What if we told you that the future of filmmaking came digital cinema in bits and bytes? It surely does! This is why why some follow focus pullers might find it hard to survive the future of the Digital Cinema tography.
Any experienced focus puller also called First Associate Camera or 1st AC, won’t hold an other 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 as well as followed is simply unbelievable.
Are you really concerned about all that delusion? What you’re looking to receives a phone call from a producer, grab the gig, make it to the set on time, and there you go : do what you’re good at : pulling focus. It hardly makes a difference what camera you may showcase your great talent.
There are three creative ways when designed, make focus pullers survive in the Digital Cinema they’re so attracted to. Well, these adaptations may seem like taking a walk in the park for you, but now don’t forget each one will play their respective role in your path leading to a great career.
- Comprehend Digital Procurement and Formats : There are some focus pullers who definitely are starting their journey leading to the world of the Digital Cinema tography currently. It makes suddenly so clear that they can undergo the right training. Moreover, they will become proficient when operating an electronic digital camera.
Have you been in this game for a long time? Then it may not be the case. There are endless cameras that experienced an alteration from the sod root level. This is because these cameras were put into play by production with a poor budget.
As time passed by, the format was followed a high number of prominent Showmanship production. So, what this means is that there are several 1st ACs who have little experience with digital. Their experience is practically 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 is not smooth. But you need to comprehend an entirely different set of technical information. Generally, you need to grasp basic fundamentals of how image sensors operate, which cameras shoot the various file formats and a lot more. inches
You always need to be prepared to deal with any problems (arising out of the blue). Maybe you won’t ever consider the idea of crack opening an electronic digital camera to fix it during a shoot, it’s important for you to know the way it functions on the inside.
A focus puller has to be the (go-to) technical person for all things pertaining to the camera.
- Make a Sound Investment in Digital Specific Gear : Raising question people ask is what gear they should have in their toolkit. Well, it depends on what kind of a camera a person uses to shoot on.
P. S : The know how that are used for a film camera seem different than the ones being used for a camcorder. Of course, there’s overlap, but you got to know that there’s gear which is specific to at least one format.
Here are some items that focus pullers have in their bags which are stringently used in digital production:
Audio Cables and Adapters
USB Lens Light
Storage device Readers (SD and CF)
Well, it’s good to know information that none of the above-listed items crucial on a film set, but they’re nutrients to have (just in case).
Looking to continue to work in this industry? Then you’ll have to make investments in the types of tools you need which they can display for cameras specifically.
- No need to Work with More Wedding rehearsal Time : Likely to criticize me for this one? Remember that I’m on your side no matter what. Not only do rehearsals play a very important role for focus pullers but they’re also crucial to film crew. When you practice an endeavor, it not only helps you establish a flow but fix mistakes as well. Not only that, it’ll also help you shorten the time actually spent when shooting.
Ed Colman, a remarkably talented cinematographer, once said: When you are told to ‘shoot the rehearsal’ it’s not a wedding rehearsal anymore. inches But the undeniable truth (sounding unfortunate) is that rehearsals are becoming a precious business.
With cameras, both directors and associate directors feel there’s no harm when it comes to going on the rehearsals. Even producers think alike. And when the rehearsals will be rolled on by these experts, they want to record it.
Has the video been thrown in for being shot? Has the slate been clapped? Well, you’re pretty much taking a jump straight into Take One regardless of what you call it.
Want to sustain your existence in this industry for long? Then you have to make sure that you pick up everything you should. You should even learn how to deal with the added pressure without rehearsals. However, there will be a constant need for rehearsals for certain shots. And there will be times when you’ll be able to have one.
Don’t forget that often there is be a desirable need for Focus Pullers or First Associate Camera, and crew who’s well aware of the technical side of the camera can handle it without issues.