Tilt/Pan/FF How do the pro's do it?

J

Jon Oskar

Well-known member
Can anyone help me with these to scenarios???

#1
If i have a scene with a character mowing between several different key frames without a cut and i want to make sure that when i pan and tilt that i hit the correct framing, maybe sometimes arriving ahead of the character, who than steps in and completes the frame. How would i do this? Would i make marks on the fluid head for the different key-frames? What do i use as a ref so that i hit the mark? (the camera is on a tripod)

#2
(different scene) If the camera is traveling towards a character who is also mowing towards the camera, and this is not happening at a constant speed. How do i stay focused? What do i use as a reference? Is there any point of making floor markings for the focus puller? (the cam is probably hand held)

How do the pro's do it?

thank you

jon
:beer:
 
1.

Use marks on the floor for your talent and rehearse the shot until you nail it; the framing and comp nails will come if the DP is skilly

2.

The Focus Puller will use the same marks the talent is using for reference (As Marcia approaches her mark, the Focus Puller will dial in focus as she hits her mark). Usually, the marks are made with grease pencil on the lens (don;t know which FF unit you are using?)
 
I agree wholly with John in terms of setting marks for your actors, and rehearsing until both the operator and the actors know what they're doing. The follow focus is the same. It's just about taking measurements and marking the wheel. The only alternative is using a geared-head tripod, on which you can make actual marks for the beginning and end points of moves. Geared head tripods in some cases have the dry-erase wheels around the handles in the same way that follow focus units have them, so you can mark out where you are supposed to go.

Using one of these is an artform in and of itself, and I highly doubt you could cheaply gain access to one, but this is an additional tool to what has been stated above.
 
Hmmm... appears I did not completely read the original posting... I made an earlier post once about how to pull focus with a moving camera and moving subjects... this can be done by clamping a laser pointer somehow onto the camera (Ideally onto Iris rods) which shines at a set distance in front of the lens, lets say, three feet. This red dot on the floor indicates to your A.C. that the red dot marks three feet from the lens, thus, giving them some sort of indicator by which to guage distance from the lens. This can be used in a myriad of situations, including yours. These laser pointer rigs can be purchased from Film Tools at www.filmtools.com
 
Thank you guys for your reply's. Yes the rehearsing bit makes sense and the geared head sounds dam handy too. But it seems odd that there is no common tool for this purpose, as it would seem like a real good thing for anyone to have and working without it would be like using the FF without the marks and just rehearsing the moves, it can be done, but we in 2006 now.

How does the pro DP judge the framing? From the corner of the Matte-box?



Regarding focus pulling-

Should the marks on the FF unit represent metric values as in 0.6m,0.5m,0.4m....and than i just estimate the distance and turn the dial accordingly? Are there any aids to estimating more accurately when working with shallow DOF, i know a good DP can probably tell you if you are 90cm ore 100 cm from the lens, but at F 1.2 that might not be enoch. Are there any tricks, especially fore medium to close up's as there the focus would be crucial, seems like it might make sense to hold a meter stick (out of frame) between the cam and the subject, or is this just ridicules???
 
How does the pro DP judge the framing?
Click to expand...

Serious ? It comes to down to experience; practice practice practice. Like any camera or art form, the more you do it the more natural it becomes.

Once again; rehearse your marks over and over until you are comfortable with the shot.

Should the marks on the FF unit represent metric values...
Click to expand...

What FF unit are you using ? For the DVX100 ?

You may be thinking to hard about this.

Set your mark, dial it in, mark it the start point; repeat and mark the end point.

Practice: Rack Focus.
 
Thanx John!

What i mean is when practicing what do i use as a reference? The background through the lens? Marks on the tripod? The border of the mattebox? Im not looking for a short cut, just wondering if there are any tricks that can help me, while practicing. One puts marks down for a dolly when pushing it, yet it is a much more simple move. And remember im talking about a "mowing camera" AND "mowing subject" so the distance is constantly changing, i cant see how two marks would cover that, ore "nameless" marks for that matter.

I am using a Cinetech FF and a M2.
 
There are no marks you can use for that type of shot, A moving camera and a moving subject, neither on tracks is the hardest follow focus move to make. That's where a good AC comes into play. The laser pointer is about the only "trick" out there. It comes down to practice and experience.

If I were ACing, I would angle the laser pointer to hit the floor about 10' in front of the lens, then mark a center mark at 10' (or whatever the average subject distance will be) on the FF. I would then mark 1' or 2' intervals on either side of the main mark. From there you just eyeball it.

One technique I like to do as DP is to go in for a "focus rehersal" after the blocking rehersal and just before you shoot. Open the iris all the way (film) and/or zoom in to the subject. This will help you determine more accurately when you are in or out of focus. Once the AC is able to nail it solid, then it's time to shoot the scene.

-j
 
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