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#1 Jeremy Walton

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Posted 13 August 2013 - 01:27 AM

Hello,

 

    I'm going to be shooting my first feature in a few months. It's going to be a low budget project. I'll be wearing multiple hats. Even though I will be working with some great people I like to get 2nd opinions on the best way to approach problems. The first issue is I'll be shooting on epic at 2.35:1. I will also be shooting on the Canon XA20 at 16X9 and 5D at 16X9. 

    The problem is knowing what I'm capturing when shooting 16X9. Obviously when it's in AVID you can apply a 2.35:1 mask, but then it's cutting off your footage. I know END OF WATCH used similar cameras and finished 1.85:1. SNITCH used similar cameras and finished 2.35:1. Even BLACK SWAN finished 2.35:1 and shot scenes with the 7D. I know there is no way they just shot and crossed their fingers that nothing would be cut off when shooting 16X9. There must be some workflow when doing this. I don't want to guess. 

     The bulk of the film will be shot on Epic and then I have found footage with the other 2 cameras. I want the shoot 2.35:1 so what should I do? Also any opinions on the Canon XA20. END OF WATCH used the XA10. I wanted to spend around 2000 for a camera with XLR inputs. Also since its found footage i wanted a fixed lense so I can run and gun and not be pulling focus. Thanks for the help.

    


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#2 aapo lettinen

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Posted 13 August 2013 - 09:23 AM

you can get 235 framing lines to 5d by using ML firmware. or you can just mark the approximate lines to the monitors with tape. 

You can also use screen protector and draw the lines directly to it with pen.

External viewfinders, for ex. Zacuto, and some monitors have option to generate and show different framing lines. 


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#3 Jeremy Walton

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Posted 13 August 2013 - 04:46 PM

but is this what they do in the studio world? Do they really have tape on their monitors? 


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#4 Adrian Sierkowski

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Posted 13 August 2013 - 05:11 PM

Yes. In the "studio world," whatever that is, often the simplest solution is the best. I prefer translucent tape so I can still see a bit through it. Hell, back in the film days, you would sometimes just draw on your ground glass if you didn't have the right one.


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#5 Adrian Sierkowski

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Posted 13 August 2013 - 05:12 PM

Also don't get wrapped up with "oh well they used x or y camera on a or b." the camera does not make the look, the people behind it do, so just because black swan used a 7D doesn't mean much more than they chose the camera for the job at hand-- if memory serves in that instance, filming on the subway without permission. I also think Captain American used 5Ds in cases attached to trucks for insert shot-- right tool right job.


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#6 Jeremy Walton

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Posted 13 August 2013 - 06:19 PM

Yeah i totally agree. These are the cameras I have access too and will work great for what I want to do. I just looked up films that used similar cameras. I guess when I say studio world Im talking about Captain America or Dark Knight. It just seems odd to me having a 200 Million dollar budget and using some tape for your guidelines. It can't be perfect... it's still a close estimate. All that money and there isn't a better way? Even if its just HD cameras giving you the option of different aspect ratios. At least the cheaper HD cameras. 


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#7 aapo lettinen

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Posted 14 August 2013 - 12:55 AM

I bet you want to reframe in post anyways, at least a bit, so the tape guides are not showing the final framing anyways, just a rough estimate  ;)


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#8 Adrian Sierkowski

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Posted 14 August 2013 - 09:32 PM

Even on the biggest budget films there is not enough money, generally. And it's hard to justify, for me at least, an extra rental when I have a tried and true method of giving myself frame lines which cost literally pennies. You will be re-framing a bit later on, generally. Often the simplest solutions are the best. 


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