Sometimes when shooting an action scene, such as a character being punched, then falling against the wall, I like to move the camera, to follow the character, as they fall back fast. Action with a still camera, can be kind of boring. However, when I try to move the camera with the tripod lever, the movements are kind of jerky. That is because in when you turn the lever, there is a bit of a jerk at first. So the movements aren't as loose. Are all tripods like this or can you get one that is very slippery and moves with a lot more loose slick?
Question about using a tripod.
- Thread starter harmonica44
- Start date
You need a fluid head with your tripod. They cost a bit more than regular tripods. That'll give you the smoothness you need.
Good luck.
Good luck.
+1 Fluid Head
It's one piece of gear worth spending sone money on. A nice tripod will last you through many cameras. We actually just sold an 11 year old Vinten that, aside from a few scratches, still worked like it was brand new.
A great beginner brand is Manfrotto. You can get a solid set of sticks and lightweight head for a few hundred. I have a couple of them and love em. Great bang for buck.
It's one piece of gear worth spending sone money on. A nice tripod will last you through many cameras. We actually just sold an 11 year old Vinten that, aside from a few scratches, still worked like it was brand new.
A great beginner brand is Manfrotto. You can get a solid set of sticks and lightweight head for a few hundred. I have a couple of them and love em. Great bang for buck.
you might want to check out some of Kessler Cranes stuff http://www.kesslercrane.com/. I dont know about their tripods, but all of the other stuff they make is amazing for low budget stuff.
personally though, I would just move the camera by hand. Thats the ultimate low budget technique. Pick it up off the tripod and go with it. But thats me, I'm not sure what you're going for with your scene.
personally though, I would just move the camera by hand. Thats the ultimate low budget technique. Pick it up off the tripod and go with it. But thats me, I'm not sure what you're going for with your scene.
Good fluid head tripod (start around $300) and LOTS of practice.
Okay thanks. I was going to get a steadicam, to think of it. Is a fluid head tripod necessary if you have steadicam, or is there anything it can do, that a steadicam can't?
Yes, a tripod with a fluid head doesn't take a year+ of daily practice to become minimally proficient.
Steadicam is like dancing or playing an instrument. For some people, no matter how much they practice, it's just not a talent they have. Others pick it up and are naturals that can be made pro's.
You'll never regret a good 1K tripod/head purchase.
I like how so many of your topics start with "question about."
You're investing a lot of money into something you have no experience in. I sure hope you have a clue about what you're doing. I would hate it if you made a film or two, hated the process and the stress and frustration that comes with it, and give up.
You're investing a lot of money into something you have no experience in. I sure hope you have a clue about what you're doing. I would hate it if you made a film or two, hated the process and the stress and frustration that comes with it, and give up.
Filmmaking is a brutal business, if he gives up because of process stress, then he was not capable of handling the business side of filmmaking.
I, for one, am very curious to watch Harmonica's film. It'll be interesting to see if 1) he can pull it off and 2) if this board is able to give him the right information to pull it off. It would be very telling if he does well only to ultimately fail because of bad information.
GuerrillaAngel;217603 It would be very telling if he does well only to ultimately fail because of bad information. [/QUOTE said:If one doesn't further investigate and verify anything they've read here, or on any other forum, it's their own fault. That's my take on it.
If one doesn't further investigate and verify anything they've read here, or on any other forum, it's their own fault. That's my take on it.
That's true of course. But what's interesting here we can go back and look through the threads, and evaluate not only us, but the filmmaker himself -- did he choose wisely? Pre-production, of course is relatively easy. I'm not sure if he'll survive production - he'll have to make decisions on the fly. We'll see.
I hope I can. The DP says he's good with a steadicam. If he sticks to the production, then he can use it. I did not know my tripod could have used a fluid head. Should I just get a fluid head tripod and stick with it, or is there any reason to get a tripod that has interchangeable heads?
Well if I can't get a fluid head in time, I'll see if I can figure out a way to shoot the scene anyway. I hope I can pull it off. Have doubts since it's hard to get people to stay interested, and there is a lot of uncertainty but we'll see. I wanted to do a lot of more practice before putting out a casting call, but I couldn't get anyone to work with me. I got friends but I wasn't learning much actual production really. I still haven't been able to do any editing cause I haven't been able to pick any software without knowing if I will be buying the kind that's right for me, and I don't want to make another mistake on buying something that is not right for me. I wanna be more sure.
But yeah, hopefully I do good. Thanks for all the input. I do have a couple of other questions. When it comes to editing, such as two people talking in a scene. When I edit back and forth between the talking I have to decide which face the camera should be on, at what point of the sentences. Should I decide this beforehand and have a shot list, or should I should both faces for the whole scene, then decide who's face to have it on, and when, in the editing process? This can be more complicated to shoot, so not sure if it works better than making a shot list before hand.
Plus when it comes to filming an action scene, I have to watch my continuity in between cuts, to make sure it's all lined up right, and is coherently filmed therefore. Any more tips on continuity? Thanks.
Well if I can't get a fluid head in time, I'll see if I can figure out a way to shoot the scene anyway. I hope I can pull it off. Have doubts since it's hard to get people to stay interested, and there is a lot of uncertainty but we'll see. I wanted to do a lot of more practice before putting out a casting call, but I couldn't get anyone to work with me. I got friends but I wasn't learning much actual production really. I still haven't been able to do any editing cause I haven't been able to pick any software without knowing if I will be buying the kind that's right for me, and I don't want to make another mistake on buying something that is not right for me. I wanna be more sure.
But yeah, hopefully I do good. Thanks for all the input. I do have a couple of other questions. When it comes to editing, such as two people talking in a scene. When I edit back and forth between the talking I have to decide which face the camera should be on, at what point of the sentences. Should I decide this beforehand and have a shot list, or should I should both faces for the whole scene, then decide who's face to have it on, and when, in the editing process? This can be more complicated to shoot, so not sure if it works better than making a shot list before hand.
Plus when it comes to filming an action scene, I have to watch my continuity in between cuts, to make sure it's all lined up right, and is coherently filmed therefore. Any more tips on continuity? Thanks.
All pro tripods are different heads and legs. They're sold separately and also in kits.
The only reason to swap a head out really is if you upgrade to a beefier head or better sticks, etc.
As far as continuity, work with your actors to get them familiar enough to where they do the same thing every take. Shoot several angles, cut it together in post. A pro set has a script supervisor that keeps an eye on continuity, but on your's you'll probably be doing it yourself.
The only reason to swap a head out really is if you upgrade to a beefier head or better sticks, etc.
As far as continuity, work with your actors to get them familiar enough to where they do the same thing every take. Shoot several angles, cut it together in post. A pro set has a script supervisor that keeps an eye on continuity, but on your's you'll probably be doing it yourself.
That's true of course. But what's interesting here we can go back and look through the threads, and evaluate not only us, but the filmmaker himself -- did he choose wisely? Pre-production, of course is relatively easy. I'm not sure if he'll survive production - he'll have to make decisions on the fly. We'll see.
You're absolutely right. H44 knows me, he knows you, he knows all of the folks that, at one time or another, have tried to help because we saw a train wreck around the bend.
I even swore off responding to his posts for a while, but decided to just be helpful in the limited areas I have experience in and let him use it or not. Here is one of the problems: eventually, someone will agree with you and that shouldn't be the answer disregarding the 37 who offered a different view. Bad habit, maybe fatal.
Decisions by committee for plan A - There will be no committee on set with the meter running and everybody looking at you for plan B and reassurance when the inevitable shit hits the fan. Plan B through F is more likely than plan A. Plan on that, on the fly.
H44, you have got to get on a set and see how these things are handled, actually multiple sets. If you don't, I'm afraid you're going to end up like a zoo raised animal set free in the wild; looking good in the environment until lack of experience brings things to an abrupt and untimely end.
I hope not. I've tried to get on sets but there are just not many where I live. I have applied for three shorts in the last two years that were filmed in my city. And I didn't get any parts on them, nor would they let me just observe. So it seems I will be doing this short without having been on a set before. They only set I was on ever was a music video, helping out, but that was done with multiple cameras, and was just shooting of a fake concert, rather than one camera, doing takes from different angles, and needing continuity, etc.
I'll see if I can find online videos of shooting action scenes on set. But I may never get on one, anytime soon, but I have been trying my best to find the next one.
I'll see if I can find online videos of shooting action scenes on set. But I may never get on one, anytime soon, but I have been trying my best to find the next one.
H44, go watch The Greenlight series, they're on DVD. They're not perfect, but it'll help you see what you're going to deal with during production.
When shooting digital, you will never wish that you had shot LESS footage. Get as much coverage as you can without wearing out your cast and crew. After you capture that one perfect take, shoot it again.
For continuity, it helps to have somebody with a really good eye for detail. Maybe you can get a PA for that. If you have multiple candidates, you can give them an observation test (one of those 'what's different' pictures).
I don't have any candidates for PA. My friend was probably going to help me shoot so I can ask her. Thanks.