Traditionally the producer hires and assembles the team from Development - Distribution, he/she is considered head of all departments, overseeing logistics from a managerial point of view, and that is why he/she wins the best picture Oscar and not the director. Sometimes he/she secures financing however most times that is the Executive Producer.
The producer hires the UPM (unit production manager) to do all of the budgeting and scheduling breakdowns for production as well as be the boots on the ground for the producer. There are also Line Producers depending on the project (film/television)
The AD (assistant director) works with the director to eliminate the logistical problems that arise on set as well as confer the directors vision to the DP(Director of Photography). This allows the director to focus on the creative aspect of his job and not get bogged down with logistics. (which on a 30 man crew can be a nightmare, think herding cats)
I hope that helps. You may as an indie filmmaker be fulfilling most of those roles. I'm which case it is fair to call you the producer.
Thanks man. Yeah it was a dream sequence in a music video, Hence the soft unnaturalness.
so here are my ideas:
>70- 200mm Lens you will never use it, you have no crane and don't need it.
>50mm Prime, you already have a 24-70mm, get a speed doubler instead and you could have 24-70mm at f 0.7
>drop the adobe software and go with vegas
>Use the camera you have
> Steadicam's sound awesome, but build a DIY dolly system instead. Steadycams take ALOT of practice to use. I have been an operator for 2 years and still blow shots from time to time.
> Drop the lavs and just record boom. The cheap lavs pop quite a bit and easily become useless.
> Lighting, use halogen work lights, aluminum foil for light control (google: snoot) and bakers parchment for diffusion. Not very professional looking on set but they have a CRI of 100 at $50USD per 1000 watts.
>get a field monitor of some sort. this is an afterthought a lot of times but it can save you hours of meticulously removing a cstand or boompole from a shot in post.
you should be able to cut your budget down to almost nothing. To give you an idea. Alfred Hitchcock shot "Rope" for $5,000 on film, Robert Rodriguez shot "El Mariachi" on film for $7,000. be creative, use what you have and get people to work on points.
I would have to agree. I own the BMPC4K and i love it, It has a great "film" quality to the shots with lots of dynamic range and the one thing no one ever mentions is it's global shutter, I have never gotten rolling shutter out of the camera no matter how hard I whip pan. A great camera for cinematic filmmaking.
Hi everyone first comment! So this is really a choice and I think we are really talking about color timing/ color grading.
You are going to spend ALOT of time in post to get the right effect and if you do it in camera you will save yourself heaps of time per shot.
With that said, I have gotten very good results out of davinci resolve (free) here is a good example from one of my own projects (original on the right/ color timed on the left) http://thelittleblackdogfilms.com/wp-content/uploads/2015/11/diwebsite.jpg
As for taking advantage of your flat color profile. Well you get a little more latitude in the shadows and highlights. I'm a big fan of exposing to the left and letting the highlights blow out to hold the shadow detail but this is your call really. Also this will desaturate your image quite a bit so feel free to crank up the saturation in post to taste.