What if we told you that the 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 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 as well as adopted is simply unbelievable.
Are you really concerned about all that obsession? What you’re looking to is receiving a telephone call from the producer, grab the gig, make it to the set promptly, and there you go – do what you’re proficient at – pulling focus. It hardly makes a difference what camera you choose to showcase your great talent.
You can find 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 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 currently. It creates suddenly so clear that they can undergo the right training. Moreover, they’ll become proficient when operating a digital camera.
Are you in this game for quite some time? Then it may not be the case. You can find endless digital cameras that experienced a 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 have not much experience with digital. Their experience is nearly next to none.
“In theory, there’s almost no change in the work: Laying marks usually do not change, criticism still seems simple, and pulling focus is not smooth. But you have to comprehend a completely different set of technical information. Generally, you have to grasp the basics of how image sensors operate, which cameras shoot the many file formats and a lot more.”
You always need to be prepared to deal with any problems (arising out of nowhere). Maybe you won’t consider the notion of crack opening an electronic camera to fix it during a shoot, it’s important so that you can understand how it functions inside.
A focus puller must be the (go-to) technical person for all things pertaining to the camera.
Make a Sound Investment in Digital Specific Gear – Decreasing question people ask is what gear they should have in their toolkit. Well, it depends on which kind of a camera an individual uses to shoot on.
P.S – The tools which are useful for a film camera seem different than the ones being used for a digital camera. Of course, there’s overlap, but you must know that there’s gear which is specific to one format.
Here are some items that focus pullers have within 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 stuff to have (just in case).
Looking to continue to work in this industry? Then you need to make investments in the types of tools you need that can be used 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 an essential role for focus pullers but they’re also essential to film crew. digital cinema Once you practice a shot, it not only helps you establish a flow but fix mistakes as well. Not just that, it’ll also help you shorten the 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’s no harm in terms of rolling on the rehearsals. Even producers think alike. So when the rehearsals are increasingly being rolled on by these experts, they would like 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 regardless of what you call it.
Want to maintain your existence in this industry for long? You then have to make sure that you pick up everything you need. You should even figure out how to deal with the added pressure without rehearsals. However, you will have a constant need for rehearsals for several shots. And you will see times when you’ll be able to have one.
Don’t forget that almost always there is be a desirable dependence on Focus Pullers or First Assistant Camera, and crew who’s well aware of the technical side of the camera are designed for it without hassles.
In the end, it’s you who has to judge how you’ll adapt yourself to the ever-changing industry.