First off, thank you for making yourself available to answer questions.
It
is very much appreciated. My question is about pre-production
film testing:
* What do your lens tests consist of and what are you looking for?
In the days when I did lens tests (I now own my own so don't have to
do
them!), I was looking for: 1. Sharpness (via test chart) 2. Flare
characteristics (via Sky and light bulbs hanging in shot) 3. Contrast
and
colour characteristics (via grey scale, and set-up light
graduated "sets".) 4. Breathing - how much the image size changes when
focussing. 5. Close focus amount. 6. General "feel" of the lens based
on
above.
* If time is limited, what does your emulsion test consist of and
if you
have plenty of time, what other tests do you perform?
With limited time I would: 1. Take the emulsion(s) I am interested in
and do
at least one lit, interior test with costume and set colours from the
film,
and a variety of lighting, approximating conditions I expect to encounter
in
the film. 2. Do an exterior relating to the film, with a stand-in in
appropriate costume. With more time I would: 1. As above, but
use different
exposures, some filters and a wider variety of stock. 2. Repeat the
above
after looking at initial results with the Director, Production and
Costume
designer. 3. Introduce lab processes into the equation.
* How do you go about doing make-up, scenic and wardrobe tests and
what are
you looking for when you conduct those tests?
I "request firmly" from production a large studio or space, put some
set
pieces (might be painted bits of wood) in it (with appropriate colours),
some furniture and then make a "day" area and a "night" area.
Before the
actor arrives, I make a shot (usually tracking) that moves the actor
from
full length to close up in both the day and night situations.
I use a zoom
(probably for the first and last time!), to be able to vary the shot
size
more than the track and space allow. Costumes often aren't finished,
but
you can get the materials and hang them around the place and light
them in
different ways. Actors usually feel uncomfortable in this "scriptless"
situation so the best thing is to take over from the director who is
usually
baffled by the whole thing, and just tell the actor where to go.
Humour is
a good idea in this situation, though I think we once shot 28,000 ft
of an
actor walking about in various raincoats which got a bit tiring.
* Do your test go through the whole process including IP, IN and
release
print?
You don't need to do this unless you are comparing Super 35 to Anamorphic.
It's a long and expensive process so I have only done it twice - both
times
indicating that Anamorphic rules when it comes to "landscape" and Super
35mm
rules when it comes to Night Ext and intimate small rooms.
I hope I'm not asking too much. I've only done films that have finished
on
video. I been offered two scripts which will finishing on film and
I want to
be as prepared as I can. Thank you in advance for you time.
Very best regards, Eric Petersen
You obviously know what you are doing, but I would urge you to go to
the lab
and spend time with the timer as this process is quite different from
telecine without the controls you are used to. Understanding
printer lights
is key to your relationship with the lab, as these numbers are going
to tell
you each day what you are doing with the exposure.
QUESTION:
To what degree is the job of the selection for the site location
...part of
the reason things work out so well for cinematographers?
The talent lies
with the cinematographer obviously, but is there an appreciation
in
movie-making for those who find the right angle and place for scenes
(career
wise)?
Location, location, location....
Thanks for listening..
Jeff Helm
Naples, Florida
Any Cinematographer who doesn't acknowledge and appreciate the role
of the Production Designer should be re-trained! David Watkin receiving
his Oscar for Out of Africa pointed out that the clip they showed was shot
by second unit! Film making is all about collaboration, and no cinematographer
can shoot magical images if the Designer leads him into inappropriate locations,
or builds sets you can't light.
The time to discussion is in pre-production, during the scouting process.