How are master shots your safety?

H

harmonica44

It seems to me that it's the opposite and that close ups are your safety's Sometimes in a master there may be a continuity flaw, or something doesn't match. In close ups of one actor at a time, there is less likely for that to be noticeable, so why is the master the safety? In my experience, it's the most risky. Not that I object to it all, I love mastershots, depending on what part of the scene, and what mood I am going for. I just don't quite get the safety thing.
 
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Well then, you're better off with a jib - steadicams aren't really designed fro up and down mvement, although there are those super cool, stupidly expensive new ones that will do it

I'm also not talking about a 90 degree tilt, just a little pan and tilt to follow the action.
 
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Remember we are talking about "safety". No you probably aren't going to want to stay in your semi-static master shot, but you CAN stay in it, or go back to it, when you discover something is wrong with one of the other shots, or those two shots won't cut together without something between them, etc... etc... etc....
 
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For sure, but for this newer project I have in mind I want to use a lot of the master shots for style. I can use a tripod to tilt and pan the shots, and will practice, and see if I can make the tripod look as good while moving.
 
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Sure thanks, I already have tutorials on how to do it. So I guess I should have my masters shot from a jib then... But not sure if I want to build a jib just for get ups and sit downs. Unless this is the way it's done. Makes me wonder though, is the tripod actually used for anything anymore besides completely still shots?
 
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Yes, tripods are used all the time. Generally master shots are done on tripods.

It depends on what you're talking about, on Hollywoood budget productions, there is a lot of jib and dolly work employed, but there are still a lot of tripod shots, depending on the movie.

What I think you need to do is realise that your film is not going to look like it had a billion dollar budget, whether you use a tripod, jib, steadicam, dolly, slider, or helicopter.
Work within your means. It says a lot more about you as a filmmaker if you can pull of an amazing short film using only a tripod, than if you have to use jibs and steadicams and dollies to keep anyone's interest.
 
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Thanks that's actually a good way of looking at it. I was asked to co-direct a project coming up and we we're thinking of using a lot of the master shots for style. Do you think that for the master the camera should rotate, to whoever the it should be on for emotion? You would still see everyone, but have it rotate, a little, and maybe still see the back of someone's head more, and the front of the character's face it should be on. This may or may not be 'look-good-able', depending on the locations.
 
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If you're not sure how a particular camera action will turn out, get all of the coverage that you need with shots that you are familiar with, but leave time in the shooting schedule to experiment with some different techniques. Who knows, you just might create some radically new camera trick that will finally get people to shooting all of the shakycam crap.
 
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to get a smooth circular shot, you need a dolly with either a circular track or one that can set the wheels to turn. Or... a steadicam operator who can get a smooth circular shot.
 
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