HA Podcast: Ep 53 Be Prepared

We are directing all comments and questions to our New Forum, please find the related course in the forum’s categories to submit.

Helen Rojas 14 days ago

Hello Shane and Lydia. Here’s a questions for the next podcast. I was traversing through the Academy and couldn’t find a whole lot of information about aperture choices. I know you cover focal length in some sections, but it was hard for me to come up with much about F-stop/ T-stops. There’s a ton of lessons I haven’t delved into, so I admit some lessons may still be unread by me, but just by using the site search bar I couldn’t source any dedicated lessons to it. Expressly, when designing your lighting setups, when is it decided which stop or stops will be favored and why? And what are the lighting challenges when mixing lens stops and focal lengths? Thank you for your answer in advance! Happy Holidays and New Year to all.

    • Shane Hurlbut, ASC    12 days ago

      @Helen Rojas HI Helen, That is a great idea, there is not much on aperture choices. I never loved deep focus, I feel it distracts the audience from where you want to direct the audience. My rule of thumb for action is to be at 2.8 and a half. This gives the viewer enough depth of field to take the quick action in. For drama I love a 2.0 aperture on all lenses up to a 50mm, it really works so nice, then when I go into CU I usually give the focus puller a 2.8 or a 4.0 aperture. This also keeps the Depth of Field consistent, because the longer the lens the shallower depth of field. I use Neutral Density so I light the scene to a 4.0 aperture, but I add ND to all the wide shots and medium to keep it at a 2.0 aperture and then pull the ND for the Close ups. Hope this helps Helen

PageHorton 11 days ago

Shane are you no longer doing the PodCast? This seems to be the last one. I hope not I play them when exercise or riding the train.I am walking.

    • Shane Hurlbut, ASC    9 days ago

      @PageHorton Hi Page, The podcasts will be back. I have been on a movie and Lydia and I have also been dealing with many aging parents. Don't you worry.

    • PageHorton    8 days ago

      @PageHorton Shane, sorry about the aging parents. I have three and, like you, none live in town so everything is done via phone - yuk. Hope your film is going well. Take care !

Jimross 15 days ago

Thanks for answering my question. I guess I could also continue to build the crew I use so that if some are not available if the day changes I can call on others if some of my original crew can’t make it. But I think I see the major consideration is – getting your crew to understand that “if you won’t be flexible there are 10 people who are and who wanting to take your place” – not meaning to sound cruel but that is reality so you better realize that and work with it because that is reality to the client.

    • shanehurlbutasc    14 days ago

      @Jimross Hi Jimross, You are exactly right, that is what Lydia and I wanted to convey.

    • Jimross    11 days ago

      @Jimross You're right! I should have said "But I think I see that YOUR suggestion that the major consideration is -" LOL! I got it. Thanks buddy! And than YOU Lydia!