Eventhough Camera was not going to be my priority during our filming, I still endured a masterclass to develop my techological knowledge! These are the notes we recieved and discussed with out teacher:
Headroom is another element you should consider when framing your subject. Headroom is the amount of space between the top of someone's head and the top of the frame. If you leave too much space, the person will appear as if sinking in quicksand. If you don't leave enough room, the person will seem in danger of bumping thier head. By positioning the suject's eyes on the top third imaginary line, you will be building in the proper amount of headroom. When considering head- room, be sure the shot is loose enough so that you see part of the subject's neck or the top of the shoulders. However, don't be as concerned with cutting off the top of someone's head, as long this serves a purpose. Viewers do not perceive this as abnormal as long as you frame the actor's eyes where they should be.
Digital Video (DV)
There are many great things about today's technogloy. Digital video recording have big viewfinders, which are just the tip of the iceberg. An advantage of DV is that modern camcorders have become small and portable (Batteries are small and lightweight, tapes have moved from full-size to compact). Filmmakers no longer have to lug a big videotaping contraption to each location, with modern DV cameras we can simply set up our equipment within minutes still maintaingin a high level of filming.
There are many great things about today's technogloy. Digital video recording have big viewfinders, which are just the tip of the iceberg. An advantage of DV is that modern camcorders have become small and portable (Batteries are small and lightweight, tapes have moved from full-size to compact). Filmmakers no longer have to lug a big videotaping contraption to each location, with modern DV cameras we can simply set up our equipment within minutes still maintaingin a high level of filming.
Dimensions Of Camera
Depth of field (DOF) is the portion of a scene that appears sharp in the image. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on either side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.
Depth of field (DOF) is the portion of a scene that appears sharp in the image. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on either side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.
For some images, such as landscapes, a large DOF may be appropriate, while for others such as portraits, a small DOF may be more effective. In cinematography, a large DOF is often called deep focus, and a small DOF is often called shallow focus.
The focus pull (rack focus) is a creative camera technique in which you change focus during a shot. Usually this means adjusting the focus from one subject to another, it requires making adjustments such as changing filter or adding shutter.
Pulling focus on the whole picture can be done at any time simply by turning the focus ring until focus is completely lost. This can be used as an opening/closing shot or as a transition between shots. It can also be used for various effects, such as a point of view shot from someone who is drunk or groggy.
Pulling focus on the whole picture can be done at any time simply by turning the focus ring until focus is completely lost. This can be used as an opening/closing shot or as a transition between shots. It can also be used for various effects, such as a point of view shot from someone who is drunk or groggy.
The shot below begins focused on the plant in the foreground, then adjusts focus until the girl is sharp.
In the age of digital editing, focus-pulling for effect is more commonly achieved in post-production. This adheres to the general guideline that it's safer to record pictures "dry" (without effects) and add effects later.
In the age of digital editing, focus-pulling for effect is more commonly achieved in post-production. This adheres to the general guideline that it's safer to record pictures "dry" (without effects) and add effects later.
Hand Held Camera involves the camera operator removing the camera from the tripod and steadying the camera or your shoulder or other surface. This is a very technical skill to master however, if done well it will capture the viewer's imagination and take them on a cinematic journey.
It’s important to practice using the camera hand held before going out on location and shooting, to develop a comfortable position. Always remain fluid and relaxed, otherwise this will reflact in the shots you record.
It’s important to practice using the camera hand held before going out on location and shooting, to develop a comfortable position. Always remain fluid and relaxed, otherwise this will reflact in the shots you record.
Composition
When done right, the composition will not draw attention to itself. Instead, it will instill a sense of normalcy and stability. On the other hand, a poorly composed shot will have the opposite effect. It will distract the audience, or worse, make a scene entirely unwatchable.
When done right, the composition will not draw attention to itself. Instead, it will instill a sense of normalcy and stability. On the other hand, a poorly composed shot will have the opposite effect. It will distract the audience, or worse, make a scene entirely unwatchable.
Fill the frame….sometimes your mind tends to exaggerate what you see through the viewfinder of your camera. You often perceive things a bit bigger than they actually are and you also tend not to notice 'slight' distractions. What you end up with is shots with huge areas of wasted space around the edge and people with things growing out of their heads.
Make sure your subject fills the frame. The best way to do this is to move a bit closer. Before you record have a quick look round the edge of the frame and behind your subject. Make sure that you don't have acres of space full of nothing interesting and check for 'stuff' intruding into your masterpiece.
The Rule of Thirds is a basic rule of composition. This guideline gives you ideas on where to place your subject within the frame. Though your tendency may be to position your subject dead center on the screen, the rule of thirds will give you a more compelling picture. The rule of thirds suggests that the main subject in your shot should fall on one of the points where these imaginary lines intersect. The resulting image will be much stronger than if you simply place your subject in the crosshairs.
Make sure your subject fills the frame. The best way to do this is to move a bit closer. Before you record have a quick look round the edge of the frame and behind your subject. Make sure that you don't have acres of space full of nothing interesting and check for 'stuff' intruding into your masterpiece.
The Rule of Thirds is a basic rule of composition. This guideline gives you ideas on where to place your subject within the frame. Though your tendency may be to position your subject dead center on the screen, the rule of thirds will give you a more compelling picture. The rule of thirds suggests that the main subject in your shot should fall on one of the points where these imaginary lines intersect. The resulting image will be much stronger than if you simply place your subject in the crosshairs.
Video: Rule of Thirds http://www.youtube.com/watch?v=bPeOBPxV8iE
For example; when framing a person, that person's eyes are your main focal point. Whether using a wide shot or a close up, compose the shot so that the person's eyes fall on one of the uppermost imaginary intersections. The intersection you choose depends on which direction the person is looking. Frame someone looking screen left on the right third of the screen. This places the subject slightly off center and builds in another element of composition called "look room."
Looking Room, Lead Room and Headroom is the space that you leave in front of someone's face on the screen. This space gives the person room to breathe, as well as gives the impression that the person is looking at or talking to someone just off screen. If you don't leave enough look room, your subject will appear to be boxed-in and confined. Be aware that the amount of look room necessary is dependent upon the angle of the subject to the camera. A person looking directly toward the camera will require less look room than someone shot in full profile.
Moving objects such a cars require a similar buffer called "lead room." Allow extra space in front of a moving car so that the viewer can see that it has someplace to go. Without this visual padding, the car's forward progress will seem impeded.Headroom is another element you should consider when framing your subject. Headroom is the amount of space between the top of someone's head and the top of the frame. If you leave too much space, the person will appear as if sinking in quicksand. If you don't leave enough room, the person will seem in danger of bumping thier head. By positioning the suject's eyes on the top third imaginary line, you will be building in the proper amount of headroom. When considering head- room, be sure the shot is loose enough so that you see part of the subject's neck or the top of the shoulders. However, don't be as concerned with cutting off the top of someone's head, as long this serves a purpose. Viewers do not perceive this as abnormal as long as you frame the actor's eyes where they should be.
No comments:
Post a Comment