Any experienced focus puller also called First Assistant Camera or 1st AC, won’t hold an opposing view to the fact that DSLRs already outweigh the pros of film camera on the production lines. And the admiration with which they’re released along with adopted is simply unbelievable.
Are you really concerned about all that obsession? What you are looking to is receiving a phone call from a producer, grab the gig, make it to the set promptly, and there you go – do what you’re good 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 taking a walk in the park for you, but don’t you forget all of them will play their respective role in the journey leading to an excellent career.
1. Comprehend Digital Procurement and Formats – There are a few focus pullers who’re getting into their journey leading to the planet of the digital cinematography currently. It makes suddenly so clear that they can undergo the right training. Moreover, they will become proficient when operating a digital camera.
Have you been in this game for quite some time? Then it might not be the case. You can find endless digital cameras that experienced a change from the grass root level. This is because these cameras were apply by productions with an unhealthy budget.
As time passed by, the format was adopted a higher number of prominent Hollywood productions. So, this implies there are several 1st ACs who’ve very little experience with digital. Their experience is almost 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 isn’t smooth. But you need to comprehend a completely different set of technical information. Generally, you should grasp the basics of how image sensors operate, which cameras shoot the various file formats and a lot more.”
You always need to be prepared to cope with any problems (arising out of nowhere). Maybe you won’t consider the idea of crack opening an electronic camera to fix it throughout a shoot, it’s important so that you can understand how it functions on the inside.
A focus puller must be the (go-to) technical person for several things regarding the camera.
Create a Sound Investment in Digital Specific Gear – The most obvious 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 that are used for a film camera seem unique of the ones being 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 in their bags which are stringently used in digital productions:
Audio Cables and Adapters
USB Lens Light
Memory Card Readers (SD and CF)
Well, it’s good to learn information that none of the above-listed items are essential on a film set, but they’re good stuff to have (in the event).
Looking to continue steadily to work in this industry? Then you need to make investments in the forms of tools you need that can be used for digital cameras specifically.
3. No Need to Work with More Rehearsal Time – Likely to criticize me for this one? Remember that I’m on your side no matter what. Not only do rehearsals play an essential role for focus pullers but they’re also essential to film crew. dcp distribution Once you practice a shot, it not only helps you establish a flow but fix mistakes as well. Not just that, it’ll also assist you to shorten the time actually spent when shooting.
Ed Colman, an exceedingly talented cinematographer, once said: “While 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 camera models, 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 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 whatever you call it.
Want to maintain your existence in this industry for long? Then you have to make certain you pick up all you need. You should even understand how to cope with the added pressure without rehearsals. However, you will see a constant dependence on rehearsals for certain shots. And you will have times when you’ll be able to have one.
Don’t forget that there’s always 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.