Episode 14 - 35mm Adapters, Depth of Field & Our First Promo [Discussion]

[boldfire]

http://bitcast-p.v1.o1.sjc1.bitgravity.com/revision3/docs/show/filmriot/banners/logo.jpg

Learn about lens adapters and how you can get a shallow depth of field without spending a ton of cash!

Watch the episode (http://revision3.com/filmriot/35mmadapters)

[boldfire]

Loved the episode. It still amazes me that every single episode so far has been great! I don't think any Revision3 show has achieved such a high standard week in week out as you guys have. Huge kudos for being rad.

I noticed you're still not on your green screen set (or are you?!), could you walk us through the changes in a future episode maybe?

[ryanconnolly]

Loved the episode. It still amazes me that every single episode so far has been great! I don't think any Revision3 show has achieved such a high standard week in week out as you guys have. Huge kudos for being rad.

I noticed you're still not on your green screen set (or are you?!), could you walk us through the changes in a future episode maybe?

Thanks man. I will be going back into the studio soon. As of right now it has become a bit of a time saver, which is important since Triune Films is getting very busy as I gear up for TELL and a few other big projects that are really going to benefit Film Riot! You guys are going to love everything that is coming. :)

[mrpopular]

Dude another kick ass episode..

I remeber my Electronic media broadcasting class how unexciting class was when we had to learn the ins & outs of a camera. I wish we could just have Film Riot teach the class lolz

[jebundy]

Agreed, you guys are the best thing on Revision3. I have loved every episode. My one complaint is that its not long enough. I would love to see Film Riot get to at least a 20 minute length, preferably 30.

[mikec]

Agreed, you guys are the best thing on Revision3. I have loved every episode. My one complaint is that its not long enough. I would love to see Film Riot get to at least a 20 minute length, preferably 30.

I would rather have quality over quantity.

If you try forcing a show's length, then you get into the issues that Systm had.

[az0madman]

I only have an issue with length because the sponsors tend to take more time than the actual show. But the sponsors are fun to watch, so it's all good.

I wants to get a Letus but I can't decide whether to get the mini, or go with another adapter maker that will fit all camera sizes in case I upgrade my small one. I'd hate to spend even more money I don't have on a new adapter.

Since you guys covered adapters on this show, any chance we'll see a show on lenses?

[guytheninja]

"No we don't do Youtube -- and 3, 2, 1"

LOL!!! Awesome episode!

[revision3fan]

Just finished watching the second season DVD box set of Burn Notice, the USA network TV series mainly shot in Miami, Florida. There is great use of depth of field shots in these episodes along with split screen shots.

[mikec]

Just finished watching the second season DVD box set of Burn Notice, the USA network TV series mainly shot in Miami, Florida. There is great use of depth of field shots in these episodes along with split screen shots.

Watch a soap opera. ND filters are great. (Neutral density)

On many interviews we do, in sports, we use ND to soften the background. Mainly seats at a stadium.

[uselessinfodude]

I live right down the street from that plaza you guys shot at! I go there all the time!

[revision3fan]

Watch a soap opera. ND filters are great. (Neutral density)

On many interviews we do, in sports, we use ND to soften the background. Mainly seats at a stadium.

Some of the shots I saw were interiors in a home; for example, two actors conversing, one seated and the other walking around. To me at least it appears a "focus puller" assistant cameraman was used. I'm sure that the production involved used digital cameras, though.

[mikec]

r3fan, Burn Notice is probably shot like a feature film, one camera, and the director is probably right near the actors. Most soaps are shot live to tape with live switching and multiple cameras. The director is in a control room.

A show like Burn Notice produces only 12-15 shows a year, where most soaps do one show a day every week day.

One of the camera ops I used to work with, used to run camera for ABC on one of the soaps. He quit because his eyes were getting abused because he spent six to eight hours a day with his face only an inch or two from the camera viewfinder so he could roll focus when he needed to. (This was early to late '80's.)

[kzap]

r3fan, Burn Notice is probably shot like a feature film, one camera, and the director is probably right near the actors. Most soaps are shot live to tape with live switching and multiple cameras. The director is in a control room.
That is the difference between a multiple camera drama (Friends) or a single camera drama (Scrubs).
Almost all shows with a live audience are multiple camera.
I've always perfected single camera dramas, although I know have experience in making both multiple and single camera stuff.

[mikec]

kzap, have you ever heard of a show called "Barney Miller"? Some folks here are too young to have ever seen it. The director of that show had an interesting technique that I forget who created. It was a four camera live to tape show, with live audience but the director wanted to direct from the stage. An engineer or his editor came up with one of the first quad split devices. On one monitor the director and editor would see all four VTR outputs with master time code. (This was the day after the show was shot.) The director would then tell the editor which shot for each scene. The editor was noting time code numbers as they went through the show.

The key to this is that the director had camera ops who he knew would have his shots for him. That level of trust must have been unbelievable.

[revision3fan]

kzap, have you ever heard of a show called "Barney Miller"? Some folks here are too young to have ever seen it. The director of that show had an interesting technique that I forget who created. It was a four camera live to tape show, with live audience but the director wanted to direct from the stage. An engineer or his editor came up with one of the first quad split devices. On one monitor the director and editor would see all four VTR outputs with master time code. (This was the day after the show was shot.) The director would then tell the editor which shot for each scene. The editor was noting time code numbers as they went through the show.

The key to this is that the director had camera ops who he knew would have his shots for him. That level of trust must have been unbelievable.


To me, at least, "Barney Miller" had an "All in the Family"-type look. "All in the Family" was known to be very advanced in the use of video tape for television production. Do you remember these words being spoken at the end of the credits, "recorded in front of a live studio audience"?