Fake photographers really bug me….

alot of mistakes can be found the brilliant episodes of ugly betty. im always there finding out what lens is used and what flash there using etc. its a big cliche when you see mistakes.
 
I find anything that defies the laws of physics to be deeply irritating. Motion Picture Gravity is one of the worst offences. Sound effects in the vacuum of space also **** me off. What is the point? As for car crashes, such as the Aston in Casino Royale, on what planet would the car have leapt into the air and rolled on that damp road? There's no way that happened unless the car was propelled into the air by a nitrogen cannon. What idiot fitted that to Bond's car? Has Q gone mental? It is preposterous and basically rubbish.

I do wish movie and programme makers would have someone with a little intelligence review the intended effects before signing off. Don't get me started on "Crouching Tiger, Hidden Dragon" and its ilk. Fantasy is all well and good. Complete cobblers isn't.

Oh yeah, and too many people are clueless when it comes to operating cameras in movies/TV. You'd think the camera team might mention something. Ho hum.
 
antonroland said:
And here I thought only fingerprint specialists have this annoyance...:D

Agreed, anything not correct in a movie or telly series irritates me to no end...that is why I do NOT watch any of the CSI lot...special agent Zeeva?

Well there is a different thing altogether now:naughty:
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:lol: I love the CSI's and have a good laugh at the Vegas one when they're photographing the crime scene with Nikon point&shoots, whichever Nikon is trying to sell that series. It's 'oh look' Flash then pick up the weapon with pinky and thumb :lol:
 
fatphotographer said:
OK, I will admit it, when I see a camera or a lens on telly, I try and work out what make and model it is…maybe I am a bit sad, maybe just inquisitive?
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I don't do that, but I do always find it amusing when I see TV shows with actors playing photographers and their moves are always choreographed, or the footage is always shot in such a way as to hide the Nikon, Canon or whatever logos, or the logos have simply been blacked out with a Sharpie. It's just the way they make it so obvious they're trying to hide the brand name (even though anybody who owns a Canon or Nikon DSLR would be able to spot at least that distinction a mile away).

What I've been doing the last couple of years, since I've started doing more motion graphics & visual effects stuff at work, is being able to spot some very stupid mistakes that have been made in some movies and films (I've always noticed a lot of them just as most people do, but it's stuff I never would've seen before things that most people wouldn't spot), and going through ways in my head that they could've done it better to make it more realistic or believable. It's not like a try to spot this stuff, it just seems to scream out of me when I see badly done special effects.

This issue has only been made worse since upgrading to 1080HD TVs which just make those terrible green screen shots, bad chroma key jobs, mis-matched lighting & shadows, CG objects that slide along the surfaces of objects and/or completely ignore fundamental laws of physics, and all those other things even more obvious.
 
In general i am quite good at suspending disbelief and can put up with hacking being all stuff like clicking a few buttons on gui's, people who cant hold camera's right etc but one that really really ****ed me off was that aston crash in Casino Royale. It was just so stupid a car going over a crest on a damp road has enough traction to grip roll the instant the wheel was touched?

tdodd said:
I find anything that defies the laws of physics to be deeply irritating. Motion Picture Gravity is one of the worst offences. Sound effects in the vacuum of space also **** me off. What is the point? As for car crashes, such as the Aston in Casino Royale, on what planet would the car have leapt into the air and rolled on that damp road? There's no way that happened unless the car was propelled into the air by a nitrogen cannon. What idiot fitted that to Bond's car? Has Q gone mental? It is preposterous and basically rubbish.

I do wish movie and programme makers would have someone with a little intelligence review the intended effects before signing off. Don't get me started on "Crouching Tiger, Hidden Dragon" and its ilk. Fantasy is all well and good. Complete cobblers isn't.

Oh yeah, and too many people are clueless when it comes to operating cameras in movies/TV. You'd think the camera team might mention something. Ho hum.
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i wonder how many nurses and doctors watch casualty and think " well thats wrong for a start"........... i think the important thing to remember here that its all make believe........ the wtory line, the characters, and the characters occupations, they arent supposed to be believable! if they were Eastenders, corrie, casualty and their ilk would become as mundane as real life...
 
I feel the same about all 'pretend' togs, and especially those at Weddings - the 'Pros' I mean :(

One of my favs from last year was the woman Pro (of many years I was told) holding a hammerhead flash the wrong way up at a night shoot, and also using it on a manual setting only where the distance/environment changed quite a bit - oh, and I know that as I was a) a guest, and b) had to sort her images out later :shake:

And another (ex associate of mine) shooting Wedding group shots into the Sun from quite a few feet away with his omnibounce on - strangely - his images were all underexposed and noisy as Hell in 'recovery' - odd that :D

Oh - and the numerous White Room types who can't make the room white :lol:

Best stop now ;)

DD
 
Glad its not just me I have been moaning about this for years and my family have started to switch off if there are any photographers on TV programmes brfore I start wingeing
 
CaptainPenguin said:
Glad its not just me I have been moaning about this for years and my family have started to switch off if there are any photographers on TV programmes brfore I start wingeing
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Oh - and just to add to my whinge - I don't care/mind one jot about the telly-togs' jokey camera technique - it's FICTION :lol:

DD
 
Flash In The Pan said:
NCIS....no-one on that show seems to be able to hold a camera properly. Here's a pic of Cote de Pablo to prove why I couldn't care less :D
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Excellent point, and well presented Flash! I guess that has to be the closing argument for the defence Ya' Honour :thumbs:
 
Flash In The Pan said:
NCIS....no-one on that show seems to be able to hold a camera properly. Here's a pic of Cote de Pablo to prove why I couldn't care less :D


379073.jpg
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You make a highly compelling and quite valid point...
And I've noticed that the cast of NCIS generally do handle cameras as if they are actually taking photos - I watched each episode with Cote de Pablo five or six times very carefully and the 'joke' photos they take of one another could 'just' have been taken by the P&S Nikons they use...

Now I'll see your Cote de Pablo and raise you a Pauley Perette...

pauley_perrette_2339379.jpg
 
DiddyDave said:
I feel the same about all 'pretend' togs, and especially those at Weddings - the 'Pros' I mean :(

One of my favs from last year was the woman Pro (of many years I was told) holding a hammerhead flash the wrong way up at a night shoot, and also using it on a manual setting only where the distance/environment changed quite a bit - oh, and I know that as I was a) a guest, and b) had to sort her images out later :shake:

And another (ex associate of mine) shooting Wedding group shots into the Sun from quite a few feet away with his omnibounce on - strangely - his images were all underexposed and noisy as Hell in 'recovery' - odd that :D

Oh - and the numerous White Room types who can't make the room white :lol:

Best stop now ;)

DD
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HA!
I've been practising with OCF and using a shutter speed higher than 1/250. I need to hold the camera upside down to avoid vignetting from the curtain closing. Probably looks very strange to some.
 
NigelPaul said:
HA!
I've been practising with OCF and using a shutter speed higher than 1/250. I need to hold the camera upside down to avoid vignetting from the curtain closing. Probably looks very strange to some.
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So you were using OCF with the flash uplighting the subject at a Wedding???

If not - not similar at all m8 and certainly not worth a 'HA!' ;)

DD
 
DiddyDave said:
So you were using OCF with the flash uplighting the subject at a Wedding???

If not - not similar at all m8 and certainly not worth a 'HA!' ;)

DD
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Not similar at all mate, maybe, but I got some strange and curious looks. Made me laugh at the time:razz:
 
DiddyDave said:
Oh - and the numerous White Room types who can't make the room white :lol:

Best stop now ;)

DD
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But Dave apparently its easy...!!!!!


md



lol


Oh and i do watch for makes on programs
 
fatphotographer said:
OK, I will admit it, when I see a camera or a lens on telly, I try and work out what make and model it is…maybe I am a bit sad, maybe just inquisitive?

You know the scenario, Paps running backwards in front of naughty politicians outside a courtroom and you pick out a 1Ds coupled to a 16-35, or D3x with a 14-24. Maybe the football is on and you are staring at the 200 f2 on the 1D mk4 and 400 f2.8 on the D3 in the background, rather than paying attention to the action. Come one, we all do it! (I hope)

The problem that I have found myself getting more and more frustrated with is - the fake photographers in soaps and films. It is starting to really bug me.

Just the other night on Deadenders, there was a prime example – a gent in the background at the Asian party. He was staring gormlessly into space, with the camera neither at his eye, nor out of the way so he could see what he was likely to shoot. Both hands holding the camera body, with not a clue how to operate the camera, or how to act with it.

Another scene I can recall in a film produced within the last couple of years includes 20 so called Paps, happily snapping away on the red carpet - with their Zenits and Centons hooked up to 30 yr old Metz flashes.

Or it is just as bad when they do make an effort and use “pro” props, you see a gaggle of 300mm f2.8 lenses shoved in the face of people in the “leaving the courtroom” scenes, trying to take shots of the subject just 12 inches away from the end of a lens that won’t focus less than 8ft away.

Come on filmmakers - sort your life out.

Could you picture a scene in Casualty where the surgeon asked for a scalpel, and then the nurse strikes up and passes him a chainsaw? Or maybe in The Bill, there is a desperate call for backup, there’s a close-up of screeching tyre as the cavalry arrive to save the day, only to pan out to see 6 “riot clad” coppers jumping to the rescue - out of the side window of an Ice Cream Van? I don’t think so!

Rant over
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Gary, we need to have a drink sometime. Just so you can unload some of this stress mate. ;)
You need to stop watching such crappy shows. :)
I'll be scared of going to the circuit with you in the spring now. Just in case I don't hold it right. :D
b****r, was he watching at Scampton that time.... :thinking: :)


Kev.
 
fatphotographer said:
OK, I will admit it, when I see a camera or a lens on telly, I try and work out what make and model it is…maybe I am a bit sad, maybe just inquisitive?

You know the scenario, Paps running backwards in front of naughty politicians outside a courtroom and you pick out a 1Ds coupled to a 16-35, or D3x with a 14-24. Maybe the football is on and you are staring at the 200 f2 on the 1D mk4 and 400 f2.8 on the D3 in the background, rather than paying attention to the action. Come one, we all do it! (I hope)

The problem that I have found myself getting more and more frustrated with is - the fake photographers in soaps and films. It is starting to really bug me.

Just the other night on Deadenders, there was a prime example – a gent in the background at the Asian party. He was staring gormlessly into space, with the camera neither at his eye, nor out of the way so he could see what he was likely to shoot. Both hands holding the camera body, with not a clue how to operate the camera, or how to act with it.

Another scene I can recall in a film produced within the last couple of years includes 20 so called Paps, happily snapping away on the red carpet - with their Zenits and Centons hooked up to 30 yr old Metz flashes.

Or it is just as bad when they do make an effort and use “pro” props, you see a gaggle of 300mm f2.8 lenses shoved in the face of people in the “leaving the courtroom” scenes, trying to take shots of the subject just 12 inches away from the end of a lens that won’t focus less than 8ft away.

Come on filmmakers - sort your life out.

Could you picture a scene in Casualty where the surgeon asked for a scalpel, and then the nurse strikes up and passes him a chainsaw? Or maybe in The Bill, there is a desperate call for backup, there’s a close-up of screeching tyre as the cavalry arrive to save the day, only to pan out to see 6 “riot clad” coppers jumping to the rescue - out of the side window of an Ice Cream Van? I don’t think so!

Rant over
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I'd have to totally and utterly disagree with this,Casualty focuses on this kind of thing,I.e surgery etc,The bill focuses on police and that stuff

None of them focus on photographers,So they don't have to be perfect...
 
Guilty as charged Fat Photographer - was at the England Australia game at Twickenham earlier in the year - chatting to one of the pro - togs before (we were 8 rows back in lower stand) about his kit - 1Ds Mk III with very expense very long L glass, tethered to the macbook air in his kit bag that had a wireless dongle - apparantly could take the shot and would be in the sport's editors inbox in seconds..............
 
Lynton said:
tethered to the macbook air in his kit bag that had a wireless dongle
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I try to shoot tethered whenever possible. Makes life so much easier sometimes. :)
 
One of the kids shows (girls shows I might add, icarly if you care)had a cage fight, and the togs were using 400mm+ lenses at ringside!
 
Thing like that don't usually bother me, but when I was forced to watch The Fast and the Furious years ago when it came out. The 16 speed manual gearboxes always made me laugh.
 
swordjo said:
Thing like that don't usually bother me, but when I was forced to watch The Fast and the Furious years ago when it came out. The 16 speed manual gearboxes always made me laugh.
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Actually yeah, I love the fact that when they start losing they just shift down and push the pedal harder. Now if only they thought of doing that at the start....... :bang:
 
I hope you like this one guys ... no its actually good honest!

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foggy4ever said:
What about Torque :D



Or MI 2
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:lol: Amazing riding, I ride like a ***** me, but when ever I try stopping like that it always results in an instant high-side smash combo. :shrug:
 
I love the fact that DEXTER MORGAN shoots with a Nikon, I have always felt they do an alright job of his photography scenes, I mean it's clearly false, but not to an extent which bothers me :D He is seen with the camera quite a lot, it's fairly central to his job as blood splatter analyst...

BTW - He is one badass mofo.

Gary.
 
SpikeK6 said:
OMG I hate you.:p

I found myself the other day whilst watching Newcastle play on sky sports looking to see what lens the photographer had and what he was doing on his lap top as the sky camera panned onto him.

Now i can see all i am going to be doing now is starting to look for who's using what and if they are "doing" it properly, ooer missus.:eek: whilst watching the latest blockbuster :bang:

Spike
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I find myself AT THE NEWCASTLE MATCH ITSELF ( no jokes please) looking at what the photographers are doing, which lens they have got on etc and the make of camera ( they nearly all use Canons :'( - I am amazed at how quickly they can switch from some super tele lens to a medium in order to catch close ups after a player scores and runs to the crowd!

It is VERY sad isnt it.............:D
 
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