Every day people on film sets fail to follow these 10 keys to success. And it’s costing them jobs. So pay close attention and you’ll take one big step towards helping yourself get more work and be better at it.
Watch a montage of all the creative slates done by the Italian 2nd Assistant Camera on Inglourious Basterds.
There are various types of ground marks that one can lay, such as sandbags, but they are often expensive and heavy. When you are traveling, weight can cost you money. So here’s a simple, cheap, do-it-yourself solution.
In an economy that is down and a market that has been plummeting for years due to the fall off of DVD and the rise of Netflix, Redbox and piracy, studios have found their newest industry cash cow in the third dimension, waiting to take back the profitability of cinema. However, it remains to be seen whether 3D is in it for the long haul.
This weekend while working on “Heather,” the crew and I used the RED One to shoot some high speed footage at 120 frames per second. We were waiting for the sun to go down while shooting and took that opportunity to shoot some silly footage of us in super slow motion.
Directed by Lisa Crawford with cinematography by Kuni Ohi, “Heather” tells the story of a lonesome woman who is deeply in love with her cat and constantly trying to avoid interaction with other people, especially men.
This amazing Steadicam shot comes from the video of a foreign pop star’s concert. For the sake of always having it available, I wanted to post it here and so that other people can get the opportunity to see how incredibly awesome this shot is.
Anybody and everybody who has worked on a film set knows the sinking feeling that can happen when the days start to run long. People get cranky, tempers rise and irritations can burst from nowhere.
Many AC’s create something called a tag board to help them out on set. What’s a tag board? It’s a book-like piece of Plexiglas you slap on the back of the slate that holds camera reports, can have pre-made marks and even hold other essentials like filter, MOS and various Velcro tags. So where do you get one? You don’t. You make it and here’s how.
I want to highlight five directors who have taken the digital format and utilized it for their films, often optimizing the ability of the digital format and taking advantage of it’s pros to deliver a polished product. Each of the five directors listed below shot one or more films using digital cinema cameras and in the process, was breaking new technical ground in the film industry.