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Thread: Multiple Shots, Steady Sliding, Mics, Lights, and Transition

  1. #1
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    Default Multiple Shots, Steady Sliding, Mics, Lights, and Transition

    [edited Because Of Dead Links.]
    Last edited by Eason; 11-06-2006 at 02:38 AM. Reason: Old links

  2. #2
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    My thoughts to your questions:

    1) To a great extent, this can be done in post production as long as you keep the camera rolling throughout. What I do is overlap the audio, but cut the video from one person to another - so one person carries on talking,but u get the reaction of another person, then you can cut back to the original person that's speaking or to another person. This way you elimate the movement of the camera from one person to another and it looks like you have multiple cameras. I have an example of this if you want to see.

    2) In films this would probably be done by having the camera roll on tracks to make a smooth movement. Obviously you can't do this, but there are workarounds. I,ve heard of people putting cushions in a wheelbarrow, then placing the cam ontop. This can apparently produce good results. Then there's the steadicam, which is again expensive, but there are sites that explain how to make your own on a budget.

    with practice though, you can keep the cam rock solid without the aid of a tripod as long as you support the camera firmly with one arm supportiing the other.

    3) If you want the best possible sound without using mics, why not record all the audio seperately. just make sure you make a marker to synch the sound! ( apparently that's why they use the old clapper boards in films - and if you notice, now days they also have a timecode on them - i thinks!)

    4) No idea whatsoever about lighting!

    5) Again, not a question for me to answer

  3. #3

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    Hiya

    1) What Marc says it right, shoot the whole conversation from one angle, shoot it again from another angle etc untill you've got all your angles covered (remember not to cross the line). Your problem then is synching the sound in the edit as the conversation will never be exactly the same each take, you can get around this by cross fading your audio in the edit which works even better if you've got background noise to mask it (birds, fans whatever suits the scene - normally you record an audio "wildtrack" of the ambient noise at the location for this purpose).

    2) Steady sliding = tracking shot in the biz. This would be achieved by using a dolly on track, or dolly on smooth floor/tracking boards. Simple dollies can be hired for 40- 80 (you do the maths) and will give reasonable results, although you can experiment with wheel barrows like Marc said, or shopping trolleys, skateboards etc - I've found that wheelchairs work well as they have pnuematic wheels and you can fix your camera to them as well as sit in em to operate.

    3) Try to hire a boom mic (community video projects often have these cheap) and either plug it into the camera if you've got the right inputs or whack it into a minidisc, get a mate to swing it for you and keep it out of shot! In an ideal world you want all the actors miked up/mixed down and recorded on a DAT but this aint cheap. As soon as you seperate audio from video you'll need to work out a way to synch them in the edit - use a clapper board (make one) synch the sound of the clap to the frame of video that shows the boards jaws coming together - sorted.

    4) Lighting is an endlessly complicated art but good results can be achieved with not too much practice - read some forums dedicated to simple lighting set ups to learn the basic rules. When fiddling with lights have in mind an overall look that your after, it helps if you've seen the look in another film - use it as a reference. Try to maintain continuity of lighting feel throughout your film to avoid jarring cuts in the edit. Soft lights with gels should be all you need to start.

    5) Many ways to do this, here's one idea.
    Shoot your girl walking to the door - tracking the camera parallel to her untill you get to the wall. Shoot her entering the room (other side of the wall) from the same distance away (critical), tracking with her again (this time away from the wall). Now shoot some footage tracking past the of the edge of a wall (include out of focus brick work if ya like or shoot it really dark). Edit them together using keyframed paths in premier- check Marc's split screen tutorials to show you how as the principles very similar. You want the first shot to be pushed out the way by the wall and the final shot of her in the room to push the wall out the way.

    Or just smash a hole thru the wall and track through that.

    Tonga

  4. #4
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    I say smash a hole through the wall. Need a guide?

  5. #5

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    Agreed, far easier than all that other nonsense I wrote. LOL

    tonga

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