What if we told you that the continuing future of filmmaking came in bits and bytes? It really does! This is why why some follow focus pullers may find it hard to survive the continuing future of the digital cinematography.
Any experienced focus puller also known as First Assistant Camera or 1st AC, won’t hold an opposing view to the fact that DSLRs already outweigh the pros of film camera on the production lines. And the admiration with which they’re released together with adopted is simply unbelievable.
Are you really concerned about all that obsession? What you are looking to is receiving a phone call from the producer, grab the gig, make it to the set promptly, and there you go – do what you’re good at – pulling focus. It hardly makes a difference what camera you choose to showcase your great talent.
There are three creative ways when adapted, make focus pullers survive in the digital cinema they’re so fond of. Well, these adaptations might seem like going for a walk in the park for you, but don’t you forget all of them will play their respective role in your path leading to an excellent career.
1. Comprehend dcp and Formats – There are some focus pullers who’re getting into their journey leading to the world of the digital cinematography at this moment. It creates suddenly so clear that they can undergo the proper training. Moreover, they’ll become proficient when operating a digital camera.
Have you been in this game for a long time? Then it will not be the case. There are endless digital cameras that experienced a big change from the grass root level. The reason being these cameras were apply by productions with a poor budget.
As time passed by, the format was adopted a higher amount of prominent Hollywood productions. So, it indicates there are several 1st ACs who’ve not much experience with digital. Their experience is nearly next to none.
“In theory, there’s hardly any change in the job: Laying marks do not change, criticism still seems simple, and pulling focus isn’t smooth. But you need to comprehend a completely different group of technical information. Generally, you have to grasp the basics of how image sensors operate, which cameras shoot the various file formats and a lot more.”
You always must be prepared to deal with any problems (arising out of nowhere). Maybe you won’t consider the notion of crack opening a digital camera to fix it throughout a shoot, it’s important that you can understand how it functions on the inside.
A focus puller must be the (go-to) technical person for several things regarding the camera.
2. Create a Sound Investment in Digital Specific Gear – Decreasing question people ask is what gear they should have within their toolkit. Well, it depends on what kind of a camera an individual uses to shoot on.
P.S – The tools which are useful for a film camera seem unique of the ones being used for a digital camera. Of course, there’s overlap, but you must know that there’s gear that is specific to one format.
Here are some items that focus pullers have within their bags which are stringently used in digital productions:
Audio Cables and Adapters
USB Lens Light
MEMORY Readers (SD and CF)
Well, it’s good to learn information that none of the above-listed items are essential on a film set, but they’re good things to have (just in case).
Looking to continue steadily to work in this industry? Then you’ll have to make investments in the forms of tools you need which you can use for digital cameras specifically.
3. No Need to Work with More Rehearsal Time – More likely to criticize me for this one? Remember that I’m working for you no matter what. Not merely do rehearsals play a very important role for focus pullers but they’re also crucial to film crew. Once you practice a shot, it not merely helps you establish a flow but fix mistakes aswell. Not just that, it’ll also help you shorten enough time actually spent when shooting.
Ed Colman, an exceedingly talented cinematographer, once said: “If you are told to ‘shoot the rehearsal’ it isn’t a rehearsal anymore.” However the undeniable truth (sounding unfortunate) is that rehearsals are becoming a priceless entity.
With digital cameras, both directors and assistant directors feel there is no harm with regards to rolling on the rehearsals. Even producers think alike. So when the rehearsals are being rolled on by these experts, they want to record it.
Gets the footage been thrown in for being shot? Has the slate been clapped? Well, you’re just about taking a plunge straight into Take One regardless of what you call it.
Want to maintain your existence in this industry for long? Then you have to make sure that you pick up all you need. You should even figure out how to cope with the added pressure without rehearsals. However, there will be a constant need for rehearsals for certain shots. And you will see times when you can have one.