One of many fascinating issues in regards to the present is that it was shot in two completely different facet ratios. How do you deal with that in your finish?
It truly would not actually have an effect on me in any respect. It impacts the manufacturing designers greater than me. We simply we’d simply swap backwards and forwards. It was simply a part of … The one factor that it affected on my episodes that we’d pre-viz, is simply the transitions between the 2 facet ratios. You in all probability observed how they might truly change as we had been going from modern-day to Nineteen Thirties, or vice versa. So typically we’d simply do completely different transitions, like booming down by way of black so the letterbox may transition. We might simply need to pre-viz that both storyboard or shot record, simply to guarantee that we had these transitions in digicam. However in any other case that was fairly seamless when it comes to how that labored for me.
So did you shoot in a unique facet ratio? Or had been you simply taking pictures in 4, 5, 6K?
We masked within the completely different facet ratios. We nonetheless all shot full body, however we framed in digicam for these facet ratios, however in fact you possibly can transfer stuff round. 1.78 is full body, so that’s what you get with the Sony. However the 2.39, It may have moved round. I do not suppose they did very a lot. I believe it stayed fairly true to what we framed stuff.
And that is actually fascinating as a result of I do know an increasing number of, reveals are simply doing issues within the largest decision potential and dealing with it later in manufacturing.
Sure. Yep. That is true. Once we shot, as a result of we began taking pictures two years in the past, as a result of it has been in put up for a yr, the Sony VENICE was only a 4K digicam. Now it is a 6K digicam, there’s 8Ks, and 9Ks, and 10Ks popping out. In order that was not essentially actually an possibility apart from with the widescreen possibility. However when you get into those that is speedy to the digicam, that’s what you get, just about.
Yeah, I’ve a buddy who labored at HBO and say, the best way they do interviews with solid members is that they get all people in a row, they usually use the most effective decision potential. After which they simply chop down these particular person individuals in put up. That is what individuals do now.
Oh my gosh!
That is loopy. So loopy.
Yeah. We’re not doing one-on-ones anymore, simply get in a row and we’ll determine it out later.
Oh my God, so glad I haven’t got to try this. That sounds nuts. However to me, I additionally suppose it is unbelievable what we do now. It is simply a lot enjoyable. I like the know-how. I like embracing it, nevertheless it’s simply difficult as a result of it is altering so shortly, and maintaining with it and really testing it within the area is daunting. So we’re testing it as we go.
Yeah, I’ve seen that. They add a brand new Okay to the digicam yearly, and it is like, “Oh, however I simply purchased this one.”
Yeah. Fortunately with Alexa — I shoot Alexa largely — they simply do a software program improve. They do not fiddle with altering cameras as a lot as a few of the different corporations do, however you positively need to regulate every little thing, and just remember to’re doing what you do. However on the finish of the day, to me, crucial factor is the sensor, and the Sony VENICE is nice, it is an superior digicam. And we had an excellent expertise with it on the present, and it was good for the present, and it has been nice for visible results, and all that great things. So it was a great expertise, positively. It was my third Sony present? Sure, third Sony present.