NMI16 Petr Nuska – DSLR revoluce a její vliv na filmovou tvorbu

transcript

DSLR REVOLUCEa její vliv na filmovou tvorbu

Mgr. et Mgr. Petr NuskaProduction manager - FAMU International

nuska.petr@gmail.com// @woreshack // woreshack.cz

• Co je DSLR Revoluce? Jak to začalo? A jak to pokračuje?

• Prezentace výzkumu - použití DSLR v dokumentárním a etnografickém filmu

• DSLR revoluce v éře nových médií

-Lancaster 2011:44

When it comes to the DSLR cinema revolution, there’s been nothing like it in the history of

cinema.”“

Jak to začalo?• SLR - Single-Lens Reflex - “Zrcadlovky” - ve

fotografii se používají 150 let

• 1. DSLR (1991) - Kodak DCS 100 - 30k$, 1,3Mpx

• video pionýři - (Nikon D90, Canon 500D, Pentax K-7)

• 2008 - návštěva videotechnika fotografické divize Canonu - Canon 5D Mark II - Full HD rozlišení, 30fps, H.264

Začátky DSLR kinematografie

ReverieVincent Laforet (2008)

Last 3 minutes(Po Chan 2010)

The ChrysalisJeremy Ian Thomas (2010)

Iron man 2(2010 - Monaco Grand Prix = Canon 5DmII)

Black Swan(2010 - všechny scény v metru = Canon 7D)

House(2010 - Poslední epizoda 6. řady - výhradně na 5DmII)

Do kterých oblastí se DSLR revoluce promítla?

• Hollywood (kolem r. 2010)

• Amatérská videoprodukce

• Extrémní sporty

• Vlogging

• Etnografický a dokumentární film

DSLR a dokumentární film• MFDF Ji.Hlava -

Pod Sluncem tma (2011), Pevnost (2012), Velká noc (2013)

• Může DSLR přinášet dokumentárním a etnografickým filmařům signifikantní výhody?

Metodologie• 21 festivalů dokumentárního filmu a 20 festivalů

etnografického filmu

• 14 festivalů poskytlo databáze s promítanými filmy a kontakty na filmaře

• MFDF Ji.Hlava a Antropofest

• Výběr - 1) dokončené mezi léty 2011-2014 2) dokončené tentýž rok 3) točené na digitál

• 500 relevantních filmů z MFDF Ji.Hlava a 90 z Antropofestu

Použití DSLR na výrobě filmů promítaných na MFDF Ji.Hlava a Antropofestu v r. 2011

Trendy v používání DSLR (MFDF Ji.Hlava a Antropofest) (2011-2014)

Kvalitativní výzkum

• 10 filmařů (ČR, Řecko, Maďarsko, Finsko, Rakousko, Chorvatsko)

• judgement sampling => maximum variation sampling

•1) projekty různého charakteru (budget, cílové publikum…)

•2) různé filmařské přístupy (solitéři, vizuální antropologové, studenti, “geekové”…)

• 4 interview, 6 dotazníků (30 stran) (5 měsíců)

• hlavní cíl - rekonstruovat proces rozhodování (výhody vs. nevýhody)

použití DSLR v dokumentárním

a etnografickém filmu

Výhody

• Ekonomické aspekty

• Technicko-estetické aspekty

• Kompaktnost a mobilita

Ekonomická dostupnost

“Nahraditelnost”“Here in Hollywood alone many major

productions have adopted the Canon 5D MK II

or Canon 7D as their A, B, or C cameras. It all

started with the movie Iron Man 2. The 2nd Unit

DOP was using the camera for stunt work. At

$2,500 it was better than risking a camera

operator’s life and cheaper to have it

destroyed during a stunt than any other

camera available at the time.”

(Lancaster 2011:33).

“For me, the issue was, if I had a camera or

not. I wasn’t planning to risk or lose

anything, although I was in a high-risk

environment.

- Jari Kupiainen, režisér Kastom Twelve

Ovlivnění skladby rozpočtu…“It was a great save […] we simply bought the camera and there were no renting costs. Originally, we wanted to rent a camera with Zeiss lenses but the cost of the rental would be higher than the cost of the camera body itself.”

- Aleš Suk, DOP Marija’s own

PojištěníThe first reason for which we used DSLR was its Full HD

capturing capacity. The alternative cameras that were able to do so, such as XDCAM, would be very difficult to bring to Tanzania [...] among others there would be nobody who would provide an insurance.”

- Martin Mareček, režisér Pod Sluncem tma

At that time [2011] the look was very competitive and overall visual quality was very high considering the budget of the film project.”

“Kompetitivita

Technicko-estetické aspekty: tajemství

“Cinematic Look”

Aspekty “Cinematic Look”1) rozlišení

2) hloubka ostrosti

3) dynamický rozsah

(a další, mj. progresivní scan, wide screen…)

“soft, creamy, as well as smooth and sharp”

- (Lancaster 2011:415)

Rozlišení• Dnes se zdá již neaktuální, ale v počátcích DSLR revoluce důležitý aspekt

• Pro srovnání situace na trhu v r. 2010 ARRI Alexa (2K) = 60,000 USD RED One Mysterium X (4K) = 25,000 USD Sony F350 XDCAM HD = 14,000 USD (ale 1/2” senzor) Canon 5DmII = 2,500 USD!

Hloubka ostrosti• původně nutnost, dnes jeden z nejdůležitěšjích aspektů Cinematic look• velký CMOS senzor• “The use of depth of field to help tell the story had been missing from the video toolkit for some time. There was a short time of DOF lens adapters, but that was only a temporary solution. Now with the shallow DOF of the HDSLRs, we have that tool, and it comes at a bargain price.“

(Lancaster 2011:415)

I always wanted to concentrate on only a few things in the image. When two people were talking to each other, I often wanted to concentrate on the one who is momentarily silent and wanted to ‘lose’ the speaking one. This technique created an interesting ‘inner monologue’ effect which is an important tool of our storytelling.”

- Marcell Gerő, režisér filmu Cain’s Children

Visual isolation of your subject is very important story telling tool. We always try to use as smaller aperture as possible using dynamic ND filters as an aperture in order to be able to capture 1/50 in f/4 in the soon during the summer. Also when making Marija’s Own the highest aperture was 5.6.”

Dynamický rozsah

“podíl jasu nejsvětlejšího a nejtmavějšího bodu, které je schopen přístroj zachytit”

DR was a big discovery during the colour corrections. We shot Marija’s Own in July on the costal town in Croatia where there is very strong light. Almost the whole film is happening in the interior with a southern sea view... and the sea works as a reflector of the sun... Thanks to great DR we were able to find some details in lots of contra light scenes working with curves and levels of the footage in postproduction.”

For me this is the only real handicap of the DSLR. It has quite enough information in the shadows but it gets holey in the highlights very rapidly.”

Performance ve špatných světelných podmínkách

In my project, we had to film a lot under low-light conditions and the DSLR cameras performed very well. We used this aspect in order to show for example the preparation of the dancers a few moments before they go out to the stage, the last minutes before a premiere and the last words of the choreographer beside the scenes rehearsal footage.”

- Konstantina Bousmpoura, režisérka Working Dancers

Kompaktnost a mobilita

Mobilita“I did use a DSLR for small parts of the film where I needed to go

climbing and couldn’t carry a lot of gear.”

- Peter Mettler, režisér The End of Time

Nezvyklé úhly“We were able to enter to a small chicken-house with [a] girl. The door

was 60cm tall but we were able to ‘walk in’ with her.”

Intimita“All of the film’s key

interviews and discussions have an intimate character and I’m persuaded that one of the reasons how we succeeded to create this intimacy is the camera.”

- Marcell Gerő, režisér Cain’s Children

Kameraman nebo fotograf…?“You try to film out in the streets of

Washington, DC, anywhere near the White House with a RED camera and see what happens when an SUV with dark windows pulls up and six beefy chaps get out and beat the crap out of you […] He […] went outside, and took some background shots of the White House. He pretended to be a museum tourist. He got a shot where a cop car goes right in front of him, and nobody is stopping him.

- Neil Smith o akci Rodneyho Charterse

They know well how film cameras look like as there have been recently a German crew with a huge camera […] they immediately recognised these people as professionals. I, on the other hand, was regarded rather as a sociologist with a camera. They knew: ‘This is Jana who’s taking some picture for her keepsake.’”

- Jana Panáková, režisérka filmu Pět životů jedna smrt

It does not look like a camera, people, even if they know that it is, act differently – not just around but in front of the camera as well.”

použití DSLR v dokumentárním a etnografickém filmu

Nevýhody

• ergonomie (čím menší, tím hůře ovladatelný, absence autofokusu, elektr. zoomu atd.)

• slabý interní zvuk - potřeba duálního systému

• obrazové artefakty (rolling shutter, moiré, banding)

• přehřívání senzoru a časový limit 29:59

Role nových médií v DSLR revoluci

Demokratizace “cinematic look”“As someone who spends a lot of time talking to everyone from very experienced Hollywood DPs to those keen enthusiasts, I am amazed at just how excited people are by these cameras. This truly is the democratising of filmmaking. Now that high- quality gear is in reach of everyone, it really does come down to the talent behind the camera.”

- Philip Bloom, guru DSLR filmu

DSLR Celebrity• DSLR celebrity - Phillip Bloom, Vincent Laforet, Dan Chung, Jon Fairhust, Stu Machwitz, Shane Hurlbut… DSLR blogy - Planet5D.com Cinema5D.com DSLRVideoShooter.com

červen 2010 - 10 mil. návštěv blogu Phillip Blooma (dnes 66 mil)

DIY Komunity

Magic Lantern

Budoucnost?

“We are currently witnessing a significant shift in dynamics, with DSLRs falling out of favour with the professional video producers […] End users are turning to more affordable CSCs as well as turning back to professional camcorders.

- Nick Price, analytik Future source

Literatura Lancaster, Kurt 2011. DSLR Cinema: Crafting the Film Look with Video. Focal Press.

Nuska, Petr 2015. The ‘DSLR Revolution’ and Its Impact on Documentary and Ethnographic Filmmaking. MA Thesis, Faculty of Arts, Charles University in Prague.

Price, Nicky 2014. Futuresource Predicts Decline of DSLRs for Pro Video. Futuresource Consulting. http://futuresource-consulting.com/2015-06-Pro-Video-6782.html, accessed July 10, 2015.

Odkazy

http://bit.ly/DSLRRevolution

The story of DSLR revolution is a story about how technology can be developed in today’s world, where a new technology does not necessarily mean predetermined givenness, but where an opportunity can be pushed forward to create new horizons. This story is telling us, that everyone can take a part in a revolution”

NMI16 Petr Nuska – DSLR revoluce a její vliv na filmovou tvorbu

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