.

The time/page count per day is a continuing struggle on these projects. It's really intense. 10 shoot days, 10 pages a day (on average). Also, with a large cast and multiple script days/costume changes a day. We shoot fast, lots of 2-camera cross-coverage, cross-lighting, 1 broad lighting setup-and-go.
it's an interesting challenge that I learn from every day. There's the common conception that cross-shooting scenes is faster, but I feel like it takes just as long, if not longer, than shooting 1 direction at a time. With each angle added, it leads to more talent on-screen/variables to watch for, and the time it takes to deal with all that at the same time, and to get good takes, takes longer than focusing on 1 angle at a time. When I say 1 angle, I'm referring to 2 cameras in the same direction, i.e. a medium and close-up of same character. Maybe that's just the DP side of me talking, wanting to believe that to be the case! I feel I can light 1 way and flip the room, light the other way, faster and with better results.

But, I do understand that it is a comforting feeling to cross-shoot, because at video village they see multiple actors on the monitors at once, and it feels like they are getting everything.
 
@george su. Thank you so much for taking time to share from your experience and how you task a two camera shoot with such grace and decorum - knowing that compromise happens from scene to scene due to time constraints. It must be a challenging environment - and still you pull off fantastic results with a cool head. Probably have a great crew with you too. Cheers.
 
bill totolo said:
Keep it up, George. very nice as usual.
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thanks bill!

pchristoph said:
@george su. Thank you so much for taking time to share from your experience and how you task a two camera shoot with such grace and decorum - knowing that compromise happens from scene to scene due to time constraints. It must be a challenging environment - and still you pull off fantastic results with a cool head. Probably have a great crew with you too. Cheers.
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thanks for the comments paul! the crew is great. These TV movies are all shot in Atlanta, great local crew. There's alot of budget limitations, but I try to make the best of the challenge.
 
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