Worked with a dude who had been a focus puller for 15 years. Didn't even look at the monitor and just the guessed the distance from camera to subject. When I saw dailies (I was DIT) the actors eyes were tack sharp. Frickin' wild man...
Had a project a few years ago where an experienced old-school focus puller struggled on a "modern" shoot. Unrehearsed technocrane shot with a wide open T1.5 longer lens on a VV sensor.. Meanwhile outperforming new age focus pullers on other shots. Just goes to show how the job has changed with the digital age.
I've been watching behind the scenes of movies for over 25 years on VHS, DVD, and other formats because I love movies and the process of Filmmaking and this channel has gone a lot more in depth into what Filmmaking is and breaking it down in it's different fields. Having several learning disabilities and being mostly dumb all my life learning at school I felt like a complete failure at learn anything, I'm 40 and I still have a huge passion for Filmmaking, been wanting to get into any field in filmmaking since I was a teenager and still find it very difficult because I lose focus a lot and my brain gets confused, but I'm learning so much from this channel at my own pace and I really appreciate it.
Just finished my first 1st AC job outside my film school! Was very stressful as I'm 19 and all the crew members were 4th year university students 5 years above me, but as the days progressed i got better at focus pulling and it was great! Thank you IDC for being our mentor in this extremely stressful job, you really make me feel proud of the AC job😄
hey man, congrats on making it into a set! that in itself is a very big accomplishment and you should be very proud of that. i’ll be honest and say you motivated me, so i have a question. im also 19 and my dream profession is to be a cinematographer. im in my 3rd semester of college and i feel as tho it’s just in my way and i have no time to practice filming, not to mention i still need to work on networking to get a team going. i was wondering what age did you start film school, and what was the process of getting a position on a set? still learning a lot but i hope to begin creating stuff on youtube and then expanding my name. thanks man.
@paperstacksfilms good luck! Just try to learn and show your good side without being to hard on yourself and let every little mistake ruin your mood and performance for the rest of the shooting
I’d love to see a video explaining exactly how crew people get paid, where does that money come from, etc. I wanna have a better understanding of the business end of filmmaking, which it seems there’s virtually no info about online, as far as I can tell
That’s part of the producing department. On a skeleton crew with one producer, they will be in charge of this. On a larger project with a production office, there will be an entire department dedicated to this. On a short project you get paid at the end of the project. On a longer shoot you will get a check periodically just like you would any other job.
I'm a guy with big dreams of making movies. I finally started my first semester of film school this year. Thank you for making these videos! They're invaluable for me! Keep up the fabulous work! 👌
1 AC along with the script coordinator are in my opinion the most stressful jobs. So much to do at once and if you don't do your job right you can ruin an entire shooting day and the work of hundreds of people in 1 take
It irritated me when other crew members would criticize me for not being more sociable on set. There is absolutely NO TIME for chatting. If the camera isn't rolling the AC is running for equipment or setting up the camera for the next shot. The only breaks come during big lighting changes, or long actor rehearsals. On one set I acquired the nick-name Casper the Friendly Ghost, because I was there but I was not there - never heard from.
1st AD would like a word ;) I have done both but maybe being a 1st AD for me has been more stressful because I place myself into a position where I know everything that is happening at once and I am usually trying to work ahead of the crew to make things go smooth. I don't think the crews I have worked on notice how much I am doing in the background. It's important to honor people as a first AD and I find it rare to find good AD's that actually are working alongside the crew and not just shouting "we have 5 min people". I can push people along respectfully without making them feel pressure, and if I am calling out that we are behind, that's my fault at that point because I didn't read the set issues beforehand to head it off.
Ive seen alot of these videos before. As a 2nd AC this one is spot on. No BS. I discovered all of this the hard way; through stressfull days at work and alot of time. This is the best video for those interested in the camera department. Welldone.
I've watched/kept up with all of your videos. This seems like such a simple and straight forward video but as someone who is still at the DIY level of filmmaking, this is very eye opening and very educational. I'm still learning about the many roles on a film set and they all deserve so much respect and admiration for their craft and skillset. I've heard of talented and well known cinematographers praising their focus pullers and your video thoroughly explains why. Thank you for all you do! I especially love the 3 budget level videos or how to film on a budget.
Worked as both 1st and 2nd AC many, many years ago, when the only option was attaching a measuring tape to the focal plane hook on the camera and hoping for the best. Even though I'm a DOP/Director these days, I don't miss that fear of rushes coming back out of focus!
An aware Operator can usually tell when a shot is soft or buzzed. Usually the conversation after a shot was to first ask the operator how it looked, then they would ask me how I felt. It's like, "Well I think I hit my marks..." Then it was a final look at my depth of field charts for a little extra confidence.
One other important tip : is to always keep your ears open and pay attention to what is happening even while you are off set. Things change very quickly, and while you are on your way to the equipment truck to get some requested gear, they might change their mind. Whenever I was away from set, I was always listening for the AD's voice for any indication of what was happening. Also, practice guesstimating distance at home. Just walk around the house guessing the distance to various things, then measure it.
Dune is such a great movie! And of course as this video shows it looks beautiful! Every shot makes the landscape look so big! Especially when they show the sand worms!
Again, you've managed to bring something most other film channels don't cover and no other channel does better. You deserve all your subscribers and more. Also, as a joke, this all made me think of John Wick: "a man of FOCUS, commitment, and sheer will."
Thank you soo much for this informative video for Focus puller. Usually i watch this video again n again for my concentration. all the best wishes for every focus puller in the world....
Great video! I'd say a 4th reason AF is not used is that Cinema lenses, the ones built for heavy duty and that have specific visual characteristics, don't have AF. If a film needs the look of Super speeds or even modern Supreme primes, you'll use those, not a Sigma with AF.
As a camera trainee, one of the things I ask the focus pullers I work with, is how do they deal with the stress of focus pulling, and all of them answer the same: focus pulling itself isn’t the most stressful part of the job. Whilst certain shots are obviously stressful, overall once you get the feel for it, it can become like an unconscious movement. Especially with tools like Preston systems being able to standardise wheel travel with their rings, so every lens feels the same distance wise. Hoping the camera is ok, and praying that some random technical glitch doesn’t come up prays on them far worse. Hoping that for whatever reason, that d box doesn’t fail on a hundred thousand dollar shot, or having a card fail and everyone looking at you until a DIT can go through and look at it… or having a DOP strong arm you in to using equipment incorrectly to get the shot they never planned for… that’s what keeps them up all night. When something goes wrong with the camera, all 150+ eyes on a set look to the technician responsible to come up with a quick solution.
Oh God I’ve seen the A-Cam DBox short out while on a Giraffe Crane during a riot scene with 100 extras,our B-Cam was on 25’ of Dolly tracks so at least got some coverage out of that mess
can you make a video about the most essential camera equipment for a small budget production? e.g. extra batteries, how many sd cards, gimbal,.. that would be awesome with your experience!!
love your videos.. the black and white shots.., with Steve Buscemi playing a director on a film set..., what movie is that from..?? I need to see that..! lol looks interesting. thanks as always : )
This was a super good video! Thought it would be worth adding a note on PEAKING tho. It’s a monitor setting that highlights parts of the image that are in focus. Very commonly used on the focus pull screens as an extra way of knowing what is in focus. Cheers!
One of my favorite movies was Donald Sutherland and Jane Fonda’s 1971 movie “Klute.” Many of the scenes were shot with an unexplained and extremely out of focus nearly unseen figure at the far-far edge of the frame. It seemed to be shot with a longer focus length to have the scenes appearing to be seen from a distance. This blurry seemingly voyeuristic figure spying in on the various scenes became a major plot twist in the thrilling story. Gordon Willis had a focus puller that did a very effective job.
I wonder is the blurred voyeur scenes were really tack sharp focus or were slightly soft focus to accentuate the effect that the viewer was watching from a distance through an outside window? However it was done it certainly worked.
So for that example at 8:30, would you use a 5 stop nd filter?? If you could ever go in depth (see what i did there) on the maths and calculations done for exposure and how to quickly apply it, that would be awesome!
Lets say you have no filter and the exposure looks good at T11 but the DP wants to shoot at T2.8 Thats a 4 stops difference (2.8 4 5.6 8 11) (you divide the ND number by 3, so ND12 blocks 4 stops) You would use an ND 12 ND3 blocks 1 stop - ND6 2 stops - ND9 3 stops, etc..
I tried to pull focus on a 200mm lens following an FA18 lowpass flyby. I had to try and do it all myself. I got so incredibly frystrated and disappointed at the outcome. I could have done with a focus puller to help
IDC, would love to buy some of your merch to wear on set but its unfortunate you dont offer any of the t shirts in black. grey is fine enough I guess but black would be preferred
New you would know your stuff when I saw the Fatmax. Nine years and counting for me working camera dept. Question: is "lacing" the film a common expression in your country? In the US we call in "threading". Btw, the XL2 like the one at 11:27 is one of the harder 35mm cams to thread.
People keep praising the camera work of Dune. Generally it was of course good but I had several issues. Especially sometimes the way backgrounds were diffused it verged almost in annoying territory. Was the focus adjusted in post maybe? It looked off.
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Thank you so much for the great video. I have some questions that I suggest can be asked in the next videos. How and who lights up the set? The director of photography? He chooses the type of lighting or does he have someone who does it. Who is responsible for equalizing light during a feature film?
The gaffer does. They're the head of the electric department, responsible for coordinating alongside the grip department to achieve a specific lighting style (decided upon by the DP and themselves prior to production). The artistic relationship between DP and gaffer is really special, and one I think that often is underrated. Gaffers can quite literally make or break a film's look. Bad lighting will make even the best camera and lenses look terrible.
Also, a small thing I noticed in your question - you used the pronoun "he" before talking about the DP. Friendly reminder that myself and other women are out here working as DP's in the industry. I'm sure it wasn't intentional, but it does give the underlying impression that it is a 'man's job' - something that myself and others are working hard to change.
3 ปีที่แล้ว
@@caitlinbevington6240 sorry. I’m from brazil and my english are poor.
Please make a video like this about gaffers. This was super informative even though I have been working in camera dept. for many years I still learned from it. Also what is the name of that movie with Steve Buscemi?
I've done one on gaffers: th-cam.com/video/ZOPta0NgWZQ/w-d-xo.html The movie with Steve Buscemi is Living In Oblivion. It's pretty hilarious. Worth checking out.
"Loader" refers to loading film into the camera magazines, not loading the magazine onto the camera. The 2nd AC rarely touches the camera unless instructed. When I started out I took a job as a volunteer AC {unpaid) on a low-budget feature. The DP was a stick-in-the-mud Union Operator who had a god complex. I was keeping camera reports and recording the footage count. Between takes the 1st AC was busy and didn't give me the footage number, so I gingerly stepped up to the camera and pressed the footage button (Arri BL 3). The DP scowled at me, and said, "Thats the last time you will ever do that again." Even though he was a dick about it, he was right. I should have just asked him for the number, or waited for the 1st AC. On more regimented bigger budget Union sets, job positions and hierarchy is very strict. Random people can't be touching the camera or looking into the viewfinder (big no-no without authorization).
What are those matte boxes for? If there are 4-5 people required to handle the camera, did any madlad decide to do it all on his own? If he did how did he break the rules and stuff? Thanks brother. (sorry im a big noob)
To block unwanted direct light sources from messing with the lens (creating lens flares), and also as a place to put lens filters (ND filters, glow filters, etc). It also makes your production look more professional.
Depending on the shoot - not always you have a full camera crew. On smaller projects I have worked alone - built camera, pulled focus, rigged camera, copied material etc... But on a movie set you'll usually see a full crew (focus puller, 2nd AC, video assist, DIT...) Just so thing go smoothly and everyone can do their job at 100%
All other department heads get a 10 min video while the guy who buries his head in monitor all day and plays with his little dial gets 17 minutes ?? 🤣🤣
Did anyone else think that the focus pulling on dune was…off? I can’t imagine they didn’t make an error, and it was their creative choice, but sometimes it looked off.
Combination of large format cameras and anamorphic lenses creates VERY THIN depth of field, which is a painful situation for focus pullers, but maybe its the look theyre looking for.
@@Dennis94913 while I haven't seen Dune, yet, but from my experience Anamorphic lenses on large format cameras exaggerate the focus falloff towards edges of the frame. Even on 35mm sensor Cooke Anamorphic lenses 75mm you can clearly see that while middle of the frame is sharp - top and bottom at the same plane are soft.
@@Pukkah I believe this is what people are complaining about - I didn't notice any glaring focus issues while watching Dune. This falloff is something you'll also notice on the netflix show YOU - the look of the Todd AO lenses they used was almost tunnel-vision like. Personally I like the look - it gives it more texture and depth that's often lacking with digitally shot images, but to each their own.
@@caitlinbevington6240 The Todd AO look in YOU is either loved, hated or unnoticed. But that's such a niche lens set, with only two worldwide and both located at LA. With lenses like these you have to be mindful of your framing. Pulled focus on two feature films this year using Cooke Anamorphic SF's and I can't even count how many times I whispered DP to frame up and give a little headspace, just so you don't have sharp teeth and soft eyes or vice versa.
I disagree that a focus puller is 'faster' than autofocus but everything else checks out. Sony's more recently released cinema cameras have great auto focus systems that make the art of shooting so much easier and more accessible.
Worked with a dude who had been a focus puller for 15 years. Didn't even look at the monitor and just the guessed the distance from camera to subject. When I saw dailies (I was DIT) the actors eyes were tack sharp. Frickin' wild man...
amazing. Mind if I ask, what are dailies? Like the daily review of the shots captured?
@@ScottyGibsonn dailies is what is shot during a given day. Typically they are collected and a review is provided for the client.
He prob use t4 aperture. I dont think he'd be able to do as sharp as that with wider aperture. But maybe he has superpower
@@TheOrisya haha possibly! It was a pair of wider lenses. A 20mm and 35mm. So that does make it easier overall
Had a project a few years ago where an experienced old-school focus puller struggled on a "modern" shoot. Unrehearsed technocrane shot with a wide open T1.5 longer lens on a VV sensor.. Meanwhile outperforming new age focus pullers on other shots.
Just goes to show how the job has changed with the digital age.
I've been watching behind the scenes of movies for over 25 years on VHS, DVD, and other formats because I love movies and the process of Filmmaking and this channel has gone a lot more in depth into what Filmmaking is and breaking it down in it's different fields. Having several learning disabilities and being mostly dumb all my life learning at school I felt like a complete failure at learn anything, I'm 40 and I still have a huge passion for Filmmaking, been wanting to get into any field in filmmaking since I was a teenager and still find it very difficult because I lose focus a lot and my brain gets confused, but I'm learning so much from this channel at my own pace and I really appreciate it.
It’s ok we’re mostly dumb here on set too
You might not want to be a focus puller if you tend to lose focus early.
Just finished my first 1st AC job outside my film school! Was very stressful as I'm 19 and all the crew members were 4th year university students 5 years above me, but as the days progressed i got better at focus pulling and it was great! Thank you IDC for being our mentor in this extremely stressful job, you really make me feel proud of the AC job😄
hey man, congrats on making it into a set! that in itself is a very big accomplishment and you should be very proud of that. i’ll be honest and say you motivated me, so i have a question. im also 19 and my dream profession is to be a cinematographer. im in my 3rd semester of college and i feel as tho it’s just in my way and i have no time to practice filming, not to mention i still need to work on networking to get a team going. i was wondering what age did you start film school, and what was the process of getting a position on a set? still learning a lot but i hope to begin creating stuff on youtube and then expanding my name. thanks man.
First 1st ac job tomorrow. Usually I'm directing and dping so it's a bit stressful being in this role for the first time but I'm sure I'll pull thru
@paperstacksfilms good luck! Just try to learn and show your good side without being to hard on yourself and let every little mistake ruin your mood and performance for the rest of the shooting
@@paperstacksfilms how’d it go???
@@tasty0rang3 pretty ok the director was a bit of a dick but the overall experience and things learned were dope.
I’d love to see a video explaining exactly how crew people get paid, where does that money come from, etc. I wanna have a better understanding of the business end of filmmaking, which it seems there’s virtually no info about online, as far as I can tell
Same
That’s part of the producing department. On a skeleton crew with one producer, they will be in charge of this. On a larger project with a production office, there will be an entire department dedicated to this. On a short project you get paid at the end of the project. On a longer shoot you will get a check periodically just like you would any other job.
We get paid the same as in any other industry. Either from payroll or invoice.
@@barrydoyle7686 is the yearly salary for a cinematographer still about $40k/yr?
@@CarlCyborg No, cinematographers are very well paid, depending on their profile. Anywhere between $3k and $30k a week.
You never stop learning, I love these videos
Im always having issues describing my job, from now on im just gonna send them this video. Really accurate, even in the technical parts. Great job
I'm a guy with big dreams of making movies. I finally started my first semester of film school this year. Thank you for making these videos! They're invaluable for me! Keep up the fabulous work! 👌
Congrats! That’s awesome !! You got this just stick with it
1st AC here - very impressed with the detail and quality of info in this. wouldve loved a video like this when I started - well done!
1 AC along with the script coordinator are in my opinion the most stressful jobs. So much to do at once and if you don't do your job right you can ruin an entire shooting day and the work of hundreds of people in 1 take
That's what makes it fun ;)
It irritated me when other crew members would criticize me for not being more sociable on set. There is absolutely NO TIME for chatting. If the camera isn't rolling the AC is running for equipment or setting up the camera for the next shot. The only breaks come during big lighting changes, or long actor rehearsals. On one set I acquired the nick-name Casper the Friendly Ghost, because I was there but I was not there - never heard from.
1st AD would like a word ;) I have done both but maybe being a 1st AD for me has been more stressful because I place myself into a position where I know everything that is happening at once and I am usually trying to work ahead of the crew to make things go smooth. I don't think the crews I have worked on notice how much I am doing in the background. It's important to honor people as a first AD and I find it rare to find good AD's that actually are working alongside the crew and not just shouting "we have 5 min people". I can push people along respectfully without making them feel pressure, and if I am calling out that we are behind, that's my fault at that point because I didn't read the set issues beforehand to head it off.
Ive seen alot of these videos before. As a 2nd AC this one is spot on. No BS. I discovered all of this the hard way; through stressfull days at work and alot of time. This is the best video for those interested in the camera department. Welldone.
I love your channel so much. The technical knowledge makes me appreciate film even more.
I've watched/kept up with all of your videos. This seems like such a simple and straight forward video but as someone who is still at the DIY level of filmmaking, this is very eye opening and very educational. I'm still learning about the many roles on a film set and they all deserve so much respect and admiration for their craft and skillset. I've heard of talented and well known cinematographers praising their focus pullers and your video thoroughly explains why. Thank you for all you do! I especially love the 3 budget level videos or how to film on a budget.
1st AC was genuinely the most stressful job I've ever had. For the record I'd worked in a busy kitchen prior to that.
So you moved to a less stressful career, such as bear fighting or crocodile back scratcher. I understand.
Great explanation! Thanks a lot and props to use footage of heat for example! A masterpiece.
Worked as both 1st and 2nd AC many, many years ago, when the only option was attaching a measuring tape to the focal plane hook on the camera and hoping for the best. Even though I'm a DOP/Director these days, I don't miss that fear of rushes coming back out of focus!
An aware Operator can usually tell when a shot is soft or buzzed. Usually the conversation after a shot was to first ask the operator how it looked, then they would ask me how I felt. It's like, "Well I think I hit my marks..." Then it was a final look at my depth of field charts for a little extra confidence.
One other important tip : is to always keep your ears open and pay attention to what is happening even while you are off set. Things change very quickly, and while you are on your way to the equipment truck to get some requested gear, they might change their mind. Whenever I was away from set, I was always listening for the AD's voice for any indication of what was happening.
Also, practice guesstimating distance at home. Just walk around the house guessing the distance to various things, then measure it.
I love this. Can you also please make video how Denis Villeneuve how he use digital cameras and transferred to 35mm film and back again to digital?
Dune is such a great movie! And of course as this video shows it looks beautiful! Every shot makes the landscape look so big! Especially when they show the sand worms!
Again, you've managed to bring something most other film channels don't cover and no other channel does better. You deserve all your subscribers and more. Also, as a joke, this all made me think of John Wick: "a man of FOCUS, commitment, and sheer will."
Thank you soo much for this informative video for Focus puller. Usually i watch this video again n again for my concentration. all the best wishes for every focus puller in the world....
Great video! I'd say a 4th reason AF is not used is that Cinema lenses, the ones built for heavy duty and that have specific visual characteristics, don't have AF. If a film needs the look of Super speeds or even modern Supreme primes, you'll use those, not a Sigma with AF.
As a camera trainee, one of the things I ask the focus pullers I work with, is how do they deal with the stress of focus pulling, and all of them answer the same: focus pulling itself isn’t the most stressful part of the job.
Whilst certain shots are obviously stressful, overall once you get the feel for it, it can become like an unconscious movement. Especially with tools like Preston systems being able to standardise wheel travel with their rings, so every lens feels the same distance wise.
Hoping the camera is ok, and praying that some random technical glitch doesn’t come up prays on them far worse. Hoping that for whatever reason, that d box doesn’t fail on a hundred thousand dollar shot, or having a card fail and everyone looking at you until a DIT can go through and look at it… or having a DOP strong arm you in to using equipment incorrectly to get the shot they never planned for… that’s what keeps them up all night.
When something goes wrong with the camera, all 150+ eyes on a set look to the technician responsible to come up with a quick solution.
Oh God I’ve seen the A-Cam DBox short out while on a Giraffe Crane during a riot scene with 100 extras,our B-Cam was on 25’ of Dolly tracks so at least got some coverage out of that mess
They must be using a RED xD
@@TehMr That sucks.. happened to me too .. luckely we a back up Dbox and fuses
I had no idea any of this existed and it's fascinating.
The first time I was in a set, I was the cinematographer, DoP, first AD and a focus puller! Shit was so stressful I had panic attacks!
Love this channel and series. Great work 😉
can you make a video about the most essential camera equipment for a small budget production? e.g. extra batteries, how many sd cards, gimbal,.. that would be awesome with your experience!!
You really earned a new subscriber with this very informative video. Amazing stuff! And: this job is really under appreciated.
Great content.
Wow, I had no idea. makes ne appreciate the role so much more.
love your videos.. the black and white shots.., with Steve Buscemi playing a director on a film set..., what movie is that from..?? I need to see that..! lol looks interesting. thanks as always : )
nvrmd.. i see the sources at the end.. thanks tho
Thank you
This was a super good video! Thought it would be worth adding a note on PEAKING tho. It’s a monitor setting that highlights parts of the image that are in focus. Very commonly used on the focus pull screens as an extra way of knowing what is in focus. Cheers!
Going through film school rn these videos help so much
One of my favorite movies was Donald Sutherland and Jane Fonda’s 1971 movie “Klute.” Many of the scenes were shot with an unexplained and extremely out of focus nearly unseen figure at the far-far edge of the frame. It seemed to be shot with a longer focus length to have the scenes appearing to be seen from a distance. This blurry seemingly voyeuristic figure spying in on the various scenes became a major plot twist in the thrilling story. Gordon Willis had a focus puller that did a very effective job.
I wonder is the blurred voyeur scenes were really tack sharp focus or were slightly soft focus to accentuate the effect that the viewer was watching from a distance through an outside window? However it was done it certainly worked.
So for that example at 8:30, would you use a 5 stop nd filter?? If you could ever go in depth (see what i did there) on the maths and calculations done for exposure and how to quickly apply it, that would be awesome!
Lets say you have no filter and the exposure looks good at T11 but the DP wants to shoot at T2.8
Thats a 4 stops difference (2.8 4 5.6 8 11)
(you divide the ND number by 3, so ND12 blocks 4 stops)
You would use an ND 12
ND3 blocks 1 stop - ND6 2 stops - ND9 3 stops, etc..
Great Channel!!! Congratulations...
Wreat work!
Very very interesting stuff! Thanks a lot!
I tried to pull focus on a 200mm lens following an FA18 lowpass flyby. I had to try and do it all myself. I got so incredibly frystrated and disappointed at the outcome. I could have done with a focus puller to help
Love films... i love your videos even when i dont understand a thing explained
My cameras is super advanced, it focuses by itself
IDC, would love to buy some of your merch to wear on set but its unfortunate you dont offer any of the t shirts in black. grey is fine enough I guess but black would be preferred
Great video! Super informative and interesting to learn about - thank you!
Very well explained, thank you!
New you would know your stuff when I saw the Fatmax. Nine years and counting for me working camera dept. Question: is "lacing" the film a common expression in your country? In the US we call in "threading". Btw, the XL2 like the one at 11:27 is one of the harder 35mm cams to thread.
Do Video department next x
Pretty good, hey!!
i'd like you to talk about, using lidar for focus
good stuff, thank you!
People keep praising the camera work of Dune. Generally it was of course good but I had several issues. Especially sometimes the way backgrounds were diffused it verged almost in annoying territory. Was the focus adjusted in post maybe? It looked off.
Thank you so much for the great video. I have some questions that I suggest can be asked in the next videos. How and who lights up the set? The director of photography? He chooses the type of lighting or does he have someone who does it. Who is responsible for equalizing light during a feature film?
The gaffer does. They're the head of the electric department, responsible for coordinating alongside the grip department to achieve a specific lighting style (decided upon by the DP and themselves prior to production). The artistic relationship between DP and gaffer is really special, and one I think that often is underrated. Gaffers can quite literally make or break a film's look. Bad lighting will make even the best camera and lenses look terrible.
Also, a small thing I noticed in your question - you used the pronoun "he" before talking about the DP. Friendly reminder that myself and other women are out here working as DP's in the industry. I'm sure it wasn't intentional, but it does give the underlying impression that it is a 'man's job' - something that myself and others are working hard to change.
@@caitlinbevington6240 sorry. I’m from brazil and my english are poor.
@@caitlinbevington6240 thank you
De los mejores videos que he visto. Increíble. Muy útil, aprendí mucho. Gracias!
Tienes nuevo sub!
A+
Which movies is being used in this video?
Heat 🔥
Please make a video like this about gaffers. This was super informative even though I have been working in camera dept. for many years I still learned from it. Also what is the name of that movie with Steve Buscemi?
I've done one on gaffers: th-cam.com/video/ZOPta0NgWZQ/w-d-xo.html The movie with Steve Buscemi is Living In Oblivion. It's pretty hilarious. Worth checking out.
They use the peaking to know where is focus or they just trust their eye
Great series! Looking forward to further episodes!
What is the name film in example tutorial
Which is the best zero latency video transmitter for focus pullers?
I thought the 2nd AC was responsible for lacing film stock in the camera. The name of the job in the US is 'loader' after all
"Loader" refers to loading film into the camera magazines, not loading the magazine onto the camera. The 2nd AC rarely touches the camera unless instructed. When I started out I took a job as a volunteer AC {unpaid) on a low-budget feature. The DP was a stick-in-the-mud Union Operator who had a god complex. I was keeping camera reports and recording the footage count. Between takes the 1st AC was busy and didn't give me the footage number, so I gingerly stepped up to the camera and pressed the footage button (Arri BL 3). The DP scowled at me, and said, "Thats the last time you will ever do that again." Even though he was a dick about it, he was right. I should have just asked him for the number, or waited for the 1st AC. On more regimented bigger budget Union sets, job positions and hierarchy is very strict. Random people can't be touching the camera or looking into the viewfinder (big no-no without authorization).
Why can’t a computer controlled focus system do this automatically?
Konrad L. Hall, please tell us about him?
15:30 LIVING IN OBLIVION
What are those matte boxes for?
If there are 4-5 people required to handle the camera, did any madlad decide to do it all on his own? If he did how did he break the rules and stuff?
Thanks brother. (sorry im a big noob)
To block unwanted direct light sources from messing with the lens (creating lens flares), and also as a place to put lens filters (ND filters, glow filters, etc). It also makes your production look more professional.
Depending on the shoot - not always you have a full camera crew. On smaller projects I have worked alone - built camera, pulled focus, rigged camera, copied material etc...
But on a movie set you'll usually see a full crew (focus puller, 2nd AC, video assist, DIT...) Just so thing go smoothly and everyone can do their job at 100%
please de 2nd AC!!!!!!
Is there a channel similar to this for photography?? analog photography?
10:00 that fucking animal Blundetto
In what ways a cinematographer achieve depth in a shot ?
Meanwhile apple bring post shoot focus adjustment with AI and artificial blur😢 aka "Cinematic mode" in iphone 13pro max
Look at Lytro camera. When that thing becomes accessable and industry standard - I'm out of a job, well at least as a focus puller..
i love you
What was the movie he used as a visual example of a film crew?
@Owanneke thank you 🙏🏻
All other department heads get a 10 min video while the guy who buries his head in monitor all day and plays with his little dial gets 17 minutes ?? 🤣🤣
Why focus is most time on the ears in close up shots ?
Because usually focus pullers tend to focus a little too close, so they are overcompensating.
You have less them half an inche to work with, even the best sometimes make mistakes..
Did anyone else think that the focus pulling on dune was…off? I can’t imagine they didn’t make an error, and it was their creative choice, but sometimes it looked off.
I just thought it was too dark. It's been awhile since I went to a theater and got my eyes checked tho
Combination of large format cameras and anamorphic lenses creates VERY THIN depth of field, which is a painful situation for focus pullers, but maybe its the look theyre looking for.
@@Dennis94913 while I haven't seen Dune, yet, but from my experience Anamorphic lenses on large format cameras exaggerate the focus falloff towards edges of the frame.
Even on 35mm sensor Cooke Anamorphic lenses 75mm you can clearly see that while middle of the frame is sharp - top and bottom at the same plane are soft.
@@Pukkah I believe this is what people are complaining about - I didn't notice any glaring focus issues while watching Dune. This falloff is something you'll also notice on the netflix show YOU - the look of the Todd AO lenses they used was almost tunnel-vision like. Personally I like the look - it gives it more texture and depth that's often lacking with digitally shot images, but to each their own.
@@caitlinbevington6240 The Todd AO look in YOU is either loved, hated or unnoticed. But that's such a niche lens set, with only two worldwide and both located at LA. With lenses like these you have to be mindful of your framing. Pulled focus on two feature films this year using Cooke Anamorphic SF's and I can't even count how many times I whispered DP to frame up and give a little headspace, just so you don't have sharp teeth and soft eyes or vice versa.
DJI 4D says: on the brink of extinction kkk
Nah, can't teach lydar human emotions..
Did you work in Dune?? 😂😂😂
I disagree that a focus puller is 'faster' than autofocus but everything else checks out. Sony's more recently released cinema cameras have great auto focus systems that make the art of shooting so much easier and more accessible.
Going by marks and anticipating movement is faster than any autofocus system available at this time.
Autofocus cant choose the right eyelash to be on a 100mm T2 at 6' 😅
@John Lolll
@John yea nobody is gpnna paint or make music anymore.. Only ai art will remain 😂
Nice topic, but unfortunately the music style and volume in the background was annoying what stoped me continue watching after 2:30 minutes
What’s the movie showed in the video?