PODCAST: EP 53 – GETTING THE MOST OUT OF YOUR GLASS
- March 4, 2019
- Shane Hurlbut, ASC
Every job you take on as a cinematographer will come with it’s own unique set of challenges, demands, and unseen circumstances. Preparing for the unthinkable is a skill every film department needs to have for the ship as a whole to set sail. One of most important steps in that process is making sure you’ve geared up for the right war. Don’t bring an anamorphic lens to a spherical fight.
First up we advise the business of having a backup plan. How do you negotiate days your client wants you to hold for weather when they don’t want to pay you for the days your holding? How do you reserve your crew when the possibility of other work looms on the horizon?
Now I’ve talked at length at how the lens is the emotion of the image. It’s the soul of the film you’re shooting. Bringing the wrong lens to your project is like trying to have a conversation in a language you don’t speak. It’s not gonna look right, and it’s not gonna feel right. In this week’s podcast, Lydia and I tackle various lens related questions from our listeners.
- Macro-photography lensing and lighting,
- Using a vintage lens to soften a modern sensor,
- And the great anamorphic vs spherical debate.
Bust out those focus charts kids: it’s time for Podcast 53.
QUESTION 1: (00:00:46 – 00:14:34)
Hey Shane and Lydia,
Shane you mentioned in one of the onset series Badlands episodes that you always have a fall back if the weather turns bad. If an outdoor shoot is scrubbed due to rain you fall back on an interior shoot so that no days are wasted. But what about your many commercial works. If the entire shoot is outdoors how do you schedule for it to take into account the weather? For example, here in Georgia if a client wants to shoot on a Wednesday and Thursday three weeks out they also want to reserve the whole week, that way as the date approaches we can just adjust to the two days that it won’t rain. But they don’t want to pay to reserve those days because they only want to pay for the two shooting days. However, you can imagine that in my freelance group of talented guys and gals they certainly don’t want to turn down work for those reserve days that they are not getting paid for.
How do you make your client happy and your crew?
Question 2: (00:14:44 – 00:20:47)
Hi Shane and Lydia,
Tips and tricks on macro shooting; Making props look larger than life. Any ideas? There’s an interesting lens coming out on a macro probe lens 24 millimeter that seems to make amazing techniques but won’t be out for a while. Is there a way to do this kind of shooting or similar shooting? Also very interested in how you approach lighting for studio macro shooting, depth of field is another ballgame in macro world. Any tips on this?
Question 3: (00:20:54 – 00:26:45)
Hello Shane and Lydia,
Next month I’ll be shooting a short film and I would like to buy some lenses for my EVA-1 camera. This camera has a super 35 sensor and I have read that using a full frame lens and a crop sensor will result in less resolution and not so sharp images; that it’s better to use APS-C lenses instead, is that true? If it is, what can I do about it? Also, what APS-C cinema lenses do you recommend for a limited budget?
Thanks for your advice and sharing your experience and knowledge which are priceless.
Question 4: (00:26:45 – 00:34:37)
Hi, Lydia and Shane
I hear it a lot when you shoot anamorphic you will never go back. I guess anamorphic has not been discussed a lot here. Shane what is your take on anamorphic? When you choose to shoot anamorphic when do you prefer to film spherical? Are there any budget choices for anamorphic that you could recommend as an investment? What do you think of the adapters that try to fake the anamorphic look?