Hey there.
Yes yes yes... But what did ANY of this have to do with me???
Despin out.
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Hey there.
Yes yes yes... But what did ANY of this have to do with me???
Despin out.
<font size="2" face="Verdana, Helvetica, sans-serif">I completely disagree. It's all worthless information being exchanged because the comments don't relate to any visual image. Any scene can be shot as a close-up with either a telephoto lens or in a wider mode but much closer up.Quote:
Originally posted by MatJimMood:
Alex,
no one else had a problem understanding what mods meant in his question and everyone else who replyed provided useful information.
WHY you choose to do it either way is inextricably linked to wardrobe, make-up, lighting, staging, props, cast size dialogue, script plot points, and even the actors age and physical characteristics.
Nigel's advice was actually off point because being close and wide doesn't necessarily mean wide angle lens, so his point about facial distortion was valid but not necessarily applicable to the original question. Nigel's comment was helpful, but not relevatory, and in the process somewhat confused the issue.
<font size="2" face="Verdana, Helvetica, sans-serif">I don't disagree with that, but my point about having this discussion revolve around actual image stills, still has validity.Quote:
Originally posted by MatJimMood:
the majority of the people on this board are still learning and teaching themselves filmmaking. by asking questions on this board and attempting things themselves they learn more about the overall process of filmmaking. so 'sharing the wealth' and hiring a DP isn't exactly an option most of the time.
<font size="2" face="Verdana, Helvetica, sans-serif">hahahahahaha.Quote:
Originally posted by MatJimMood:
besides, i don't think anyone would be bothered about how many times a name was repeated in the credits if the film was entertaining and well made.
<font size="2" face="Verdana, Helvetica, sans-serif">Do you think this was my first post here? My "putdown" was asked as a yes or no question, and could have been easily deflected by a simple no response.Quote:
Originally posted by MatJimMood:
if you started to share some knowledge on filmmaking without trying to put people down, i'm sure that people would appreciate it a lot more. With the success in festivals and with editing work you mentioned above you must have had a lot of experience and plenty of advice to give.
And of course, you've glossed over the part where I mentioned what a great topic this could be if it revolves around actual close-up images being VIEWED and then discussed rather than completely subjective non standard analysis of imagery that is as different from one person to the next as each person's imagination.
i still don't understand.
how does this relate to the film looking more impressive if you don't have your name in the credits much
what has this got to do with closeups?
...and what's this got to do with Despin?
roflmao.
As mentioned. If you are close to the subject with a wide lens, it will tend to distort, so longer lenses are better to use for closeups, especially for women (unless your looking for a distorted effect,) the problem with DV is you have to get so far back to get the background to go soft, that if you're working in s small room, or outside with a large depth of field, you just can't do it. There is an interesting solution to this problem called the softscreen (www.icexpo.com) that works well for certain situations.
But you can also be close to a subject without a wide-angle lens, (between 3-5 feet), and get nice looking non-distorted images, at least you can with a Super-8 film camera. [img]graemlins/film.gif[/img]
<font color="#a62a2a" size="1">[ October 29, 2003 12:27 PM: Message edited by: Alex ]</font>
when you say distorted what do you mean? the barreling effect?
I happen to think that looks nice on closeups, Luc Besson uses it alot.
It also depends on how wide the lens is. I have a fairly light wide, and use a fisheye for exaggerated type of shots. You know, where anyone will notice the distortion.