Thread: Be afraid. Be very afraid

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  1. #41  
    Yes I just see it differently, I see DP´s move to higher Fstops than they first wanted just because its simply not possible to keep good focus for what ever is happening in the scene. I cut film with sissors when I was a kid thats an art form. But I don´t feel the computers killed the art or creativity of what I do in my profession today on the opposite. Same for focus pullers, I think their line of work will get way more interesting in the future so I dont see any of this as a bad thing or work fretting for anyone, but it will for sure race the bar for whats possible. And yes, doing difficult stuff, even technical such is by some also considered an art from.
    Björn Benckert
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  2. #42  
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    Hrvoje Simic I like your opinion at least the way you see a set life.
    For anybody who doesn't understand, the most upsetting is not when AС misses, its when they don't get what you meant by your movement or staying still, not being in tune with you, or actors, or director and just staying mechanical--- something in focus but what?
    Last edited by Alex Stolpakov; 12-06-2019 at 02:14 PM.
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  3. #43  
    Senior Member Satsuki Murashige's Avatar
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    Quote Originally Posted by Jaime Vallés View Post
    I'm at the point where I won't buy any more lenses unless they have built-in auto-focus motors. It's just too useful not to have it.
    I’m just curious, but do you put value into the unique look of lenses? There are so many manual focus only lenses, both stills and cine, that have unique character and can a make a huge difference in the final look of a project. Personally, I would hate to lose that creative choice. I shot a project recently on Cooke 5/i primes, choosing them over Sigma Cines which I used before for the same client. Made a huge difference in the final look.

    But I’m open to hearing other perspectives. Maybe this is mainly a motion picture thing? I’ve worked alongside many commercial still photographers who only use modern autofocus lenses, and their images look great. But then, they usually have so much more control over the final image. As a cinematographer, I feel the need to bake in as much of my look in-camera as is practical, as I may not be involved in the color-grading session at all.
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  4. #44  
    Senior Member Satsuki Murashige's Avatar
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    I have also often used autofocus EF zooms and primes when necessary for affordability, focal length reach, small size, and speed of use. Especially for solo operator documentary jobs. But it was always a compromise between getting the look right and just getting the shot. If I have a camera crew, in a narrative or commercial job where ‘getting the shot’ is not in question, I would always prioritize the look.
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  5. #45  
    Senior Member Jeffery Anderson's Avatar
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    Quote Originally Posted by Björn Benckert View Post
    Autofocus is for sure one of the first things that will make dsmc2 cameras feel old. I would use it almost all the time if I had it. It would also dictate what lenses I would use etc.

    But I think ACs will not be without work but maybe they will be called focus programmers or such in the future. ;) As I think the capabilities of AI-driven focus systems can and will go very deep for the professional cinema market. So there will still be the need for someone on set to be dedicated to picture focus.

    Touchscreen driven finger point focus with smooth transitions when pointing at a new object etc. When such stuff becomes available then I think people will adopt it and ask for more.
    it will only work with lenses with internal motors, which all high-end cinema lenses do not have
    I have to try and change the landscape, whatever it is.
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  6. #46  
    Senior Member Jeffery Anderson's Avatar
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    Quote Originally Posted by paulcurtis View Post
    As a layer of information on a screen that could be useful but not actually driving focus. TBH depth information is more useful or tracking RFID tags in a scene.
    I would agree with this -- give the 1st AC more tools to make their job easier, and keep the controls in their hands.
    I have to try and change the landscape, whatever it is.
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  7. #47  
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    I can’t think of the film at the moment, but there was a recent scene I watched where the dance between camera op, focus puller, and actors, was as fluid and organic as a well coreographed ballet. Complex, constantly moving, constantly shifting focal points of emphasis among actors.

    It was seamless within the context of the scene, but left me as a shooter wondering how in hell they pulled it off. Blew me away.

    Automation might ease some workloads, but nothing can replace refined collaboration among a team of highly skilled artists.

    Many years ago I directed a short play with a couple of intensely emotional scenes. I struggled with getting real emotional intensity out of amateur actors. What finally worked was precisely coreographing every move, every step, every turn, every pause, every gesture in the blocking for each line in the script.
    Perfecting the moves in rehearsal ultimately resulted in a natural expression of emotion from the actors. Emotion followed motion in this case where motion would follow emotion with more skilled actors.
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  8. #48  
    Senior Member Jeffery Anderson's Avatar
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    Quote Originally Posted by Satsuki Murashige View Post
    I’m just curious, but do you put value into the unique look of lenses?
    I wouldn't be surprised if they started making higher quality lenses with internal motors... just matters where the industry goes and if investors can make more money from independent films or if the super huge budgeted films stay the norm

    Quote Originally Posted by Satsuki Murashige View Post
    But I’m open to hearing other perspectives. Maybe this is mainly a motion picture thing? I’ve worked alongside many commercial still photographers who only use modern autofocus lenses, and their images look great. But then, they usually have so much more control over the final image. As a cinematographer, I feel the need to bake in as much of my look in-camera as is practical, as I may not be involved in the color-grading session at all.
    print work is totally different... and going to comment above; as is the summer blockbuster film compared to an Aronofsky art-house film or a Soderbergh experimental movie. You might have limited days, can't afford a light ranger 2 w/Leica Primes... you might spend half your budget on an actor for 3 days?

    could be a 2nd Unit-DoP and a 1st AC on a boat on the Nile river in 100+ degree weather getting B-Roll for ... Auto-Focus
    I have to try and change the landscape, whatever it is.
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  9. #49  
    Senior Member Blair Thornton's Avatar
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    Quote Originally Posted by Ryan Sauve View Post
    Buying a full frame Nikon Z6 with AF revolutionized my gimbal and handheld shooting on corporate run and gun shoots. Excited to see how far this tech can be pushed.

    Right tools for the job. I group the anti-AF guys with the anti-8K guys. So much to gain from either with the right job.

    I still think compact lightfield tech is coming and will make AF that's any better than what we have now unnecessary (except for live applications).
    Totally agree, I would like see AF for RED Gimbal work - integrated into Teradek RT https://teradek.com/collections/teradek-rt
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  10. #50  
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    Satsuki Murashige one more of my legends of set life.
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