No crew, no budget, no tripod/dolly/jib/crane, no lights = no problem
- Thread starter thraveboy
- Start date
Chris Light
Veteran
Chris Light
Veteran
^ grain of salt.
yommytacoe
Well-known member
Did you use an external mic? The actors voices were drowned out by the porno-style sound track. sound is key.
Just because you can pan around the frame in post doesn't mean you should! For every shot! It's like using an exclamation point at the end of every sentence! They totally lose their meaning! And / or become distracting! 
I'd say the same thing about real camera moves - dolly, crane, steadicam, handheld, snorri cam, what have you: Why?
Why are you moving the camera constantly in post? To what end? Seemed to serve no purpose other than to add a bit of slickness / production value. Which, one or two well placed moves would have.
Consider, for example, if the "camera" is inert until she makes her big confession, then it starts to "push in" slowly. Or that's when everything starts rotating all the time. One would probably be a choice about connecting with her and what the confession meant to her, the other would maybe have something to do with what her lie meant in the world of the story or for the relationship of the two characters in the scene.
I did, however, get a dream like feeling from the moves, but they were way to much and very distracting.
Also, they'll be more convincing if more subtly done.
Last note. The first two "camera" moves - up - down. If you're going to fake camera moves, you need to think like a camera man and what moving a camera on a fluid tripod head is like. In other words, your move needs to more gradually slow near the apex then more gradually begin again as it comes down. This move was the fakest /most electronic / most distracting on it's own. Needs to move more as described, rather than like a pong game with an electronic cursor hitting the screen border and dropping down again. Unless you want a disorienting / unorganic / electronic feel to the move, but it wouldn't be really considered a fake camera move then but just a weird effect in its own right.
I'd say the same thing about real camera moves - dolly, crane, steadicam, handheld, snorri cam, what have you: Why?
Why are you moving the camera constantly in post? To what end? Seemed to serve no purpose other than to add a bit of slickness / production value. Which, one or two well placed moves would have.
Consider, for example, if the "camera" is inert until she makes her big confession, then it starts to "push in" slowly. Or that's when everything starts rotating all the time. One would probably be a choice about connecting with her and what the confession meant to her, the other would maybe have something to do with what her lie meant in the world of the story or for the relationship of the two characters in the scene.
I did, however, get a dream like feeling from the moves, but they were way to much and very distracting.
Also, they'll be more convincing if more subtly done.
Last note. The first two "camera" moves - up - down. If you're going to fake camera moves, you need to think like a camera man and what moving a camera on a fluid tripod head is like. In other words, your move needs to more gradually slow near the apex then more gradually begin again as it comes down. This move was the fakest /most electronic / most distracting on it's own. Needs to move more as described, rather than like a pong game with an electronic cursor hitting the screen border and dropping down again. Unless you want a disorienting / unorganic / electronic feel to the move, but it wouldn't be really considered a fake camera move then but just a weird effect in its own right.
And to add to what JDS said. Many of the shots are way overexposed in areas they shouldnt be for this type of piece. This is where lighting / cutting etc cant be replaced. AND, way too many dutch and low angles I thought didnt help drive the story either.
I think what I said above comes across harsher than the way Id like it to, so please take that into consideration.
In todays world there are so many ways to cut corners and I think in some cases if one of these tools help you get away with something then thats great. But I dont think we should all start shooting with the aim of cutting corners anywhere.
I think what I said above comes across harsher than the way Id like it to, so please take that into consideration.
In todays world there are so many ways to cut corners and I think in some cases if one of these tools help you get away with something then thats great. But I dont think we should all start shooting with the aim of cutting corners anywhere.
Well I'm all for the spirit of this. My notes would be the same if it was a real camera crew doing all those moves.
And by being for the spirit of this I mean there's filmmakers who wait for the crew or whatever resources to appear, and filmmakers who find a way to make film's anyway.
When the limitations appear that's when the real creativity begins. I just think the execution was not great and not used in service of any story telling.
And by being for the spirit of this I mean there's filmmakers who wait for the crew or whatever resources to appear, and filmmakers who find a way to make film's anyway.
When the limitations appear that's when the real creativity begins. I just think the execution was not great and not used in service of any story telling.
Chamber005
Carbonite Member
I was watching this and for the life of me I couldn't think of what it reminded me of, and then it came to me -- PONG!
The camera felt to move from riiiiiiiiight to leeeeeeeft, and on the cuts it was like this "bonk". It's so Pong!
Man, I swear everything always comes back to Pong. Why mess with perfection?
Good job on the limited resources, but I think you'd do just as well to simply frame a good shot with the camera on a tripod (or a step ladder and some hardcovers) and let it be. When you're in a theatre during a stage play you as the audience member have ONE perspective, and it's (relatively) fixed, depending, I guess on whether or not you're nodding off during the performance.
I think one or two of these artificial shots is okay, but anyone will tell you shot composition is what matters. You don't need all the bells and whistles. Just create a DOF with the framing so that what the audience is supposed to be paying attention to is the focus of the frame and make sure the camera position is relevant to the intention of the moment. Then it's up to you (and your actors) to deliver great dialog.
Also, I like the colors from the HF series. Surprised you decided to go B&W. Film makes sense to go black and white because it's cheaper. I'm always a little confused by it when people do it digitally, but whatever's clever.
The camera felt to move from riiiiiiiiight to leeeeeeeft, and on the cuts it was like this "bonk". It's so Pong!
Man, I swear everything always comes back to Pong. Why mess with perfection?
Good job on the limited resources, but I think you'd do just as well to simply frame a good shot with the camera on a tripod (or a step ladder and some hardcovers) and let it be. When you're in a theatre during a stage play you as the audience member have ONE perspective, and it's (relatively) fixed, depending, I guess on whether or not you're nodding off during the performance.
I think one or two of these artificial shots is okay, but anyone will tell you shot composition is what matters. You don't need all the bells and whistles. Just create a DOF with the framing so that what the audience is supposed to be paying attention to is the focus of the frame and make sure the camera position is relevant to the intention of the moment. Then it's up to you (and your actors) to deliver great dialog.
Also, I like the colors from the HF series. Surprised you decided to go B&W. Film makes sense to go black and white because it's cheaper. I'm always a little confused by it when people do it digitally, but whatever's clever.