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Digigenic
Guest
8)
WHAT’S YOUR IDEAL PRODUCTION SETUP?
I’ve broken down my ideal production setup into two relatively simple categories. Category one is if money was no object, and category 2 would be if money were an object…
Feel free to make your list of desirables as detailed as you would like
CATEGORY 1: If money were no object
The Camera: THE PANAVISION GENESIS
The Lenses: Since the GENESIS has a lens mount that allows it to accept all Panavision 35mm Primes/Digiprimes... I’ll take em all.
The Cam Accessories: Every single Camera support System imaginable, stationary and/or mobile capabilities i.e. tripods/monopods/dollies/cranes/steadicams/camera tents/underwater housings, etc. Monitors will be mounted on each camera, and a monitor on the ground for each camera’s display, and a small monitor for each unit director to wear on their little headsets that can switch to each camera remotely.
The Lights: I want a lighting system configured onto a set that is as advanced as the set in the movie “The Truman Show”. I want to be able to make any set at any time look like it could be day or night.
The Sound: I’m not very knowledgeable with professional sound, but I’ll get the most advanced mobile in field/on set digital audio recording set up for in camera pick up, and back up source recording to DAT, Disc, or Drive.
Post: Post Production will have a simple flow for editing on an NLE like Final Cut Pro, or Avid, because I want to be a part of the editing process. Then, the DI/color finishing process will be done with Discreet’s Lustre program, and effects finishing and enhancement will be done through WETA or GLASSWORKS facility.
Sound will be mixed through Pro Tools, then sent to THX for enhancement.
CATEGORY 2: The budget conscious
The Camera(s): Canon’s new HDVCAM when available, or Panasonic’s AG-DVX100a.
The Lenses: If possible, rent the ZCG adapter and some 35mm Primes, or if that’s not an option, at least get a couple century optics wide angle, and telephoto lenses that thread onto the front of the standard video lens.
The Accessories: A Sachtler, Miller, Vinten, or Bogen Video tripod. Make shift steadicam, crane, and dolly/tracking equipment. Matte box and filters, preferably from century optics.
The Lights: Floods, spots, omni, soft, practical, and plenty of stands, gels, reflectors. Manufacturers to consider purchasing from would be Arri, Lowell, and Kino Flo.
The Sound: At least 2 microphones fed through a Mackie Mixer, then directly into XLR ports on the camera, and if possible, also feed into a separate recording module, such as a Sony Mini Disc recording set up.
Post: Basic editing tasks will be carried out through Apple’s Digital Editing Suite (FCP, Shake, Motion, Soundtrack) or Avid’s Express Pro Suite (Avid Express, Soft Image, Boris Effects, Pro Tools). Additional work may be done through Adobe’s After Effects and Photoshop with third party plug-ins.
Sound editing, mixing and enhancing will be done with Sony Sound Forge, and final finishing in Pro Tools if possible.
Well, now I just need to make the movie. 8)
WHAT’S YOUR IDEAL PRODUCTION SETUP?
I’ve broken down my ideal production setup into two relatively simple categories. Category one is if money was no object, and category 2 would be if money were an object…
Feel free to make your list of desirables as detailed as you would like
CATEGORY 1: If money were no object
The Camera: THE PANAVISION GENESIS
The Lenses: Since the GENESIS has a lens mount that allows it to accept all Panavision 35mm Primes/Digiprimes... I’ll take em all.
The Cam Accessories: Every single Camera support System imaginable, stationary and/or mobile capabilities i.e. tripods/monopods/dollies/cranes/steadicams/camera tents/underwater housings, etc. Monitors will be mounted on each camera, and a monitor on the ground for each camera’s display, and a small monitor for each unit director to wear on their little headsets that can switch to each camera remotely.
The Lights: I want a lighting system configured onto a set that is as advanced as the set in the movie “The Truman Show”. I want to be able to make any set at any time look like it could be day or night.
The Sound: I’m not very knowledgeable with professional sound, but I’ll get the most advanced mobile in field/on set digital audio recording set up for in camera pick up, and back up source recording to DAT, Disc, or Drive.
Post: Post Production will have a simple flow for editing on an NLE like Final Cut Pro, or Avid, because I want to be a part of the editing process. Then, the DI/color finishing process will be done with Discreet’s Lustre program, and effects finishing and enhancement will be done through WETA or GLASSWORKS facility.
Sound will be mixed through Pro Tools, then sent to THX for enhancement.
CATEGORY 2: The budget conscious
The Camera(s): Canon’s new HDVCAM when available, or Panasonic’s AG-DVX100a.
The Lenses: If possible, rent the ZCG adapter and some 35mm Primes, or if that’s not an option, at least get a couple century optics wide angle, and telephoto lenses that thread onto the front of the standard video lens.
The Accessories: A Sachtler, Miller, Vinten, or Bogen Video tripod. Make shift steadicam, crane, and dolly/tracking equipment. Matte box and filters, preferably from century optics.
The Lights: Floods, spots, omni, soft, practical, and plenty of stands, gels, reflectors. Manufacturers to consider purchasing from would be Arri, Lowell, and Kino Flo.
The Sound: At least 2 microphones fed through a Mackie Mixer, then directly into XLR ports on the camera, and if possible, also feed into a separate recording module, such as a Sony Mini Disc recording set up.
Post: Basic editing tasks will be carried out through Apple’s Digital Editing Suite (FCP, Shake, Motion, Soundtrack) or Avid’s Express Pro Suite (Avid Express, Soft Image, Boris Effects, Pro Tools). Additional work may be done through Adobe’s After Effects and Photoshop with third party plug-ins.
Sound editing, mixing and enhancing will be done with Sony Sound Forge, and final finishing in Pro Tools if possible.
Well, now I just need to make the movie. 8)
