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Film Crew for the HDW-F900 Question


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#1 Maestro

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Posted 05 October 2005 - 09:35 PM

Hello,

Thanks in advance for any help/suggestions.
I am a music Producer, (not Film/Video Professional)
currently in the pre-producion stages of a project
that will utilize 2-Sony HDW-F900's as my camera of choice.

The shoot, caprturing just raw footage to be edited in the U.S
(Musicians performing in 18th century period costumes) will take place in a
Venezian Palazzi. (Italy)

My question is: when considering local Cameramen, DP and Director of lighting,
will lack of experience in HD or working with the HDW-F900 for the first time
be a major problem for a project budgeted around just 2 days of shooting?
In other words, should I also consider hiring a technician just for the cameras as
to avoid spending valuable creative time on
learning curves?

Thanks
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#2 Chris Cooke

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Posted 05 October 2005 - 10:50 PM

There are DP's who specialize in HD work. I'll be working with a CSC member next week who does this. If you can't get a DP who's worked with HD, I would recommend a technician. The reason for this is that there can be constant problems with backfocus. Also, since you are using two cameras, matching them can become an issue if they're not set up correctly. A good colorist can help matching problems as well. I'm sure that any experienced DP that you'd get would understand the limitations of video. The trick is to use those limitations to your advantage.
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#3 Maestro

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Posted 06 October 2005 - 10:48 AM

Also, since you are using two cameras, matching them can become an issue if they're not set up correctly. A good colorist can help matching problems as well.



Thanks very much for the good advise... I hadn't thought about matching the cameras! Since they are programable, I guess tweaking one camera and saving the settings on the provided Sony memory stick to use on the other would be enough? or do you think a significant amout of matching is done only manually (with the eye so to speak)? I should clarify, I have not worked with the camera, just read about it and it seems to match the specs I'm looking for on this "period" music shoot.

Another quick question(s)...if you don't mind.... If I am just capturing raw footage, (sound is just for reference), as we are recording the audio in our studio and mixing in 5.1...

From the Visual aspect... am I missing anyone when I mention the following crew line-up? Is an Art/set director necesary or will the DP want to have control over the set features?

DP
Dir. Lighting
Makeup/Hair
1 Handicam Oper. (on the F900)
1 Crane Oper. (2nd f900)
Sound/Just for ref.

Thanks again!!
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#4 Chris Cooke

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Posted 07 October 2005 - 12:49 AM

Thanks very much for the good advise... I hadn't thought about matching the cameras! Since they are programable, I guess tweaking one camera and saving the settings on the provided Sony memory stick to use on the other would be enough? or do you think a significant amout of matching is done only manually (with the eye so to speak)?


When working with video, it can be helpfull to cary a vectorscope, waveform monitor, and properly calibrated CRT. All lenses have some sort of flaws in them (usually not noticable on more expensive lenses) and may not match exactly with another lens (even if the same camera is used). Every technician/DP will have his/her way of setting the cameras up.
Art direction is in my opinion one of the most important jobs on a set because the way that a set is decorated and it's functionality will directly affect what the DP can/will do. The art director is a big part of the artistic collaboration that is necessary to get an amazing picture.
You're missing quite a few crew members but got most of the essentials. I would add 1st AC(s) to pull focus, a grip team to help out the DP, an art director, a 1st AD (he/she will keep you on track) and don't forget crafts and services (food!). Your lighting director may be used to being referred to as a gaffer.
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#5 Maestro

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Posted 07 October 2005 - 02:45 PM

Thanks Chris,

The reason I initially opted to go without an Art Director was because of the location. It is set in a museum and I would be very limited in regards to bringing stage props etc... The Baroque period Palazzi is adourned with frescos, antiques etc... I'll be incorporating musicians into set that must remain untouched. I will however be permitted to bring in a crew, cocktail tables by candle light for a small simulated audience. For this I planed on hiring a decorator with an eye for fabric and table decore.

My thought was to allow the DoP and D.Lighting work the shots from this pre-exsisting setting. Again, I am unxperienced and could be going about this in the wrong direction.

Given the scenerio, how would I make the most of an Art director?

http://images.google...zzonico&spell=1

Name of the musical act which I produce: www.novaeramusic.com
There is Video of the group on the site.

Thanks
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Ritter Battery

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