Essential The Official Photography Thread

[MikelArteta]

getting into a little studio stuff.

-Sony A7iii
-2 AD200's + ADB2 adapter
-42" Glow EZ lock beauty dish
-Tamron 28-75 f2.8

dope breh
when you shoot like this what aperture do you use?

 

[MikelArteta]

 

[8WON6]

dope breh
when you shoot like this what aperture do you use?

f8

and thanks.

 

[Vic Damone. Jr]

 

[GoldenGlove]

Cutting it a little close there don't you think?

 

[FruitOfTheVale]

Just got done DPing a feature

Took 'em a year and some change to edit and get a colorist though

Here's some unofficial stills from it, it's a hood dramedy shot in Oakland, CA w/ a big ensemble cast

 

[Vic Damone. Jr]

Cutting it a little close there don't you think?

Barely

 

[GoldenGlove]

Took 'em a year and some change to edit and get a colorist though

Here's some unofficial stills from it, it's a hood dramedy shot in Oakland, CA w/ a big ensemble cast

Nice. I want to do narrative stuff like this, one thing I always notice that separates quality features from the ones that are sub par is audio consistency for dialog.

Any tips for ensuring a consistent audio track through multiple scenes?

 

[FruitOfTheVale]

Nice. I want to do narrative stuff like this, one thing I always notice that separates quality features from the ones that are sub par is audio consistency for dialog.

Any tips for ensuring a consistent audio track through multiple scenes?

Yeah a lot of it is just having a dedicated production sound mixer and boom operator who understand the value of picking up wild sound on every scene. Even if the production is behind schedule you should never move onto the next shot before recording wild sound (a dedicated audio take with no sync video), especially if there's a lot of takes where the actors flub the lines or there's noise interference.

Outside of that, ADR is the fallback but a lot of the time indie productions will try to cheap out on getting a qualified ADR engineer. If you're ADRing the entire feature (every line) it generally doesn't matter all that much, but if you're only ADRing a few scenes its critical to have an engineer who understands the importance of placing the mic at the same distance as the production sound was recorded, matching the same type of mic used on the production (same pickup pattern and ideally the same capsule), recording in a properly treated room, etc.

 

[GoldenGlove]

Yeah a lot of it is just having a dedicated production sound mixer and boom operator who understand the value of picking up wild sound on every scene. Even if the production is behind schedule you should never move onto the next shot before recording wild sound (a dedicated audio take with no sync video), especially if there's a lot of takes where the actors flub the lines or there's noise interference.

Outside of that, ADR is the fallback but a lot of the time indie productions will try to cheap out on getting a qualified ADR engineer. If you're ADRing the entire feature (every line) it generally doesn't matter all that much, but if you're only ADRing a few scenes its critical to have an engineer who understands the importance of placing the mic at the same distance as the production sound was recorded, matching the same type of mic used on the production (same pickup pattern and ideally the same capsule), recording in a properly treated room, etc.

Sheesh

 

[FruitOfTheVale]

BTS from the same movie:



On the first slide bottom frame I'm in the blue jacket

 

[MikelArteta]

canon r7

sigma 28mm 1.4

 

[MikelArteta]

BTS from the same movie:



On the first slide bottom frame I'm in the blue jacket

dope breh

 

[Vic Damone. Jr]

 

[MikelArteta]

Dope what city is that?