Steve Laramie
Veteran
Just out of curiosity what order do you guys go in once you get on set. IE. Start with it pitch black light choose lens frame choose motion. Im talking about an HD shoot with an adapter not film.
question of preference
- Thread starter Steve Laramie
- Start date
j1clark@ucsd.edu
Veteran
Todate, most of my shooting has been more on the order of 'parachut in, shoot, get the hell out'... lighting, we don't need no stinking lighting...
But given my current level of funding capability, I'm probably going to have to:
See location.
See what the 'natural light' is, and work with that.
See what the location is, and choose lense settings (we don't need no stinking adapters...) appropriate for the location.
If I had projects that had more bucks... I'd probably use an animatix type program to work out the scenes, layouts, lighting, lensing, blocking, as much as possible before hand, and then, when I was on the actual set, stick to that plan as much as possible, and only deviate when it was obvious that the pre-viz was ****.
S
SeanEmer
Guest
If I've done my job right up until the point im arriving on the set, then I already know:
A. What the location layout is like
B. Where the sun is if it is a factor
C. What shot is being set first
D. What the shot will look like (if there is a storyboard, then i have the frame too)
E. What equipment and time constraints I have
Depending on the director, I may or may not get to choose the camera position and lens. Either way, I have a good idea of what the shot will look like. So, at least in my experience (which isn't as vast as others on this forum, not by a long shot) when I first arrive I ask my camera crew to get set up and to place the camera at such-and-such spot. Then I give the gaffer instructions on where to place what lights and equipment. As that happens I talk with the director and AD about schedule, future shots, matching setups, etc. Then rehearsals!
If I don't get camera and lighting crews, as has happened more than once, then I will build camera first, place it, frame it, and then lock it so that I can build lighting by referencing the monitor.
As far as how to actually go about lighting it... well that's a whole different thread.
A. What the location layout is like
B. Where the sun is if it is a factor
C. What shot is being set first
D. What the shot will look like (if there is a storyboard, then i have the frame too)
E. What equipment and time constraints I have
Depending on the director, I may or may not get to choose the camera position and lens. Either way, I have a good idea of what the shot will look like. So, at least in my experience (which isn't as vast as others on this forum, not by a long shot) when I first arrive I ask my camera crew to get set up and to place the camera at such-and-such spot. Then I give the gaffer instructions on where to place what lights and equipment. As that happens I talk with the director and AD about schedule, future shots, matching setups, etc. Then rehearsals!
If I don't get camera and lighting crews, as has happened more than once, then I will build camera first, place it, frame it, and then lock it so that I can build lighting by referencing the monitor.
As far as how to actually go about lighting it... well that's a whole different thread.
Capt Quirk
Veteran
Before the camera even gets to the location, it should have been scouted, time permitting. You should know where the sun will be, what problems might arise (Such as the construction across the street causing noise ), where your power is. If it is one of those jobs where you show up, do what you can and pray.