I'm shooting a commercial next week with the Revolution Lens system, which
will be the first time I've used it. To those who have experience with
it, is there any disadvantage to using the lenses that come with it ?
Would it be better to get a separate set of primes ? It has a PL mount.
With it's own lenses, would it be possible to attach a clip-on matte box
Here's the main question though. We're shooting a miniature set of a large
junkyard. This will be full of toy cars, the Matchbox / Hot Wheels size,
about 1/60th scale as far as I can guess. The director wants it to be
slightly unreal, these cars will no way pass for the real thing. Anyway,
in all other respects it should look as realistic as possible. The set
will be about 30' x 20' and we'll be slowly tracking along the side of
it and ending on a small building. Nothing on the set will be moving,
only the camera. I had been planning to over crank it, and while looking
up the archives, came across a formula posted by Wade Ramsey. Basically
the square root of the scale of the model is multiplied by 24 and this
gives you your theoretical shooting speed. If I apply it to 1/60th scale,
I get a square root around 7.75 and end up at 186 fps. Not going to happen
with the Arri 3 I'll be shooting on.
Any suggestions at what speed to shoot this? It's primarily a cinema commercial
so post production trickery should be at a minimum. The shot should take
about 25 seconds to track the length of the model set. I had thought of
shooting at 48 fps for smoothness, and doubling the speed of the dolly.
Would there be a benefit to shooting with a 90 degree shutter or 45 degree
Just thinking now, I may have to persuade the director to shorten the
length of the move, to prevent strobing.
Thanks for any advice,
>Nothing on the set will be moving,
only the camera. I had been >planning to over crank it
There's no reason to over crank a shot of a static miniature, since nothing's
moving in-frame that needs to be given a sense of mass & scale (like
water flowing or an explosion or dust flying up, etc.). In fact, often
this sort of thing is done with a (very smooth & slow-moving) motion
control camera UNDER-cranking in order to allow the lens to be stopped
down to increase depth-of-field.
Cinematographer / L.A.
I LOVE the revolution system!
I have used both the mini-PL primes which come with the package as well
as using my own Cookes on the revolution...I think the mini-PLs are pretty
good, I did notice a bit of lower contrast on the 9.8mm mini-PL, but overall
they seemed to match, at least as well as the telecine displayed.
Sounds like you are doing a film finish...does that mean direct printing
or a telecine session which is eventually scanned back to film?
>There's no reason to over crank
a shot of a static miniature, since >nothing's moving in-frame
that needs to be given a sense of mass & >scale
I agree....to some degree, but I've had situations where I find I can
shoot static action with only camera moves quite a bit more graceful if
I over crank...40 fps is a favourite speed for me, just enough to take
the edge off, give it a bit of grace and stay within a safe frame-rate,
it really helps the camera operating.
I believe this will also even out any small dolly dilemmas...seems to
work pretty good. Of course you have to sit down with the script clerk
and try to explain the 66% time-shift.
Always a great way to screw up a too short crew lunch!
Jeff Barklage, s.o.c.
Formulas are great...provided you use them to answer the right questions
As David has pointed out, if there is no movement within the scene (other
than your camera movement) there is no reason to over crank. What you
WILL have to do, however, is build up a fat enough stop so that the depth
of field looks realistic.
Think of it this way :
If you are a 5 feet from a car then usually the whole scene including
the car can be in focus. That means that if your car is 1/60th scale,
you would have to hold focus from 1 inch on (since 1 inch is 5 feet at
1/60th scale. This is just a mathematically easy example, you will have
to do the math yourself based on what is in your scene. Depending on what
the camera move is, you may well want to use motion control to move the
camera so you can work at slow enough exposures to get you the depth of
field that you need.
Re : the revolution :
One advantage of the small diameter lenses that come with it is the ability
to get closer to the "ground" of your junkyard.
Mark H. Weingartner
Lighting and VFX for Motion Pictures
Mark Weingartner wrote :
>Depending on what the camera
move is, you may well want to use >motion control to move
the camera so you can work at slow enough >exposures to get
you the depth of field that you need.
Everything Mark said AND think about scaling your move to a believable
travel distance in the frame count. Imagine your grip crew running at
full chat for 240 feet in 30 seconds. That's a mere 4 foot move at the
Should I mention nodal?
>Re: the revolution :
>One advantage of the small diameter lenses that come with
it is the >ability to get closer to the "ground"
of your junkyard