Welcome to our community

Be a part of something great, join today!

Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Epic=Master Shots Only

Shawn Booth

Shawn Booth

Well-known member
Joined
Apr 25, 2007
Messages
1,747
Reaction score
0
Points
0
Location
Honolulu. HI
Website
www.facebook.com
Heard This On Set:

"I can't wait for the Epic. With it, no more shooting anything other than the master! I can zoom in and pull out the close ups and other coverage just from it!"

This producer works at a major studio and truly believes the future is just shooting the master in 5K and then "moving on"...

I understand how awesome it is that in post we can repo our shots for a variety of reasons but I can't believe this mentality exists...
 
Noah Kadner said:
That's done routinely in 35mm already- what's the big change?

Noah
Click to expand...

Really? I have never heard of, or seen before - not that that means it's not done... What productions ONLY shoot the master and pull coverage out of it?

As far as the reverse, I actually mumbled that to the DP and the producer overheard. His response was, "screw the reverse. I don't have time anymore for coverage. The crews are too expensive as is..."
:banghead:
 
The producer should be beaten and get into some other buisness, cinema is art and if he's not willing to "paint" throw him out.
 
Many thoughts. First, yes, said producer is an idiot. Though caveat that with for certain specific shots it could work (just to vary the coverage). Double caveat is that i dont think EpicX 5k is sufficient resolution to do those types of re-frames, maybe 645.
 
I always do that. Just shoot the whole feature in a wideshot and fix the rest in post.
It only takes 3hrs to shoot and it works really well.
I think you guys should really take this as a serious discussion!
(Maybe the end product is a little boring to the audience)
 
And not just resolution, but focus becomes that much more critical as you crop in. What looks sharp full screen falls apart quickly when you close the gap.

Shawn Nelson said:
Many thoughts. First, yes, said producer is an idiot. Though caveat that with for certain specific shots it could work (just to vary the coverage). Double caveat is that i dont think EpicX 5k is sufficient resolution to do those types of re-frames, maybe 645.
Click to expand...
 
Jens Jakob Thorsen said:
I always do that. Just shoot the whole feature in a wideshot and fix the rest in post.
It only takes 3hrs to shoot and it works really well.
I think you guys should really take this as a serious discussion!
(Maybe the end product is a little boring to the audience)
Click to expand...

Tell me you're kidding...
 
Shawn Booth said:
As far as the reverse, I actually mumbled that to the DP and the producer overheard. His response was, "screw the reverse. I don't have time anymore for coverage. The crews are too expensive as is..."
:banghead:
Click to expand...

Oh yeah, because all us crew guys and gals are making $20 million a picture. :nopity:
 
I remember Dino talking about how some of the shots in the Fray music video for "You Found Me" were wide shots cropped down. The shots were still wide but since they were on rooftops I guess it was hard to zoom in that much so they just cropped it in post.

Now of course I could never imagine doing a whole shoot with master shots, but I can see a use for it.
 
jimhare said:
And not just resolution, but focus becomes that much more critical as you crop in. What looks sharp full screen falls apart quickly when you close the gap.
Click to expand...
Also there's the skew at the sides of the wide angle shots you need to worry about.

I really don't think this is feasible unless you're fine with your subjects being distorted in their close-ups.
 
Shawn Booth said:
As far as the reverse, I actually mumbled that to the DP and the producer overheard. His response was, "screw the reverse. I don't have time anymore for coverage.
Click to expand...

I'd have to see it to believe it. Doesn't sound like moviemaking to me. I've had that argument before and my position is "what ONE angle covers this scene?". I like the non speaking person covered. I like facial expressions. I like reactions.

OTOH, My brother met John Huston a couple years before he passed on and John said something to the effect of "There aren't any directors in Hollywood anymore. These guys shoot everything and choose later. They are choosers not Directors."

I think I like what Clint Eastwood does. Generally grabs his coverage first and then decides one main angle for each actor will be their performance angle and shoots that. 1 or 2 takes. He's Directing, not choosing. But he works with great actors.
 
people (who didnt know what they were talking about) said they'd be able to do this with the R1 as well. Nothing new. It comes down to optics, and when explained frankly, anyone can understand the reasoning. just look at your producer and say:

"its not that easy. if you crop a tight out of a master you'll loose the optical characteristics of 35mm, which we are paying a lot of money for. your film will look like it was shot on 16mm on all the close ups, and you'll have wasted a lot of money on the camera package"

then they'll go back to trying to save money by other means, not wanting to be guilty of the greatest sin: wasting money.
 
I imagine he was probably talking about the 9K or 28K Epic, I mean remember that Epic isn't just one camera.

With the 9K I could see you easily magnifying the image up to 4 times, and keeping a pretty high quality for "close-ups". With the 28K, I don't see why we shouldn't be able to get SUPER close-ups and render it out to 4K without major quality loss.

I doubt he think that that'll just be what they'll do for EVERY shot, but I can see for speed sake simply filming a scene from the master angle, and then readjusting in post.
 
No, he's talking about his friend's EPIC-X...

I keep thinking about the shot just "pushing in" instead of changing camera position... Fear it's gonna feel flat and stale...

Sucks the life outta ya after a minute. You work hard only to have your work completely butchered and you being blamed for the result...

...whatever your thoughts on the producer, he's producing and working AND paying the bills...

...times really are tough...
 
You must log in or register to reply here.
Back
Top