What I am addressing is fear of equipment. Beginners do not need to have it. You guys hold your expectations for beginners too low. Getting tripped up by a mirror, for real? Its simple and so are butterfly frames, ultra bounce, medium roller, lollipops, and ball-busters and so on. At least down this path you will learn what all these things are.
Pop out reflectors are for amateur video and photography. Please feel free to show examples from the DoPs with pop of reflectors. Be sure to include wides and mediums.
Just checking have you guys ever used a mirror? Do you know that they double output? Do you know that they cost 10 dollars to rent. They take 2 seconds to set up and will give you a more powerful kicker than many HMI. Every beginner would be astonished if they just set one up. But for some reason, their is this reflector kick. You can also get a 12x12, yes I said it 12x12! Spend the time to set it up and you will not have to move it as often. More set up time less time actually slowing down the production.
This site has changed since the new look. When did it become elitist to rent grip gear that will increase you production value for cheap. Telling a beginner that they shouldn't play with mirrors is crazy.
You don't need grips to work with mirrors, just get a combo or junior stand and some sand bags you can set it up and walk away. You will need a PA to hold those fold out reflector that beginners weirdly are promoted to use though. I think your dropping the bar for beginner filmmakers too low, they still want to learn to become a real filmmaker and they should be learning about the inexpensive and accessible tools that the pros use instead of inexpensive tools that amateurs use.
Best advice to a beginner filmmaker:
1. PUT THE POP UP REFLECTOR DOWN and go to a rental house and rent a mirror either 2x2 or 4x4, It will be as strong as an HMI and it won't blow in the wind.
2. Rent an butterfly frame with Quarter Grid or Lee 216 or 250 and put it over the talent during mid day to block the sun. Hell get a sun swatter from borrow lenses. That is the first step to filming outside mid day is diffuse the sun. Many large feature films will have a 20x20 of diffusion blocking the sun on a condor crane and a crew will move the crane all day to track with the sun.
3. Get some butterfly frames of diffusion, the mirrors will be stronger than you think, you will need to diffuse them as well.
4. Underexpose the talent by a stop or so. If you bring in an overhead frame of diffusion, the talent will get less light than the background. If you choose the right diffusion it will only make around a stop difference. If your shooting on a modern camera, that exposure compensation can be seamlessly corrected in post.
5. In a rush, shoot in the shade. Shade is awesome, its even lighting, requires less nd, and it is usually simple to bounce direct sunlight off a mirror and through diffusion into the shaded scene to model talent with soft light. If your camera can handle highlights well, expose for the shadows.
6. Don't be afraid of a generator, they won't bite you. Most you just have to turn them on and plug in.
You chose a subject matter that will be difficult to criticize but here goes it.
The story is pretty safe and pretentious. For a Nazi period piece where there could be high stakes drama no matter which direction you are interested in, this film has no actual conflict, risk, or intensity. A Nazi officer who bares no consequence for letting a young jewish girl live after an offense has no backbone, no honesty.
You need to push yourself further, find deeper complex characters and tell stories about real tribulations not melodrama. And no one cares about the $150 budget, you will only be judged on the end project. That should be your focus.
I just envision many of the same compositions with real characters being very impactful, minus the dream sequence.
Why 90 frames per second, you might have banding issues with the him, better to stick to 60 or 120