Once in a lifetime shoot. What primes should I bring?

herein2020 · May 19, 2023

1 hour ago, Kisaha said:

It is very important to know your place and understand your concept completely, in the pro world.

That is number one.

I recently did a documentary series with young directors (one director each 25minutes episodes), almost all of them did more than 5 hours interviews! that was too much for the project, the concept behind it, and the budget.

As of the technical stuff. When I was doing such work I always shot 50p (more is just too much) and used whatever technique I considered appropriate. A few timelapses and hyperlapses were good transition tricks also. Speedramp also. Whatever..

I think that is the biggest first lesson to learn when shooting for someone other than yourself is; don't fall in love with your own footage. We have all shot a shot that looks so perfect we want to show the world the whole thing so we let it run a little bit too long; but the reality is no one else cares about that shot except you and by letting it run too long you start to lose your audience. I still find myself doing it occasionally and I have to remind myself to stay aligned with what the customer wants, not what I like the best.

Ground hyperlapses is one thing I have never done. I've done simulated ones where I shoot 6/7K images then keyframe camera motion, but a true hyperlapse where the camera is moving I have never done. I think it looks really impressive and would look good in events but it just seems like it would take so much time and the other problem would be all the people upset that you are not talking to them or taking their picture while trying to stick to the hyperlapse path.