Focus pulling in documentary

[Peter Moretti]

Well...we'll just have to agree to disagree. Me and my crew's footage is consistently in focus, as is the footage of the other hybrid setup, eye focusing crews we associate with, so the end justifies the means.

We're both industry veterans, and we both have our own solutions for the production issues we face - and that's just fine. The cool thing about RED is that it has the modularity and flexibility to enable many approaches to setting up and using the camera. Use RED in the setups and style you want - and we'll do the same.

Steve, I think you and crew are exceptional.

There are people who can edit, color correct, compose music, build computers from parts, work on their own car... bring home the bacon and fry it up in a pan. While it may be easier to pull focus yourself than is feared, it's still seems like an aptitude that a lot of people are better off paying someone else to do.

 

[Milan Spasic]

I had this focus-ring made for my 18-50. It works very simple: at infinity the stick points straight down, 90 degrees left is about 2 mtrs, straight up is minimum distance. I used reading glasses to watch my monitor (did not have EVF at that time) at a distance of about 8". Shot a 120min docu-style feature - mostly at 2,8 or 4 at best - in a crowded underground area (yes, no space for ACs), which was chosen for Rotterdam 2009 Tiger Award competition. Missed focus only once by a margin (still angry with myself ...)

That looks really interesting. Where did you get that ring? Any web links to your documentary?

I often shoot documentaries and so far 18-50 was a challenge to focus with on the fly because all three rings feel the same on touch and they are so close together. Changing aperture than focal length and then trying to focus on the fly is a nightmare and the follow focus is often not an option because of the weight. Often times I have my thumb on the zoom ring and index finger on the focus ring without realizing it until it's too late.....

This is a good thread.

 

[peter roehsler]

Hi Milan, thanks for your interest.
The ring was made by Walter Tutschka, a cameraman friend of mine here in Vienna, who happens to be a mechanical wizard. He tells the whole story on his board PLEXXART, it is in German, but you can get the idea from his pictures:
http://www.plexxart.at/Forum/mybb_129_de/Upload/archive/index.php/thread-230.html
If you are interested to get one too, I am sure Walter will be able to make it for you.

The movie is a feature film, actually the first feature film shot on RED in Austria, but shot like a documentary, with real people in a crowded location. Not beeing able to recognize anyone on screen but the actors was mandatory for the shoot, hence shallow DOF was necessary.

www.schottentor.com (some texts in English)

best
peter

 

[Milan Spasic]

Hi Milan, thanks for your interest.
The ring was made by Walter Tutschka, a cameraman friend of mine here in Vienna, who happens to be a mechanical wizard. He tells the whole story on his board PLEXXART, it is in German, but you can get the idea from his pictures:
http://www.plexxart.at/Forum/mybb_129_de/Upload/archive/index.php/thread-230.html
If you are interested to get one too, I am sure Walter will be able to make it for you.

The movie is a feature film, actually the first feature film shot on RED in Austria, but shot like a documentary, with real people in a crowded location. Not beeing able to recognize anyone on screen but the actors was mandatory for the shoot, hence shallow DOF was necessary.

www.schottentor.com (some texts in English)

best
peter

Thanks for all the good info Peter. Like most things, that plexi focus ring looked deceivingly simple until you showed us how it's made.

Nice one!

Cheers,

Milan

 

[Jacob_Ross]

lots of great info on this thread.

There are different kinds of documentary films, which all call for their own set of rules and regulations. Verite/"gritty" type docs with very little crew and no big equipment/lights, well then you just have to practice practice practice. Watch one eye in the VF, one eye on the subject. Anticipate things, go into zen mode, etc. As Steve Gibby said, try shooting at a higher T stop to make the DOF deeper. Pull focus on little cinematic close ups. A lot of this stuff is determined by the kind of doc you are doing and more importantly, the story you are trying to tell. Everything is in service to the story IMHO.

A bigger documentary for a television channel or what have you, well then of course you will have more control over the image. You might even be able to direct folks to do certain things to get your shots. All depends really.

bottom line though.... practice practice practice.... make the camera an extension of your body. (esoterics anyone?)