What if we told you that the future of filmmaking came in bits and bytes? It surely 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 called First Assistant Camera or 1st AC, won’t hold an opposing view of the fact that DSLRs already outweigh the pros of film camera on the production lines. And the admiration with which they’re released and also adopted is simply unbelievable.
Are you really worried about all that obsession? What you’re looking to is receiving a phone call from the producer, grab the gig, ensure it is to the set promptly, and there you go – do what you’re proficient at – pulling focus. It hardly is important what camera you decide to showcase your great talent.
There are three creative ways when adapted, make focus pullers survive in the digital cinema they’re so keen on. Well, these adaptations might seem like going for a walk in the park for you personally, but don’t you forget each of them will play their respective role in your way leading to an excellent career.
1. Comprehend Digital Procurement and Formats – There are some focus pullers who’re embarking on their journey leading to the planet of the digital cinematography at this moment. It creates suddenly so clear that they will undergo the right training. Moreover, they will become proficient when operating a digital camera.
Have you been in this game for quite some time? Then it might not be the case. There are endless digital cameras that experienced a change from the grass root level. Simply because these cameras were apply by productions with an unhealthy budget.
As time passed by, the format was adopted a higher amount of prominent Hollywood productions. So, this implies that there are several 1st ACs who have very little experience with digital. Their experience is nearly next to none.
“In theory, there’s hardly any change in the job: Laying marks usually 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 should grasp the basics of how image sensors operate, which cameras shoot the many file formats and a lot more.”
You always ought to be prepared to cope with any problems (arising out of nowhere). Maybe you won’t ever consider the idea of crack opening a digital camera to fix it during 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 all things pertaining to the camera.
2. Create a Sound Investment in Digital Specific Gear – Decreasing question people ask is what gear they should have in 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 used for a digital camera. Needless to say, there’s overlap, but you got to know that there’s gear which is specific to one format.
Here are some items which focus pullers have in their bags which are stringently found 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 crucial 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 that can be used for digital cameras specifically.
3. No Need to Use More Rehearsal Time – More likely to criticize me because of this one? Remember that I’m working for you no matter what. Not merely do rehearsals play an essential role for focus pullers but they’re also essential to film crew. When you practice a shot, it not only helps you set up a flow but fix mistakes aswell. Not just that, it’ll also assist you to shorten the time actually spent when shooting.
Ed Colman, an exceedingly talented cinematographer, once said: “While you are told to ‘shoot the rehearsal’ it’s not a rehearsal anymore.” However the undeniable truth (sounding unfortunate) is that rehearsals have become 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. And when the rehearsals are increasingly being rolled on by these experts, they want to record it.
Gets the footage been thrown set for being shot? Has the slate been clapped? Well, you’re pretty much taking a plunge directly into Take One whatever you call it.
Want to sustain your existence in this industry for long? Then you have to ensure that you pick up all you need. You should even learn to cope with the added pressure without rehearsals. However, there will be a constant dependence on rehearsals for several shots. And you will see times when you can have one.