2 weeks ago

How does the director see the playback on the spot? According to different periods, the solutions are as follows:

1. Look directly

2. Use the director viewfinder

3. Watch with a monitor

4. Use HD monitor. 

Let's talk about it in detail. 

1. Look straight. 

It means literally. In the early era of film photography, the director could not see "playback". The director usually observed the performance of the actors on the camera and gave guidance. When the director has requirements for some picture composition or movement, the director can directly see through the camera viewfinder during rehearsal, and then the photographer will officially take photos after confirmation. 

This traditional way of director's work is still followed by many directors after the appearance of monitors. As you can see, Coppola and Kubrick have this work habit. Even in the era of modern digital photography, some directors will still directly rush to the front line to observe and guide actors to perform, which is just personal habits. 

For example, the director who sells copies often has his own hands directly. 

But strictly speaking, this way is not "playback", but only a compromise control scheme. In the shooting scene, the final picture effect is subject to the judgment of DP. The director can only choose to believe or not to believe - in fact, only to believe. What can you do if you don't believe? 

So in the era of film, if directors want to check the actual shooting effect, another important means is to check "Daily". 

In the film era, according to the shooting conditions, there will be a daily or at least weekly inspection screening after getting the wool film from the printing plant. It mainly refers to the technical inspection of each department, such as the inspection of details such as exposure, focus, and dressing, as well as the director's specific grasp of the screen content and performance. In the late film era, if the conditions are really bad and it is impossible to show the film, it can also be transferred to the video tape through glue transfer in the printing plant, and then returned to the shooting site for playback with the television. 

Because of this technical feature, in the past, the production department had a special "film runner" who was responsible for transporting the exposed films to the printing plant and bringing back the samples. This job is very important because the loss of raw materials will be great once they happen. 

In Yang Fan's answer (I don't know why Aite can't you):

 in the era of film, what is the view and playback of film shooting scene? 

As far as I know, although they took pictures on the spot in Hoh Xil, where the shooting conditions were tough, they still checked the gross films irregularly when they took pictures. Besides watching the videos, they also rented local cinemas to show them. 

2. Using the director viewfinder

In fact, it is also a kind of "direct view" to use the director's viewfinder. But it's a little more free than the director standing behind the camera viewfinder, and it's not that frustrating. Otherwise, the director plans to change his seat after watching through the camera viewfinder, which will be a big toss 

There are two kinds of viewfinder, one is simple optical viewfinder

This kind of viewfinder can be combined according to the different film and lens, and can see a basic meaning, mainly the composition. The advantage is that it's light and cheap. You can hang it around your neck or in your pocket. 

There is also a direct transfer of film lens

The disadvantage is heavy, and the advantage is that it can take depth of field, which is close to the final effect. It's usually used by rich groups. 

In addition, there are many mobile apps that can complete this function, but many of them are paid software. 

The director viewfinder mainly allows the director to have a prediction of the scene picture, or it can not solve the problem of real-time viewing the shot picture. This problem will not be solved until the invention of the monitor. At the same time, the emergence of monitors has also changed the director's power and the production process, as well as many film production processes. 

3. Watch it on the monitor

Director in the studio to see a lot of pictures of the monitor, I will not let go, everyone interested can find their own. 

In the era of film, there are monitors. Many of arri's film photography opportunities install a splitter on the optical path of the optical viewfinder, then output a video signal and connect it to the director's monitor. In this way, the director can see the scene and the actor's performance in real time. Specific technical principle also asks other more understanding friend to answer in detail. 

Please refer to the following answer for specific technical principles:

 in the era of film, what is the view and playback of film shooting scene? 

The resolution of the video signal output by the film camera is not high (480p in the impression), which is enough to see a composition and a general performance of the actors. Moreover, because of the optical principle, the picture is not only dim but also flickering, which leads to the details, such as the light ratio, light effect, color and so on, which cannot be based on the director's monitor picture. So in the era of film monitor, the final picture effect should be based on the judgment of photography guidance, not the picture seen on the monitor. 

However, with the development of technology, directors can finally "play back" at any time on the set. Monitor tape recording function, generally VHS format tape recording. When you have questions about the details of a certain lens, the staff in charge of the monitor can play back the picture for you to judge and check. From the workflow point of view, it undoubtedly brings great convenience. 

But it will also bring new problems, that is, actors often ask to play back pictures (about whether the actors need and can watch the replay, see the specific director's habits and processes.) 

4. Watch with HD monitor

In the era of digital photography, the director can basically see what he sees on the live HD monitor. So in the modern film field, we often see two monitors placed side by side, and the director and the photography director each focus on one. It's also very easy to watch "playback", because it's digital photography, and each lens is a separate file. Basically, you can watch it as you like, and you can watch it backwards And many groups will have "live editing". The director can even see the rough cut effect of a play on the spot. The rich crew can also pre color the scene, and the director can directly see the picture effect after the first level of color matching on the monitor. 

At the same time, with the popularity and convenience of HD monitors, almost all departments have the need to watch monitors, and the number of staff around the monitors will increase exponentially, so that now many production groups will have dedicated "monitor groups" to manage more monitors. By the way, generally speaking, DIT group and monitor group are not the same department. This depends on the configuration of each production group. 

(everyone says that the "wandering earth" crew has no money, but it depends on who it is compared with. When I first went to visit, I saw every department, every! One! Department! Door! When there is an independent tent and a huge monitor inside, it is deeply shocked...) 

Because of the emergence of DIT process, now as long as you have permission, you can get an iPad to see the playback screen. Therefore, watching playback is no longer the prerogative of directors and photographic directors.


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