TY 04 <<烏蠅>> LOCATION:灣仔平CAN廚房,伯大尼惠康劇場 SHOOTING TIME : 27-28/3/2016 LIGHTING : DAYLight (indoor/ mix)
Camera: $ 2500 CANON C500 Camera Set ,24-70, 16-35, 70-200, 85 Lens $ 500 Tall Tripod + Short Tripod+ Hi-Hat $ 500 Track Straight X4 ,Track Curve X3 , Platform Dolly X1 $ 3000 Steadicam $ 500 17" HD LCD MONITOR $1000 wireless link
$1000 wireless SDI video link =$9000 Lighting: $600 LED Panel X 3 $ 130 650w x 2 $ 200 48” SINGLE BANK KINO FLO $ 600 JEM BALL 22” 1K x 2 $ 60 004 X6 $ 270 C-Stand Set X9 $100 4 WAYS POWER EXTENSION x 5+ 1 WAY POWER EXTENSION x 5 $ 80 Sandbag X8 $300 32A cable x6 $40 32Ycord+16Ycord $60 16A to 13A adapters x 6 $60 4-way extension x 6 $720 12 x12 butterfly set with frame $550 ARRI 575 $700 M 18 $1000 800 joker
=$ 5470 GRIP: $ 30 手夾X 3 $ 40 鷹爪 X 4 $ 40 天花夾X 4 $45 24”X36” Flag X3 $100 48“X48“ Flag X4 $25 24“ x 36” Silk $ 20 Single Net $ 25 Double scrim $ 60 Apple box set x 2 = $385
As any filmmaker or videographer can tell you, the real job of the productioncrew is to solve the various daily challenges that inevitably arise on set. Because believe me, there are always going to be challenges — and you will have to be prepared.
The best way to be prepared for potential issues is to stay flexible and creative. With that said, let’s take a look at a few handy production quick tips and DIY hacks that just might save the day on your next shoot.
1. Don’t Scout a Location By Yourself
Location scouting is a very important part of the production process. When you’re ready to scout your next potential film site, make sure you take the production manager/designer, cinematographer, and audio supervisor. You want these members of the crew there in order to judge if the location is manageable, filmable, and void of overwhelming noise pollution. They’re the experts — listen to what they say.
If you find yourself lacking a specific prop, don’t fret. 3D printers are a practical and increasingly common solution. In fact, as wild as it sounds, many of the props you saw during Star Wars: The Force Awakens were printed with a 3D printer. Check out this article from Scott J Grunewald about 3D prints in the latest Star Wars.
Does a scene in your film call for rain? Well, until weather-control technology improves, you’re just going to have to fake it. Fortunately, one of the most common artificial weather effects in film is rain.
As seen in the top image, the production crew from Noah used a massive rain rig for certain scenes in the film. While this setup is incredibly expensive, there are far more cost-effective options for indie filmmakers. If you need a cheap DIY rig, check out this video tutorial from Tom Antos and find out how to make it rain for around $15.
4. Use a C-Stand to Capture Sound
If you’re going it alone on your next shoot, but still need a hand with audio, then get a C-stand and a boom holder. With these two pieces of equipment, you can set your boom pole and mic up wherever you see fit.
This technique is great for interview scenes in a documentary film. The setup can also be used on narrative film sets, though its advantages are far less. You can get your hands on an Auray Boom Pole Holder for around $40 and an Impact C-Stand for around $142.
When looking over your shot list and script, you’ll find scenes that call for the camera to move within the space. Now, you can capture this movement with a slider, Steadicam, or dolly track. However, these options all cost considerable cash.
If you’re low on funds (and filming on a fairly smooth surface), then head over to your local Home Depot for a furniture dolly. Place your camera and tripod on this $20 tool and get a decent moving shot for very little money.
Known as the “Poor Man’s Process,” this is an easy way to capture car movement without ever putting the car in gear. As you’ll see in the video below, the Poor Man’s Process is where you leave the car stationary within the space, but you simulate movement by way of lights and other effects.
These other effects could include using a large fan alongside artificial rain or fog or anything that creates a sense of movement without actually moving the car. Filmmakers have been using this techniques for ages — it’s incredibly effective and allows you to visually control the scene much easier, versus filming in a moving car.
I’ve always liked natural lighting. I try to incorporate it as often as possible, versus using a set of lights. One way to do this is through a window. Using a window can be fantastic, especially when you add a reflector into the mix. The video below from The Slanted Lens demonstrates how to effectively use natural window light to capture amazing imagery.
Soft light can give you top-notch results when shooting talent, but many amateur DPs struggle with the basics. Use these illuminating tips to soften your shadows on set.
There’s no exact science to lighting talent, although most often soft lighting will be preferable over hard lighting. The reason, of course, is because hard, undiffused lights will cast harsh shadows on faces, exaggerating imperfections and flaws. Soft lights on the other hand, do the exact opposite.
Many first time DPs struggle to understand differences in light quality. As a result, they overlook some of the most basic fundamentals when on set for their first time. If this sounds like you, then read on! These three tips are essential to know when trying to create soft light.
This first point is probably the most obvious one on this list. Diffusion is one of the simplest and easiest ways to soften your light source. Whether you use a professional silk or simply clip some diffusion paper to your light, the quality of light you’re producing will change immediately. Just remember, adding diffusion is a great start — but it’s not the only way to affect the softness of your light.
The proximity of your lights to your talent has a huge impact on the softness of the shadows it produces. The closer your lights are to your talent, the softer the shadows will be. This is surprising for many first time DPs as they often assume that pulling the lights further back will soften the light. Though, in reality, that will only expose the talent less, while creating harsher shadows.
3. Make your source bigger.
The third main factor to consider about soft lighting is the size of your source. A large light source will always be softer than a small source. So whenever you can, use the biggest light source possible. This doesn’t necessarily mean that you need huge lights, but rather that you create a huge source — these are two different things. For instance, you may point a small light at a large piece of diffusion, which effectively makes the diffusion your new source (not the light) and the overall softness will increase dramatically.
Hopefully these tips will help you out the next time you’re lighting a shot. Now here are a couple of handy videos that delve a little deeper into the points above.
Video Lighting Technique: Turn a Hard Light into A Soft Light
This clip from izzyvideo offers really good insight into the differences between hard and soft light and presents ideas on how to best create softer shadows.
Soft Boxes 101: A Lighting Lesson
This video from The Slanted Lens covers the basics of working with softboxes and touches on several of the points discussed earlier in this post.