1. Let the camera create the atmosphere. The DSLR change has not just be available in the world of light, optics and rate, however also dimension. With such little cams you can shoot a lot smaller, in different rooms and also create a much more intimate environment. They less frighten the actors and also could fire with numerous at a time without bothering each other. All this has been key to the capturing of our movie as well as thanks to which we can shoot a movie in about as ambitious as limited and also as many areas as we had time.
2. The lenses are the key. Find a good photography director who understands them well as well as invest in good glasses. Make use of the one you need at every moment even if they are of various brand name but aim to give a uniformity to the movie. Regardless, after the impassion of numerous years of the digital cinema in which whatever was quite like the tv, the cinema has returned. Understanding exactly what narrative result each lens creates with its opening as well as diaphragm aperture variants is just one of the most essential tasks for a supervisor.
3. Place. Location. Place. If you do not have the money to have a great deal of lighting devices or electronic camera, pick a suitable area, already have an atmosphere, inform you something, that permits you to add layers to the story, is nearly 50% of the film. Tarkovsky talked a lot about the value of developing the ideal atmosphere in the collection since all that was then transmitted via the actors as well as professionals to the unfavorable. It is just one of the reasons I determined to shoot in Latvia as well as Russia as opposed to Spain as well as I firmly think that it is exactly what has made wild film appearance just how great it looks, that it is 100% reputable. No matter just how much time you spend situating or just how much you invest in a location scouter, it will be worth it.
4. neutral strip. This advice provided by PJ Raval, which refers to shooting in one of the most neutral way feasible to have even more choices later on in postproduction is one of the few with which we are only partly agree. My photography director Luis Enrique and I decided to look for a fairly final search video camera, as well as leave as little as feasible for the postproduction. Partially because we were filming with 5D and 1D, they have much less rank when it comes to postproducing and also etching, partly due to the fact that we feel that the magic that is developed in a collection is hardly equivalent to what is experienced in an editing and enhancing room, So we wished to let the picture ended up being soaked with what we really felt in those moments pertaining to the light, our mood and also our atmosphere. (On the other hand,
5. Embrace your constraints. Which happens the same as the standard: If you can not with your enemy, join him. It is, I believe, the guidance that every director and PDO should keep in mind repeatedly, and also not just use it to his work but try to have his team recognize it as well. In The Cosmonaut, for instance, we had a limited budget plan constraint, which restricted the opportunities of the art group, possible lights and also costumes. Among the main decisions we made was to shoot all the insides with lengthy focal lengths ( never ever less than 50mm and generally 85mm onwards). The result is stunning and also motion picture and in almost no time at all the absence of methods is visible.