Post by Douglas Mallette on Jul 10, 2009 10:50:47 GMT -5
Without a doubt, assign on a shot by shot basis, not a scene by scene basis. At first I was thinking I could just assign scenes. One compositor per scene, crank it out, and move on to the next scene. 60+ scenes means I only need to find 60 odd compositors, or even just half that to get the job done.
The catch is if you have a big scene, and someone is in the middle of it, what happens when they have to leave for some reason. Now you have a half scene (or less) and you have to make sure you find someone with the same software to pick up where the other person left off. That's a pain.
By going shot by shot, the obligation is smaller. The targets are easier to view. One shot, one kill, then move to the next shot if so desired. By doing things this way we've seemed to increase pace significantly. Plus, and this is the best part as far as I'm concerned, you can pile many Compositors on a scene, having each on work a shot.
So, if a scene has 10 shots, it's getting 10 Compositors. They work together, communicating, building team unity, and generally they all move to other scene/shots together. You form good bonds and they all learn from each other. After a few shots they know all the tricks (which is quite important given our terrible footage), and can help newbies a lot easier.
Shot by shot, no matter how big the film is, is definitely an easier way to go as far as I'm concerned.
The catch is if you have a big scene, and someone is in the middle of it, what happens when they have to leave for some reason. Now you have a half scene (or less) and you have to make sure you find someone with the same software to pick up where the other person left off. That's a pain.
By going shot by shot, the obligation is smaller. The targets are easier to view. One shot, one kill, then move to the next shot if so desired. By doing things this way we've seemed to increase pace significantly. Plus, and this is the best part as far as I'm concerned, you can pile many Compositors on a scene, having each on work a shot.
So, if a scene has 10 shots, it's getting 10 Compositors. They work together, communicating, building team unity, and generally they all move to other scene/shots together. You form good bonds and they all learn from each other. After a few shots they know all the tricks (which is quite important given our terrible footage), and can help newbies a lot easier.
Shot by shot, no matter how big the film is, is definitely an easier way to go as far as I'm concerned.