What if we told you that the future of filmmaking came in bits and bytes? It really does! That’s the reason 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 adopted is simply unbelievable.
Are you really worried about all that obsession? What you are looking to is receiving a telephone call from a producer, grab the gig, ensure it is to the set promptly, and there you go – do what you’re good at – pulling focus. It hardly makes a difference what camera you decide to showcase your great talent.
You can find three creative ways when adapted, make focus pullers survive in the digital cinema they’re so keen on. Well, dcp may seem like taking a walk in the park for you, but don’t you forget each of them will play their respective role in your path leading to a great career.
1. Comprehend Digital Procurement and Formats – There are several focus pullers who’re embarking on their journey leading to the world of the digital cinematography at this moment. It makes suddenly so clear that they will undergo the right training. Moreover, they will become proficient when operating an electronic camera.
Have you been in this game for quite some time? Then it is probably not the case. There are endless digital camera models that experienced a change from the grass root level. This is because these cameras were put into action by productions with an unhealthy budget.
As time passed by, the format was adopted a higher number 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 hardly any change in the work: Laying marks do not change, criticism still seems simple, and pulling focus isn’t smooth. But you need 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 much more.”
You always have to be prepared to cope with any problems (arising out of the blue). Maybe you won’t ever consider the notion of crack opening a digital camera to fix it during a shoot, it’s important that you can understand how it functions inside.
A focus puller has to 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 within their toolkit. Well, it depends on which kind of a camera a person 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. Of course, there’s overlap, but you must know that there’s gear that is specific to one format.
Here are some items which 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 know 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 steadily to work in this industry? Then you’ll have to make investments in the forms of tools you need which you can use for digital cameras specifically.
3. No Need to Work with More Rehearsal Time – 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 imperative to film crew. Once you practice a shot, it not merely helps you establish a flow but fix mistakes as well. Not only that, it’ll also assist you to shorten enough time actually spent when shooting.
Ed Colman, an exceedingly talented cinematographer, once said: “When you are told to ‘shoot the rehearsal’ it’s not a rehearsal anymore.” But the undeniable truth (sounding unfortunate) is that rehearsals are becoming 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. 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? Gets the slate been clapped? Well, you’re just about taking a plunge straight into Take One regardless of what you call it.
Want to maintain your existence in this industry for long? You then have to make certain you pick up all you need. You should even discover how to deal with the added pressure without rehearsals. However, you will see a constant dependence on rehearsals for several shots. And there will be times when you can have one.