CLAIM YOUR SET…WHAT’S YOUR IDEAL PRODUCTION SETUP?

D

Digigenic

Guest
8)
WHAT’S YOUR IDEAL PRODUCTION SETUP?

I’ve broken down my ideal production setup into two relatively simple categories. Category one is if money was no object, and category 2 would be if money were an object…
Feel free to make your list of desirables as detailed as you would like :)

CATEGORY 1: If money were no object

The Camera: THE PANAVISION GENESIS

The Lenses: Since the GENESIS has a lens mount that allows it to accept all Panavision 35mm Primes/Digiprimes... I’ll take em all.

The Cam Accessories: Every single Camera support System imaginable, stationary and/or mobile capabilities i.e. tripods/monopods/dollies/cranes/steadicams/camera tents/underwater housings, etc. Monitors will be mounted on each camera, and a monitor on the ground for each camera’s display, and a small monitor for each unit director to wear on their little headsets that can switch to each camera remotely.

The Lights: I want a lighting system configured onto a set that is as advanced as the set in the movie “The Truman Show”. I want to be able to make any set at any time look like it could be day or night.

The Sound: I’m not very knowledgeable with professional sound, but I’ll get the most advanced mobile in field/on set digital audio recording set up for in camera pick up, and back up source recording to DAT, Disc, or Drive.

Post: Post Production will have a simple flow for editing on an NLE like Final Cut Pro, or Avid, because I want to be a part of the editing process. Then, the DI/color finishing process will be done with Discreet’s Lustre program, and effects finishing and enhancement will be done through WETA or GLASSWORKS facility.
Sound will be mixed through Pro Tools, then sent to THX for enhancement.



CATEGORY 2: The budget conscious

The Camera(s): Canon’s new HDVCAM when available, or Panasonic’s AG-DVX100a.

The Lenses: If possible, rent the ZCG adapter and some 35mm Primes, or if that’s not an option, at least get a couple century optics wide angle, and telephoto lenses that thread onto the front of the standard video lens.

The Accessories: A Sachtler, Miller, Vinten, or Bogen Video tripod. Make shift steadicam, crane, and dolly/tracking equipment. Matte box and filters, preferably from century optics.

The Lights: Floods, spots, omni, soft, practical, and plenty of stands, gels, reflectors. Manufacturers to consider purchasing from would be Arri, Lowell, and Kino Flo.

The Sound: At least 2 microphones fed through a Mackie Mixer, then directly into XLR ports on the camera, and if possible, also feed into a separate recording module, such as a Sony Mini Disc recording set up.

Post: Basic editing tasks will be carried out through Apple’s Digital Editing Suite (FCP, Shake, Motion, Soundtrack) or Avid’s Express Pro Suite (Avid Express, Soft Image, Boris Effects, Pro Tools). Additional work may be done through Adobe’s After Effects and Photoshop with third party plug-ins.
Sound editing, mixing and enhancing will be done with Sony Sound Forge, and final finishing in Pro Tools if possible.


Well, now I just need to make the movie. 8)
 
K

Kevin_Zanit

Guest
CATAGORY 1:

Panavision Millennium (and XL bodies) with a full set Primo Anamorphic lenses. Panahead, Chapman dollie, and 20' Techno.

Enough filmstock to get our coverage without counting pennies (Kodak or Fuji). Good release prints, not these half assed money saving prints we have been seeing lately.

All top notch crew. Great gaffer, grate g/e department, great camera department, and great production design.

Plenty of power provided by a nice, new, quite genie. Plenty of distro.

Nice assortment of HMIs (a few 12ks, some 6 and 4k PARs, several 1.2k PARs, and maybe some jokers for versatility).

Nice assortment of tungsten (several 10ks, 5ks, 2ks, 1ks, and plenty of tweenies).

Some fluros (4x4, 2x4, 2x2, 4x2, and car kit kinos)

Plenty of grip gear, enough so that the grips can get the job done without killing them selves. And my 12x12 black silk that got cut off my last show (bastard producers . . . have they no heart? ;) )

Good locations that facilitate good lighting/ camera/ actor placement. Plenty of windows, I love windows.
Easy cable runs, with plenty of walkaways (the crew will love you forever)

Good crafty

And good attitudes by all involved. Just a fun show.

Same list for category 2, just add better producers ;)

Actually, mainly my lighting gear would change. If we had no money for a genie, a lot of my lighting budget would go towards 1.2k HMI PARs, these are my favorite units.


Kevin Zanit
 
D

DerekEastham

Guest
Category 1:

Camera - Sony Cinealta F950

Lenses - Panavision Primes

Cam Acc - All the basics... plus cranes, dollies, chameleon's, booms, blah blah blah... with a video village to rival Lucasfilm... that is, multiple 50" sony Plasma displays for the above the line crew, and 24" cinealta monitors for the camera crew... and 7" LCD displays mounted on the camera... motion control unit as well

Lights - Only what the DP thinks we need... reflectors and whitecards to bounce the light around.

Sound - Sony DAT's on Set... and a pro-tools ICON set-up in Post with the $7k Sony mics... forget the exact product number, but they're soooo nice.

Post - Fully loaded & accessorized Avid DS Nitris... mountains of Terabite space... fully un-compressed HD editing... a screening room with a theater sized projection screen... I already mentioned the sound post.

Category 2:

Pretty much the same, except...

Camera: F900 (instead of F950)

Cam Acc - Only the ones we can get... basics + dolly & steady cam

Lights - A few with more reflectors

Post - Fewer terabites.



I've got the movies... and now I'm working on funding... we'll see where it goes.
 
"If money were no object"... I'm surprised no one has mentioned one of the best formats of all time, 5-perf 65mm (Super Panavision / Todd-AO). That would be heaven to shoot features in that format and show them in 70mm release prints. IMAX is too unwieldly and not a widescreen format actually; I prefer the 2.20 : 1 dimensions of Super Panavision. And Panavision and Arriflex have modern 65mm cameras - they even rent them for less than the Millenium!

I've also thought that 8-perf 35mm VistaVision, not Super-35, should be the new "multi aspect ratio" origination format. It's 35mm film, it's got a Full Aperture ratio of 1.50 : 1 so can be adapted for both 1.85 and 2.35 films, plus 16x9 TV, etc. But someone would have to build some modern, quiet VistaVision cameras.

But coming down to Planet Earth, my favorite format is 35mm anamorphic, both for shooting and for release prints. I'd even like to see how the Genesis handles the scope format (probably using spherical lensese and cropping like Super-35 does.)

If budget was practically nil and HD was not an option, I'd first be fighting to rent a Panasonic SDX900 before I considered the consumer camera realm... but if I had to, probably I'd choose the DVX100A.

As for post, my dream would be to do 4K digital intermediates for my film projects.
 
V

vichoforevsky

Guest
Category # 1

Camera: arriflex 353 B

lights: tungsten 10k, 5k, 1k, HMI and fluos

sound: DVDRAM or DAT

post: all the apple suite : shake, final cut, aftrer effects, and protools for postproduction sound.

Category #2

Camera: panasonic miniDV DVX100A

and the rest depends of the budget.
 
K

Kevin_Zanit

Guest
David,

It may interest you to know; a friend of mine told me Emmanuel Lubezki was in Panavision shooting some tests for a 65mm project he is doing.

Could be interesting if he does shoot in the format.


Kevin Zanit
 
D

Digigenic

Guest
Cool News Kevin 8)
Must be for "The New World".
It'll be a big one, no doubt...
It's registered as being in pre-production, and technical specs aren't available yet. But it sounds like they're definitely getting ready to rock and roll.
 

laurent.a

New member
vichoforevsky said:
Category # 1

Camera: arriflex 353 B

lights: tungsten 10k, 5k, 1k, HMI and fluos

sound: DVDRAM or DAT

post: all the apple suite : shake, final cut, aftrer effects, and protools for postproduction sound.

Category #2

Camera: panasonic miniDV DVX100A

and the rest depends of the budget.
For the camera, I guess you mean 535 instead of 353...
 
G

Guest

Guest
hmmmmmm

hmmmmmm

shiat.... that would be all nice but the thing is MONEY IS A PROBLEM......
 

Jared Isham

Moderator
First of all my ideal production setup would to have over $100 million to make the movie. Then, I would want to use super 35 and shoot anamorphic (2.35:1). But most importantly, Above all, nothing can beat this. Some one to produce and let me focus on just directing - have every crew position filled to allow me to talk with who I need to talk with and focus on the creative side. Thats all, I'd be happy if I was forced to shoot video the rest of my life if I could have that on every set.
 
> I would love to hear what David Mullen would like as his ideal package.

I already did several posts earlier... 65mm Super Panavision for me!

But I can't argue with 3-strip Technicolor, another all-time favorite. And the masocist in me wants to shoot with the 3-camera Cinerama rig.

And I'm still upset that Technicolor gave up AGAIN on the dye transfer printing process -- I was looking forward to finding the right project to try it out on.
 
Top