A Filmmaking Blog | VashiVisuals
A Split Focus Diopter is a half convex piece of glass that attaches to the front of a camera’s main lens to make half the lens nearsighted. This lens can focus on a plane in the background and on a foreground element at the same time. To effectively apply this cinematographer’s tool a filmmaker has to plan out each shot so that both the foreground and background elements will be in focus.
The Spilt Focus Diopter creates a hyper-real visual effect that logically shouldn’t happen but somehow it magically delivers a striking and visceral image that resonates in the mind of the viewer.
SPLIT DIOPTER shots are most often attributed to Brian De Palma but director Robert Wise incorporated them into many of his films as a visual style and storytelling device, often using them more than 100 times in one film.
His split diopter shots became an integral part of the story and not just a stand-alone visual trick. In THE ANDROMEDA STRAIN, Robert Wise used 206 split diopter shots…the most in any feature film I’ve researched.
Robert Wise edited Citizen Kane. That alone is most impressive. He then went on to direct: The Day the Earth Stood Still, Run Silent Run Deep, West Side Story, The Haunting, The Sound of Music, Star Trek: The Motion Picture and 35 other feature films. On THE ANDROMEDA STRAIN, Wise teamed up again with DP Richard H. Kline, one his favorite cinematographers. They went on to film Star Trek: The Motion Picture in 1979 which had over 100 split diopter shots as well.
CINEMASH – A video essay that points out similarities in cinema.
These similarities can be visual, sonic, story or thematic.
No text or VO allowed. Maximum length of 24 seconds.
A visual homage to ALIENS (1986) in ROGUE ONE (2016)
Film Editing begins with organization. A feature film can have anywhere from 77 minutes of footage as in PRIMER to over 500 hours of footage shot on DEADPOOL. On both films…keeping track of the footage and making it all instantly accessible to the editor is paramount to a successful edit. On my current feature film 6 BELOW I am using markers in a new way.
By using MARKERS on timelines and sequences to notate takes, scenes and memorable moments an editor can isolate specific shots or sections that all the filmmakers can use to help wrangle all the footage and help tell a clearer story with all the footage.
All editing software allows for dropping markers on timelines but I utilize one little know function inside Adobe Premiere Pro to help me mark larger groups of shots or sections of similar content. A marker is usually placed on one frame but I like to extend that marker to cover minutes or whole swaths of footage. I then assign a name to the marker and this allows me to visually spot my assets very easily inside my timeline.
Click the image below to see how to extend markers in Premiere Pro.
On Tuesday April 19th I will be presenting two NAB 2016 sessions. Both will share my work as post production workflow specialist and editorial consultant on the massively successful film. In both presentations I will be sharing the actual Premiere Pro timeline used to edit the film. Here is a sneak peek:
My first presentation is at 12:30pm Tuesday on the Adobe Stage.
I will also be moderating the Creative Master Series Deadpool panel at 4pm:
Stop by and say hi if you can!
I’ve just finished editorial on the feature film 6 BELOW starring Josh Hartnett and directed by Scotty Waugh (Need for Speed, Act of Valor). This is my 10th feature film as an editor and a very welcome challenge both creatively and technically. It’s also the first feature film to be edited natively in 6K. I’m cutting the original RED 6K Dragon files (R3D) with no transcoding or proxies in Adobe Premiere Pro. We are framing for a 2.76:1 aspect ratio like The Hateful Eight and using Panavision Primo 70 lenses.
Vaclav Nedomansky was the first player to defect and play in the NHL.
My family escaped from communist Czechoslovakia on July 4th, 1974.
Two weeks later we defected to North America.
I’ve been lucky enough to group up with the freedom my parents didn’t have for most of their life.
July 4th is a very special day for my family on so many levels. I’m so very grateful and now I can return the favor and tell our story…
BIG NED is a feature length documentary film about Vaclav Nedomansky.
He was the first hockey player to defect from a communist country
and play in the NHL. In the middle of the Cold War…
He risked everything for a better life.
He’s also my father…
HERE’S THE OFFICIAL TRAILER
ESPN wrote a great article about the documentary…
You can follow the making of the film on:
The Official BIG NED Facebook page.
UPDATE: After I was hired as editorial consultant on DEADPOOL, one of the first things I did was create a custom 2-monitor Premiere Pro template for post production.
This was a solid starting point for all the editors and assistants before they customized it further to their liking. I designed the workspace with THE PANCAKE TIMELINE already active and a basic bin structure to keep the project organized right off the bat.
I also arranged the panels in tabbed groupings that made logical sense for our workflow and it also allowed quick full screen maximization with the tilde (`) key.
There are a limitless choice of options when you set up a workspace…this custom template was the most efficient and nimble option for our specific needs.
You can download the Premiere Pro template we used on the film below…
DOWNLOAD: VASHI’S DEADPOOL PREMIERE PRO TEMPLATE
Until next time…
As the editorial consultant on DEADPOOL, I spent 9 months crafting the post production workflow used for the edit and also trained the entire post production team in both Premiere Pro and After Effects. Very early into the cutting, lead editor Julian Clarke asked me if we could add camera shake to certain locked-off, static shots.
This can be accomplished in Premiere Pro by manually animating the frame with keyframes or by using a 3rd party plug-in…but I wanted a real-time solution without using a plug-in. I reached out to Jarle Leirpoll , an amazingly talented editor who also creates free Premiere Pro presets utilizing the included effects built into the software. His JARLE’S PREMIERE PRO PRESETS VERSION 3 includes 98 free presets that cover both video and audio.
Jarle created 7 custom handheld camera presets for DEADPOOL that could be applied directly onto clips and played back in real-time. Jarle shot footage with real cameras and mapped both the position and rotation of the handheld footage into his presets. It’s organic and real. It’s information captured by a human being and not the result of random computer generated data like the wiggle expression that After Effects would create. The difference between human and computer generated data may not look different viewing the keyframes…but their is an inherent honesty and palpable naturalness to ACTUAL human handheld movement compared to computer generated randomness.
The 7 presets are split into 2 groups with different functions. 3 presets can be used on footage with resolution that matches the sequence settings. These 3 presets will resize the footage to 104% so the edges of the frame will not show black as the footage is being moved around. The other 4 presets are for sequences where oversized footage is dropped into a smaller resolution timeline. This was the workflow for both GONE GIRL and DEADPOOL where 6K / 5K / 4K / 3K footage was edited inside a 2K sequence. This extra padding of resolution allows the handheld camera presets to move the footage WITHOUT resizing the source footage. This is the great benefit of shooting at a resolution larger than your final output as both stabilization and reframing can be accomplished without losing any resolution.
Download: JARLE’S DEADPOOL HANDHELD CAMERA PRESETS
and use these Deadpool Premiere Pro Presets on your projects for free.
BTW these presets work in all versions from Premiere Pro CS6 and later…
Until next time…
The Shooting Ratio in filmmaking and television production is the ratio between the total duration of its footage created for possible use in a project and that which appears in its final cut. In the Golden Age of Hollywood (1930-1959), it was normal to have a 10:1 ratio. A 90 minute feature film would have have shot roughly 25 hours of film. Certain directors like Alfred Hitchcock were known to have a 3:1 ratio so he could control the edit by leaving the studio no other options.
The shooting ratio has skyrocketed over the last 20 years. Due to the relative inexpensive nature of digital filmmaking, cameras often shoot for extended periods that cover several takes, resets and everything in-between. Film has always been associated with a more disciplined style of shooting with the camera rolling only between “Action” and “Cut”…well technically between “Speed” and “Cut”!
I have edited 9 feature films over the last 15 years and I can attest to the fact of getting more and more footage into the edit bay on every project. Here’s an infographic that compares 8 films shot over the last 35 years to give you an idea of the actual numbers and ratios.
Until next time…