Prezentace z pátého ročníku konference New Media Inspiration (http://nminspiration.cz), který se konal 13. 2. 2016 v hlavní budově FF UK pod vedením @petrkou, @simindr a @josefslerka.
V roce 2008 přišel divizi vývoje digitálních zrcadlovek v Canonu navštívit video technik. Když si prohlédl nový model připravovaného fotoaparátu, řekl: „Pokud chcete, mohl bych tam přidat funkci videa.“ Asi málokdo tušil, že tento okamžik změní nejen celosvětovou produkci amatérského videa, ale dokonce výrazně zasáhne do filmového průmyslu. Jak probíhala tzv. DSLR revoluce? Co přinesly digitální zrcadlovky filmové tvorbě? A jak vypadají ozvěny této revoluce v roce 2016? Příspěvek představí příběh o vzpouře nezávislých filmařů proti monopolizovaným molochům filmového průmyslu a bude se věnovat i tomu, jak vypadá růst a vývoj technologie v éře novomediálních komunit.
Potential of AI (Generative AI) in Business: Learnings and Insights
DSLR REVOLUCE a její vliv na filmovou tvorbu
1. DSLR REVOLUCE
a její vliv na filmovou tvorbu
Mgr. et Mgr. Petr Nuska
Production manager - FAMU International
nuska.petr@gmail.com// @woreshack // woreshack.cz
2. Obsah
• 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
3. -Lancaster 2011:44
When it comes to the DSLR cinema revolution,
there’s been nothing like it in the history of
cinema.”
“
4. 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
13. Do kterých oblastí se
DSLR revoluce promítla?
• Hollywood (kolem r. 2010)
• Amatérská videoprodukce
• Extrémní sporty
• Vlogging
• Etnografický a
dokumentární film
14. 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?
15. 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
16. Použití DSLR na výrobě filmů promítaných
na MFDF Ji.Hlava a Antropofestu v r. 2011
17. Použití DSLR na výrobě filmů promítaných
na MFDF Ji.Hlava a Antropofestu v r. 2012
18. Použití DSLR na výrobě filmů promítaných
na MFDF Ji.Hlava a Antropofestu v r. 2013
19. Použití DSLR na výrobě filmů promítaných
na MFDF Ji.Hlava a Antropofestu v r. 2014
25. “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
26. 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
27. Pojištění
The 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
“
28. At that time [2011] the look was very competitive and
overall visual quality was very high considering the
budget of the film project.”
- Aleš Suk, DOP Marija’s own
“
Kompetitivita
30. 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)
31. 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!
32. 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)
33. 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.”
- Aleš Suk, DOP Marija’s own
“
“
35. 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.”
- Aleš Suk, DOP Marija’s own
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.”
- Marcell Gerő, režisér filmu Cain’s Children
“
“
37. 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
“
39. 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
40. 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.”
- Marcell Gerő, režisér filmu Cain’s Children
41. 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
42. 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
43. 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.”
- Marcell Gerő, režisér filmu Cain’s Children
“
“
44. použití DSLR v dokumentárním
a etnografickém filmu
Nevýhody
45. • 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
47. 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
48. 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)
52. “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
53. 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.
55. 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”
“