Exterior Brooklyn Bridge, night. We open with a close-up of our hero’s face as she runs across the bridge, slowly zooming out until the entire cityscape is revealed.*We added the asterisk a few weeks after finishing the shot list, which meant there were still some unresolved issues. Issues like: Was there a lens out there with enough range? Would it be fast enough to shoot at night with no additional lighting? Where could we possibly set up to get the right frame? Now, if this were a Hollywood production, the shot wouldn’t even be a bump in the road. But for our micro-budget indie Deepfake, it was Kilimanjaro. We decided to tackle the lens question first.Our DP Robert Bevis walked over to the bridge with his viewfinder app to try to get a handle on the specs we’d need. At the wide end, it looked like 40mm would be able to capture the skyline and bridge. But he quickly ran into trouble on the telephoto side. He guessed we might need something in the ballpark of 1200mm at least. As far as super 35 zooms go, the Optimo 24-290 is considered a very fast, long-range zoom, but this kind of shot needed something in a whole different universe. This led us to the world of live sports broadcasts zooms. - YouTube youtu.be Broadcast zooms—those large box-style lenses you see at football games—can feature zoom ranges of 25 times or more. The primary issue though, aside from the huge cost, is...
Published By: NoFilmSchool - 3 days ago