Basic A/V Production 1060

COM TECH 1060 Basic Video Production

WELCOME TO BASIC A/V In this module you will complete a number of A/V projects and by doing so you will be better able to produce, analyze and critique a/v productions.

Basic Audio Video production will introduce you to the medium of film production. As you read through this module you will find many

and at some larger grocery chains. The cost of the tape on average is approximately $10.

All equipment used in this module will be

useful pieces of information about creating

signed out to you by your instructor. If you need

videos and you will be informed about good

to take equipment home over night or for a

video production methods.

weekend you must return the equipment to the

This module will require both written and hands on work and it will also require to you

lab the day by 8:50 am.

All written work must be completed for this

work in a group environment. All work in this

assignment prior to signing out equipment and

module will be due on the date stated by your

all projects must be approved by your instructor

instructor.

before you commence filming.

The Com Tech program does not purchase

Please take the time to read through the

tapes for student video projects and as such it

information in this module. It will assist you in

requires that either individuals or groups

creating a better video. It will also ensure that

purchase their tapes for this course. The tape

you understand concepts that directly effect

that you will need is a Mini DV cassette and it

your marks.

can be purchased at your local electronics store

All group members must fill out self evaluations prior to handing in their DVD’s.

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Criterion Collection Throughout this module you will see pictures of movies from the Criterion Collection. To find out more click here.

COMPOSITION

http://www.cybercollege.com/tvp022.htm

Composition: Setting the Scene Have you ever wondered why certain paintings endure for

At the same time,

centuries and become priceless, while others end up at garage sales?

significant technical problems — poor

Art critics agree that the

sound, a jittery camera,

difference hinges on an

or a lens going in and

elusive element called

out of focus — will

artistic talent.

quickly divert attention

Art Display Although talent

away from the message:

is hard to define, we do

the content.

know that it goes far beyond a familiarity with the basic elements of the

When production elements call attention to themselves, either because they are poor or because they are ostentatious, attention is

medium — in this case

shifted away from content. This is especially true in dramatic

paint, brushes and canvas

television.

— to an ability to use the medium to create an emotional experience in the viewer.

In video production an understanding of cameras, lenses, etc., is fundamental. But those who never get beyond this basic understanding, as essential as that might be, never distinguish themselves. At best, they will be considered good technicians.

We can make an analogy to musical performances. There are many people who can "get all the notes right." But, if the performance lacks heartfelt interpretation (emotion), we feel that

If the content is predictable or somewhat pedestrian in nature, a director may try to hold audience attention by deluging viewers with special effects. This practice is common in some music videos, where there is competition to come up with ever-more-bizarre and far-out effects.

TV series such as CSI use special effects to embellish content; but the major emphasis is on the story line and, of course, the "chemistry" between principal characters.

In a series such as Friends, one of the most popular sitcoms of

something is missing, especially if we have an opportunity

all time, content alone carries the series, and there is

to hear someone who can interpret and "put themselves into" the same music.

Form Vs. Content A scene can be well exposed, in sharp focus, have perfect color balance, and be well lit (i.e., have good form) and still be empty of emotional meaning and impact (be void of meaningful content).

If a scene in a production is striking, dramatic, or

almost never a need for special effects. (Friends aired

It's only after you its last episode in May 2004, but reruns will master the basic tools undoubtedly be broadcast for many years.) of the medium and are able to go beyond them to express A Director Directs Attention your ideas in creative and even Although we generally assume that the term artistic ways that your work "director" refers to the person's role in directing will be considered praiseworthy — even (steering) the work of production personnel, the term exemplary. actually has a more important meaning: one who directs the attention of viewers.

humorous, we will tend to overlook minor technical weaknesses. This leads us to the following:

In this role the director moves from form into content and centers on skillfully and creatively using the tools of the medium to regularly

" Content takes precedence over form."

direct the audience's attention to critical aspects of the message.

In a sense, the director is a kind of "tour

In other words, the intended message of a production is more important than things such as technical excellence or flashy embellishments.

guide" for viewers.

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Contrast the setting shown here with starting a dramatic production with a slow pan across a bright, immaculate, airy penthouse garnished with ultramodern furniture and paintings. What does each say about the people involved?

There is a saying in videography and film: " Never just say it if you can show it."

Let's say you are doing a documentary on air pollution. You could talk about how bad things are, or you could simply cut to a scene like this.

Insert Shots and Cutaways Instead of saying, "If you will look out the window on the left of the bus, you will see..," a good director cuts to a close-up of whatever is important for the audience to see at that moment. This referred to as an insert shot, a close-up of something significant within the basic scene.

The insert shot forces the audience to look at a significant aspect of the overall scene that highlights details that may not have been apparent.

Good tour guides also help people understand things by adding significant information along the route. Good directors do the same.

This could be considered a cutaway shot — cutting away from the central scene to bring in related material. cutaway shot

Since what people see on TV typically carries much more of an impact than what they hear, you are much better off showing things rather than talking about them.

In a sense, all of the things we've been discussing can be

For example, while covering a parade, a director might cut away to a shot of a baby sleeping peacefully in a stroller. Or a sequence showing buyers in a busy marketplace in the Philippines might cut away to a shot of a child watching it.

Enhancing the Message

included in the general term, composition (the elements that comprise a scene). However, for the remainder of this section we'll concentrate on a narrower and more traditional definition of the term.

Defining Composition Composition can be defined as the orderly arrangement of elements in a scene which, when taken as a whole, conveys intent

A major role for production tools is to enhance, amplify, or

and meaning. (How's that for a genuine textbook-type definition?)

explain the message.

Music is a production tool when it enhances the atmosphere,

•Television production involves both static composition and dynamic

tips us off to danger, or sets the mood for romance.

As we will see, lighting can suggest a cheerful atmosphere or a dark, dim, and seedy environment. Sets and props can do the same; plus, in a dramatic production they can tell us a great deal about

composition.

•Static composition covers the content of fixed images, such as paintings or still photos.

•Dynamic composition goes a step further and takes into

characters — even before we meet them.

An example of this is an atmosphere introduction, a technique where a director tips us off to important things about characters by introducing us first to their surroundings.

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consideration the effect of time — moment-to-moment change. This change can be within a single shot (including camera or talent moves), or it can apply to the sequence of scenes created through editing.

The speed at which ideas are presented in productions has

Guidelines not Rules

increased dramatically in recent years.

Even though the principles that have emerged for good

We can clearly see this in long-running TV series. Compare

composition seem rather clear, they should always be considered

specific soap operas of five years ago to the same series being done

guidelines and not rules.

today. In order to stay competitive (i.e., hold an audience) these programs now feature exotic locations, faster cutting, greater and more frequent emotional swings, faster-moving and richer story lines, and...

Composition is an art and not a science.

...those two ingredients that are always relied upon to increase the flow of adrenaline: regular dips into violence (or the threat of violence) and sex (or at least the possibility of sex).

In novels authors used to spend many pages elaborately setting scenes. Now readers are apt to say, "Enough! Get to the point!"

As a university professor who has been teaching television production for a few decades, I can attest to the fact that the vast majority of video projects I see are too long. Shots are held long after the point is made.

In fact, a good editor could cut most of these projects or productions down by at least half and make them more effective and interesting in the process.

If composition were totally a science, it could be dictated by a fixed set of rules and would end up being rigid and predictable, without room for creativity.

Since composition is in part an art, the guidelines can occasionally be broken. But when they are it's generally by someone who

This brings us to an important maxim:

“If in doubt, leave it out.”

understands the principles and recognizes how, in the interest of greater impact, they can be successfully transcended in specific

"But," the question is often asked, "Isn't good production always good

instances.

production, no matter how much time passes?" From a commercial

When most individuals break the guidelines, it's because they are

perspective the answer is "no."

not "visually savvy." The results speak loud and clear: weak, confusing and amateurish-looking work.

Most of yesterday's

Elements of Composition

classic films are rather boring to

First, clearly establish your objectives and hold to them throughout

today's audiences.

the production. Your objectives in doing a production may be anything

Among other

from creating an experience of pure escapism to doing a treatise on

things, they simply

spiritual enlightenment.

move too slowly.

Few people would start writing a sentence without any idea

Citizen Kane is

of what they wanted to say. Visual statements are no different. Good

considered by

writers, producers, directors, and editors know the purpose of each and

many film historians

every shot.

to be this America's

Slow = Boring

greatest film. In terms of production techniques it was far ahead of its time. But, now,

And speaking of slowing things down, "slow" is commonly associated with "boring" — excuse enough to switch the channel to try

after a few decades, its production techniques are so behind the times

to find something more engaging. And, with dozens of TV channels to

that it's difficult to get a group of average people to sit through this film.

choose from, there's real competition for viewer attention.

TV writers used to be content following a single dramatic idea (plot) for • If information is presented either too slowly or at a level that is

an entire show. Today, to hold an audience, dramatic television typically

beneath an audience, the production will be perceived as being boring.

consists of parallel stories and numerous plots and subplots intricately

woven together.

• If it is presented too quickly or in too abstract a fashion, the audience can become lost and frustrated.

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Depicting Emotional States Videographers and filmmakers find it difficult to convey emotional states.

Fore example, seemingly unrelated scenes of stalled city traffic, lines of people pushing through subway turnstiles and shots of people jamming escalators might be important in establishing a frenzied state of mind in a character trying to cope with life in the city.

But a shot of "a darling little girl sitting on a bench" in this sequence would not only leave the audience wondering what her role was, but would probably mislead them into believing that there is a relationship between her and the central story line.

Viewers assume that every shot, gesture, and word of dialogue in a production is there to further the central idea. Thus, each shot you use should contribute to the story or idea being conveyed.

Strive for a feeling of unity If a good film or prize-winning photo is

of anything that does not support, explain, or in some way add to that idea.

Consider this "sentence": "Man speaking on phone, strange painting on the wall, coat rack behind his head, interesting brass bookends on desk, sound of motorcycle going by, woman moving in background...."

Although we would laugh at such a "sentence," some videographers create visual statements (shots) that include such unrelated and confusing elements.

We are not suggesting that

Think of each shot as a statement.

you eliminate everything except the center of interest, just whatever does not in some way support (or at least, does not detract from) the central idea being presented.

A scene may, in fact, be cluttered with

studied, it's generally evident that the elements

objects and people, as, for example, an

in the shot have been selected or arranged so

establishing shot of a person working in a busy

they "pull together" to support the basic idea.

newsroom.

When the elements of a shot combine to

But each of the things should fit in and

establishing a frenzied state of mind in a character trying to cope with life in the city.

But a shot of "a darling little girl sitting on a bench" in this sequence would not only leave the audience wondering what her role was, but would probably mislead them into believing that there is a relationship between her and the central story line.

Viewers assume that every shot, gesture, and word of dialogue in a production is there to

support a basic visual statement, the shot is

belong, and nothing should "upstage" the

said to have unity.

intended center of interest.

further the central idea. Thus, each shot you use

as lighting, color, wardrobes, sets, and settings.

A master (wide) shot of an authentic interior of

conveyed.

For example, you might decide to use

an 18th century farmhouse may include dozens

muted colors throughout a production to create

of objects. But each of the objects should add

a certain feeling or atmosphere. Or, you may

to the overall statement: "18th century

want to create an overall atmosphere by using

farmhouse." Just make sure you put these

low-key lighting together with settings that

supporting elements in a secondary position.

The concept of unity applies to such things

contain earthy colors and predominant textures.

The viewer has a limited time — generally only a By deciding on certain appropriate themes such

few seconds — to understand the content and

as these, you can create a consistent feeling or

meaning of a shot. If some basic meaning isn't

look that will give your production unity.

obvious before the shot is changed, the viewer

Compose scenes around a single center of interest

will miss the point. (Recall that one of the

Multiple centers of interest may work in three-ring circuses where viewers are able to fully shift their interest from one event to another. But competing centers of interest within a single visual frame weaken, divide, and confuse meaning.

An effective written statement should be cast around a central idea and be swept clean

definitions of a "director" is one who "directs attention.")

Selective Focus Videographers and filmmakers find it difficult to convey emotional states.

Fore example, seemingly unrelated scenes of stalled city traffic, lines of people pushing through subway turnstiles and shots of people jamming escalators might be important in

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should contribute to the story or idea being Early film stocks were not highly sensitive to light, and lenses had to be used at relatively wide apertures (f-stops) to attain sufficient exposure.

This was fortunate in a way. By focusing on the key element in each shot and throwing those in front and behind that area out of focus, audiences were immediately led to the scene's center of interest and not distracted by anything else.

Even with today's high-speed film emulsions directors of

movement in a secondary area of the picture. Someone entering the

photography often strive to retain the selective focus effect by

scene is an example.

shooting under low light levels.

Observer Proper Subject Placement In gun-sight fashion most weekend snapshooters feel they have

The same principles that have worked so well in film can also be

to place the center of interest — be it Uncle Henry or the Eiffel tower

used in video.

— squarely in the center of the frame. This generally weakens the

Note how foreground and background

elements here have been thrown out of focus

so that attention will center on the young

woman.

composition of the scene.

Leading the Subject Generally, when a subject is moving in a particular direction, space is provided at the side of the frame for the subject(s) to "move into." This is referred to as leading the subject. In the shot below we might refer to the space ahead of the subject as "looking room."

This level of image control takes extra planning when you use today's highly sensitive video cameras.

The auto-iris circuit generally adjusts the f-stop to an aperture that brings both the foreground and background into focus.

To make use of the creative control inherent in selective focus, high shutter speeds, neutral density filters, or lighting control must be used.

Note that in the photo on the below that space is allowed for the

Using light to Focus

subjects to "walk into."

The eye is drawn to the brighter areas of a scene. This means that the prudent use of lighting can be a composition tool, in this case to emphasize important scenic elements and to de-emphasize others.

More information about Composition can be found on the

Shifting the center of interest

In static composition scenes maintain a

primary center of interest; in dynamic

following pages that deal with Tips on what not to do with your video production.

composition centers of interest can change with time.

Movement can be used to shift attention. Although our eye may be dwelling on the scene's center of interest, it will quickly be drawn to

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DON'T SHOOT! 10 TIPS TO BEAT BAD HOME VIDEO

TIPS BY BY RICK BROIDA (September 17, 2004) http://reviews.cnet.com/ 4520-6500_7-5510172-1.html

Are you abusing your camcorder? We don't mean dropping it on the

battery may give you an hour of power when it's brand-new, but after 12

concrete or leaving it in the car on 100-degree days. We're talking about

to 18 months, it may peter out after 30 minutes. Thus, you should not only

using it to shoot bad video, the kind that makes audiences start looking

augment your equipment with extra batteries, you should plan on

for the exit or, worse, that fails to capture important moments. Hey, don't

periodically replacing your batteries as well.

feel bad--camcorders are sophisticated, complicated tools, and some mistakes are almost inevitable unless you've studied cinematography.

4. Don't use the built-in microphone.

Sure, you could sign up for expensive classes. Or you could just keep

Most consumer camcorders have tiny, low-power microphones. If you're

reading and learn to avoid 10 of the most common camcorder gaffes.

shooting a school play, an interview, or anything in which audio is crucial, you'll achieve far better results with an external mike. First, make sure

1. Don't use digital zoom.

your camcorder has an audio input--not all models do. For interviews and

Optical zoom on the left, digital zoom on the right.It's true for camcorders

other close-up work, choose a lavaliere--also known as a lapel mike, the

as well as cameras: optical zoom, good; digital zoom, bad. You may have

kind you'll often see newscasters wearing. If you're trying to record audio

been suckered into buying a particular model because it touted some

from afar, a shotgun microphone will do the trick. Or if you just want a

astronomical digital-zoom number (240X! 300X! 800X!), but unless you like

more robust all-purpose microphone, consider a model such as the Sony

grainy, pixelated video, never use it. If you need to get even closer to your

ECM-S930C, which mounts on your camcorder's accessory shoe. This

subject, follow the old photographer's maxim: Zoom with your feet.

stuff can get expensive, but remember that nothing ruins a video like bad audio...except perhaps bad lighting.

2. Don't shoot in LP mode.

Since the dawn of the VCR, people have been using LP (long play) mode

5. Don't go gently into the night.

to fit more video on each tape--at the expense of video quality. What's

What may look like enough light to your eye is often not nearly enough for

worse: a gap of 2 to 3 minutes while you swap in a new tape or an entire

your camcorder. A 60-watt lamp may give the room a soft, romantic glow,

video that looks grainy? The latter is what you'll get from LP, even if you

but it will make your video muddy and unwatchable. Even if your

have a high-end camcorder. If you really need to fit more video on each

camcorder doesn't offer the ability to adjust exposure, white balance, and

tape, try a little in-camera editing. Shoot only the scenes you really need;

related settings, there are still a few things you can do. First, turn off

pause the recording during long, uneventful stretches.

autofocus. It's very hard for the lens to lock on when light is low, so it will continuously hunt--not pretty. Second, keep the camcorder as steady as

3. Don't skimp on batteries.

possible. Place it on a table or some other fixed surface, or better yet, use

This one's a no-brainer: pack an extra battery. In fact, pack two. And

a tripod.

throw in the charger/power supply if you're going to be shooting near an AC outlet. At best, you'll be able to run your camcorder off electricity; at worst, you can toss your drained battery on the charger after you swap in the fresh one. There's just no excuse for running out of juice while you're filming. Also, remember that all rechargeable cells wear out over time. A

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6. Don't forget a tripod.

from the same perspective. Whenever possible,

Even if your camcorder has image-stabilization

mix up your shots. Get high, get low; move in

features, they can't compare to the physical

close, shoot from afar. Add the occasional pan

stability of a tripod. Unless you're specifically

or slow zoom. In short, do the things you can't

going for that overused documentary-style

do in postproduction.

shaky look, put your camcorder on a tripod.

9. Don't forget the glue.

You'll be amazed at how much better your video

Remember that soccer game? The video you

looks. If your shooting demands mobility,

shoot of the game itself is A-roll--the primary

consider a do-it-yourself Steadycam kit. For

action, the main focus of the movie. B-roll is

about $14 in parts, you can build a camcorder

supplemental footage, the extra stuff you shoot

mount that does a pretty darn good job of re-

to fill in gaps, transition a scene, hide a zoom, or

creating a $1,500 Steadycam. Now run around

illustrate something that's being described in A-

all you want.

roll. In the soccer example, this could be your

7. Don't turn on special effects.

daughter getting ready for the game, a close-up

Lots of digital camcorders offer special effects,

of the coach shouting instructions, shots of

everything from sepia to slo-mo to letterboxing.

other parents' faces while they watch the game,

These can be fun to fool around with, but when

and so on. When the time comes to edit, you

the time comes to shoot your scene, turn off the

can sprinkle these shots throughout the movie,

glitz. Likewise, skip the camcorder's autofade

thereby adding visual diversity and making it

features; your editing software will give you far

much more interesting to watch. Obviously it

greater control over transitions and greater

takes some extra time and effort to shoot B-roll,

variety as well. The one exception to all this is

which is why most videographers forget--or

letterboxing (16:9 aspect ratio); if you want

neglect--to do it. But when you see how much it

those DVD-like black bars at the top and bottom

can add to your movie, you'll find it's well worth

of your video, it's better to frame your shots with

doing.

them already in place. Apply special effects

10. Don't ignore the Rule of Thirds.

using your editing software instead (a little

Keep your subject out of the center square.

maneuver the pros like to call postproduction).

Imagine a tic-tac-toe board overlaid on your

8. Don't be lazy.

viewfinder. The lines intersect in four spots. Your

Let's say you're filming your friend's soccer

goal should be to frame the action using one or

game. Convenience dictates that you put the

more of those spots. This is especially true if

camcorder on a tripod, frame the field, then go

you're conducting an interview or shooting a

chat with the other people. But the creative

close-up of someone talking. If you put that

thing to do is film the game from different

person dead-center, your movie is going to look

angles: behind the goalie, atop the bleachers,

more Mack Sennett than Steven Spielberg. Of

and so on. Even if you're not planning to edit the

course, rules can be broken for sake of

video into a fast-paced, Bend It Like Beckham-

creativity, but this is one guideline that you

style montage later on, you'll avoid the

should master before you break.

Rule of Thirds

The rule of thirds is a compositional rule of thumb in photography and other visual arts such as painting and design.[1] The rule states that an image can be divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines.

The four points formed by the intersections of these lines can be used to align features in the photograph.

Proponents of this technique claim that aligning a photograph with these points creates more tension, energy and interest in the photo than simply centering the feature would.

staggering boredom of watching the entire game

Sir Joshua has given it as a rule, that the proportion of the warm to cold colour in a picture should be as two to one, although he has frequently deviated therefrom; and Smith, in his “Remarks on Rural Scenery,” would extend a like rule to all the proportions of painting, begging for it the term of the”rule of thirds,” having one third of land, should have two thirds of water, and these together, forming about one third of the picture, the remaining two thirds to be for air and sky; and he applies the same rule to crossing and breaking of lines and objects et cetera.

- Sir George Field’s (1845) reference to J T Smith's illustrated book, published in 1797, defining a compositional "rule of thirds"

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SOUND PRODUCTION

Audio is the key to good Video.

Interesting sounds are all around us. From the clatter of a train crossing to the clamor of an auction, mountains of unique sounds await a featured spot in your next video. Of course, if you didn't mean to record it, the sound is just noise. Sorting the desirable audio from the unwanted is a bit of an art and something many video producers either forget about or simply ignore. In this article, we'll explore the world of natural sound, looking specifically at how it can enhance your production and even save your bacon from time to time.

What is Nat Sot? Natural sound or "nat sot" is simply the sound of the world. More specifically, for the video producer, it's sound that compliments the images on screen. Unlike sound effects, which

upcoming dialog. In an industrial training video it's the sound of machinery and workers going through their paces, anchoring the viewer to the environment. And if you're producing a multichannel project for DVD, nat sot is perfect for use in the surround channels, filling the room with a taste of what it was like at the location.

SOT is the abbreviation for Sound on Tape, thus NAT SOT is Natural Sound on Tape. If you hire your production services to a director, you'll likely see the term spelled out in the shooting script or a post-production edit list. Nat sot comes in more than one flavor too. "Sot Full" means full volume sound, specifically for clips where the audio scenery is as important as the visuals. You may also see the abbreviation "BG" for background sound. This is the glue that ties the other audio elements together.

are manufactured and dropped in for maximum impact, natural sound simply captures an audio picture of the setting. For example, in a dramatic scene with a couple talking on a park bench, the viewer expects to hear a little of the surroundings; birds, kids playing or perhaps some running water, setting the scene for the

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Without Audio our Videos often lose impact with an audience.

Some people would argue that silence is golden.

But without sound movies often don’t have the same impact on an audience as a writer or director would hope for. Could you imagine a horror film without the screams, or a documentary with no dialogue?

Sound is crucial to good video. Being aware of sound while you’re shooting and editing can make a huge difference with the quality of your finished video

Getting the Goods Depending on the complexity of the natural sound you want to record, gathering audio may be a simple process. Think of your camcorder as a digital audio recording deck that just happens to capture pictures too. Using the builtin stereo microphone, you can capture some very functional soundscapes -- perfect for background audio in your video. Unfortunately, not all built-in microphones are created equal. In fact, some pick up as much mechanical noise from the camera as they do audio. Generally, camcorders with the mike built into a handle or otherwise separate from the body are better suited to capturing natural sound. It's easy to record some test footage to see how your camera fares. Alternatively, you can use external microphones to grab the sound. In fact, some projects simply require audio from the microphone used for dialog during the shoot.

Due to the explosion of DVD players and inexpensive home theater systems, the average viewer has higher expectations of audio on video. This means you'll have to use windscreens if shooting outside. Don't forget to record in stereo if at all possible. Nat sot in stereo is a beautiful thing and perfect for filling left, right and surround speakers in more aggressive projects. The February 2005 issue of Videomaker has a more complete discussion of stereo recording techniques.

If the previous options won't suit your production needs, consider using a MiniDisc recorder for your sound gathering. Portable MiniDisc recorders are smaller than most MP3 players and, with the use of an external microphone, capture excellent quality in almost any environment. Their small size allows you to

Improvise your audio...

So you don’t have a sound studio? No problem... and you don’t have a microphone...that’s okay too. There’s a solution for you, it’s called your camera.

If you don’t have a boom mic you can

record in more challenging locations, including those where a camera and audio package might be unwelcome. How ever you record natural sound, make sure to get several minutes of audio from each location. This gives you options and allows you to avoid standout sounds that may not go with your production.

Getting the Goods Depending on the complexity of the natural sound you want to record, gathering audio may be a simple process. Think of your camcorder as a digital audio recording deck that just happens to capture pictures too. Using the

left, right and surround speakers in more

built-in stereo microphone, you can capture

aggressive projects. The February 2005 issue of

some very functional soundscapes -- perfect for

Videomaker has a more complete discussion of

background audio in your video. Unfortunately,

stereo recording techniques.

not all built-in microphones are created equal. In fact, some pick up as much mechanical noise

If the previous options won't suit your

from the camera as they do audio. Generally,

production needs, consider using a MiniDisc

camcorders with the mike built into a handle or

recorder for your sound gathering. Portable

otherwise separate from the body are better

MiniDisc recorders are smaller than most MP3

suited to capturing natural sound. It's easy to

players and, with the use of an external

record some test footage to see how your

microphone, capture excellent quality in almost

camera fares. Alternatively, you can use external

any environment. Their small size allows you to

microphones to grab the sound. In fact, some

record in more challenging locations, including

projects simply require audio from the

those where a camera and audio package might

microphone used for dialog during the shoot.

be unwelcome. How ever you record natural

Due to the explosion of DVD players and

sound, make sure to get several minutes of

inexpensive home theater systems, the average

audio from each location. This gives you options

viewer has higher expectations of audio on

and allows you to avoid standout sounds that

video. This means you'll have to use

may not go with your production.

windscreens if shooting outside. Don't forget to record in stereo if at all possible. Nat sot in stereo is a beautiful thing and perfect for filling

First record your sounds, then upload the video onto the computer, extract the sound and dump the video footage and voila! You have yourself some useful audio.

This works for everything from foley, to dialogue to ambient sounds. Try it you and you’ll be surprised with the results you get!

always use your video camera to record sound bytes for editing.

[10]

Article: http://www.videomaker.com/ article/10785/ by Hal Robertson

Rock Star David Bowie Starred in this Criterion Film.

EDITING YOUR FILM Click on the title to play the movie

Film editing From Wikipedia, the free encyclopedia Film editing is the connecting of one or more shots to form a

History of film editing technology

sequence, and the subsequent connecting of sequences to form an entire movie. Film editing, by definition, is the only art that is unique to cinema

Film editing evolved from the process of a film editor physically

and which defines and separates filmmaking from almost all other art

cutting and taping together pieces of film, using a splicer and threading

forms (such as: photography, theater, dance, writing, and directing). The

the film on a machine with a viewer such as a Moviola, or "flatbed"

job of an editor isn’t merely to mechanically put pieces of a film together,

machine such as a Kem or Steenbeck.

nor to just cut off the film slates, nor merely to edit dialogue scenes. Film editing is an art form which can either make or break a film. A film editor works with the layers of images, the story, the music, the rhythm, the pace, shapes the actors' performances, "re-directing" and often re-writing the film during the editing process, honing the infinite possibilities of the juxtaposition of small snippets of film into a creative, coherent, cohesive whole.

Film editor A film editor is a person who practices film editing by assembling footage into a coherent film. Film editors often are responsible for pulling together all of the elements of story, dialogue, music, sound effects, visual effects, rhythm and pace of a film. In the making of a film, the editors usually play a dynamic and creative role.

[11]

Editing can take up to 5 times longer than shooting your footage

Lev Kuleshov was among the very first to theorize about the

Continuity

relatively young medium of the cinema in the 1920s. For him, the unique

Often a film editor is blamed for improper continuity. For example,

essence of the cinema — that which could be duplicated in no other

cutting from a shot where the beer glass is empty to one where it is full.

medium — is editing. He argues that editing a film is like constructing a

Continuity is, in fact, very nearly last on a film editor's list of important

building. Brick-by-brick (shot-by-shot) the building (film) is erected. His

things to maintain. Continuity is typically the business of the script

often-cited Kuleshov Experiment established that montage can lead the

supervisor and film director, who are together responsible for preserving

viewer to reach certain conclusions about the action in a film. Montage

continuity and preventing errors from take to take and shot to shot.

Generally speaking, the editor utilizes the script supervisor's notes during post-production to log and keep track of the vast amounts of footage and takes that a director might shoot. However, to most editors what is more

different locations, and codifying film grammar in other ways as well.

aspects of any given film - something that is much more abstract and harder to judge - which is why films often take much longer to edit than to

Methods of Montage In motion picture terminology, a montage (from the French for "putting together" or "assembly") is a film editing technique.

Although, strictly speaking, U.S. film director D.W. Griffith was not part of the montage school, he was one of the early proponents of the power of editing — mastering cross-cutting to show parallel action in

important than continuity is the editing of emotional and storytelling

shoot. Often a film editor will used this to focus on the theme of the film.

works because viewers infer meaning based on context.

Griffith's work in the teens was highly regarded by Kuleshov and other Soviet filmmakers and greatly influenced their understanding of editing.

Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage. Eisenstein regarded montage as a dialectical means of creating meaning. By contrasting unrelated shots he tried to provoke associations in the viewer,

There are at least three senses of the term:

which were induced by shocks.

1. In French film practice, "montage" has its literal French meaning

Montage Sequence

and simply identifies a movie's editor.

2. In Soviet filmmaking of the 1920s, "montage" was a method of juxtaposing shots to derive new meaning that did not exist in either shot alone.

3. In classical Hollywood cinema, a "montage sequence" is a short segment in a film in which narrative information is presented in a condensed fashion. This is the most common meaning among laymen.

Methods of Montage

A montage sequence consists of a series of short shots that are edited into a sequence to condense narrative. It is usually used to advance the story as a whole (often to suggest the passage of time), rather than to create symbolic meaning. In many cases, a song plays in the background to enhance the mood or reinforce the message being conveyed. Classic examples are the training montages in Sylvester Stallone's Rocky series of movies.

Main article: Soviet montage theory

Click on the movie to play the video

[12]

Continuity editing What became known as the popular 'classical Hollywood' style of editing was developed by early European and American directors, in particular D.W. Griffith in his films such as The Birth of a Nation and Intolerance.

The classical style ensures temporal and spatial continuity as a way of advancing narrative, using such techniques as the 180 degree rule, Establishing shot, and Shot reverse shot.

Alternatives to continuity editing (non-traditional or experimental) Early Russian filmmakers such as Lev Kuleshov further explored and theorized about

in a different medium than film (photography, art direction, writing, sound recording), but

Stanley Kubrick

editing is the one process that is unique to film. In Alexender Walker's Stanley Kubrick Directs, Kubrick was quoted as saying, "I love editing. I think I like it more than any other phase of filmmaking. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit."

In his book, On Film

editing and its ideological nature. Sergei Eisenstein developed a system of editing that

Editing, Edward Dmytryk

was unconcerned with the rules of the continuity

stipulates seven "rules of cutting" that a good

system of classical Hollywood that he called

editor should follow:

Intellectual montage.

•"Rule 1. Never make a cut without a positive

Alternatives to traditional editing were also

If it can be written, or thought, it can be filmed.

aspect of filmmaking originated

reason.

• two-dimensional place of the screen — Does the cut respect the 180 degree rule?

• three-dimensional space of action — Is the cut true to the physical/spatial relationships within the diegesis?

the folly of early surrealist and dada filmmakers

•"Rule 2. When undecided about the exact

such as Luis Buñuel (director of the 1929 Un

frame to cut on, cut long rather than

chien andalou) and René Clair (director of

short" (Dmytryk, 23).

1924's Entr'acte which starred famous dada

•"Rule 3: Whenever possible cut 'in

artists Marcel Duchamp and Man Ray). Both

movement'" (Dmytryk, 27).

filmmakers, Clair and Buñuel, experimented with

•"Rule 4: The 'fresh' is preferable to the

editing techniques long before what is referred

'stale'" (Dmytryk, 37).

to as "MTV style" editing.

•"Rule 5: All scenes should begin and end with

Nominees Discuss their Craft at the Egyptian

continuing action" (Dmytryk, 38).

Theater"

The French New Wave filmmakers such as

Murch assigned notional percentage values to each of the criteria. Emotion, with 51%, outweighed the combined value of all the other criteria.

References 1.American Cinema Editors - "2004 Oscar

Jean Luc Godard and François Truffaut and their

•"Rule 6: Cut for proper values rather than

American counterparts such as Andy Warhol

proper 'matches'" (Dmytryk, 44).

Introduction to the Art of Film Construction,

and John Cassavetes also pushed the limits of

•"Rule 7: Substance first—then form" (Dmytryk,

Boston: Focal Press, 1984.

editing technique during the late 1950s and

145).

•Murch, Walter. In the Blink of an Eye: a Perspective on Film Editing, Silman-James

throughout the 1970s. French New Wave films and the non-narrative films of the 1960s used a

According to Walter Murch, when it comes

carefree editing style and did not conform to the

to film editing, there are six main criteria for

traditional editing etiquette of Hollywood films.

evaluating a cut or deciding where to cut. They

Like its dada and surrealist predecessors,

are (in order of importance, most important first):

French New Wave editing often drew attention

• emotion — Does the cut reflect what the editor

to itself by its lack of continuity, its demystifying

believes the audience should be feeling at that

self-reflexive nature (reminding the audience that

moment?

they were watching a film), and by the overt use

• story — Does the cut advance the story?

of jump cuts or the insertion of material not

• rhythm — Does the cut occur "at a moment

often related to any narrative.

that is rhythmically interesting and

Editing techniques

'right'" (Murch, 18)?

Stanley Kubrick noted that the editing process is the one phase of production that is

•Dmytryk, Edward. On Film Editing: An

• eye-trace — Does the cut pay respect to "the location and movement of the audience's focus of interest within the frame" (Murch, 18)?

truly unique to motion pictures. Every other

[13]

Press, 2d rev. ed., 2001. ISBN 1-879505-62-2

STORYBOARDING

What is a Story Board?

Once a concept or script is written for a film or animation, the next step is

storyboards for difficult sequences other times the entire film is

to make a storyboard. A storyboard visually tells the story of an animation

storyboarded.

panel by panel, kind of like a comic book.

The Coen Brothers (No Country for Old Men,Fargo, The Big Lebowski)

Your storyboard will should convey some of the following information:

storyboard extensively, allowing them to shoot just the sequences they require for editing, saving both time and money.

What characters are in the frame, and how are they moving?

What are the characters saying to each other, if anything?

How much time has passed between the last frame of the storyboard and the current one?

Where the "camera" is in the scene? Close or far away? Is the camera moving?

Do I need to be an Artist?

Well you can be, but looking at storyboards by Hitchcock or Spielberg you have to admit that they can't draw. There are professional storyboard artists that can give you results that look better than the final film.

However its a good idea to bash them out yourself, it allows you to experiment quickly and cheaply, testing out different versions of how a scene may look and play on camera.

Storyboarding is especially useful for complex visual sequences e.g. elaborate shots or special effects sequences. Sometimes a film only uses

Storyboarding can be used for Animation, Video, and Photography

[14]

scene (e.g.. the horizon of a city) and place a frame on it with an arrow

Why make a Story Board?

Creating a storyboard will help you plan your animation out shot by shot. You can make changes to your storyboard before you start animating, instead of changing your mind later. You will also be able to talk about your animation and show your storyboard to other people to

indicating the direction of movement.

Transitions - The storyboard can also include transitions in your film. Write these in the gaps between the frames e.g.. DISSOLVE TO :

This is great but I can't draw!!

get feedback on your ideas.

Join the club, so if you can’t draw, cheat. Well, don’t cheat,

Most commonly, storyboards are drawn in pen or pencil. If you

improvise... Screen time is filled with people, and figures are painful to

don't like to draw you can also take photos, cut out pictures from

draw, getting the correct perspective of arms and legs is problematic.

magazines, or use a computer to make your storyboards. Keep in mind

The people in my drawings tend to look like car crash victims with

that your drawings don't have to be fancy! In fact, you want to spend

limbs all over the place.

just a few minutes drawing each frame. Use basic shapes, stick

I managed to pick up some really cheap wooden mannequins

figures, and simple backgrounds. If you draw your storyboard frames

(they're 12 inch high artists models with joints so you can bend them

on index cards, you can rearrange them to move parts of the the story

into shape) that I use for more professional looking storyboards (oh!

around.

and did I mention they're fast too?). Over a couple of nights I rattled

Pictures are still, movies move, so how does a storyboard work?

through the script, breaking the scenes down into shots, arranging the mannequins and shooting stills of them. I used a video camera and

There are a few tricks storyboard artists have up their sleeves to illustrate movement - whether its movement within the frame (actors

grabbed the shots, then arranged them as a storyboard. You could just as equally use a stills camera or draw from the figures (which is a much easier than trying to imagine where hands and legs go in your

walking) or the frame moving itself (camera panning etc.).

Arrows - Suppose the camera is tracking in, following a bad guy's footsteps. Draw in an arrow pointing into shot to show the camera's

head).

If you can't get hold of any mannequins try using an Action Man and Barbie and start playing (I'm sure this is how director Todd Haynes

movement. Now the hero's head is pulled back by one of the bad

got the idea for 'Superstar : The Karen Carpenter Story' - a shot

guy's goons. Use an arrow to show the movement of the head being

entirely with toy dolls). If your film stars a baldie like Yul Brynner you

turned. What about a zoom in? From each corner draw in arrows pointing to the centre, draw in a new smaller frame to show the end of the zoom. Generally I try and use thick white arrows to show camera

can always try Lego men.

Now you can add to the images if you want, scribbling on rough faces and expressions or drawing in props and buildings. I left most

moves and thin black arrows to show objects moving.

blank, figuring that this was the actors' job.

The floating frame - What if you want to show the camera

You can quickly build up a store of images, and because many

panning to show a cityscape, or following a character as they walk

shots in films are similar (over-the-shoulder shots, wide shots etc.) you

through an airport? There's two options here: 1) Illustrate one shot

can use pictures again and again for different scenes and different

using more than one storyboard frame showing the key stages of the shot's movement across a number of frames or 2) Draw out the entire

movies.

[15]

If you can't get hold of any mannequins try

6. Number your shots so that they can be

using an Action Man and Barbie and start

2. Copy up a set of storyboard sheets so you

quickly referred to on the shot list and during

playing (I'm sure this is how director Todd

don't have to spend all night drawing screen

editing.

Haynes got the idea for 'Superstar : The Karen

boxes. Download a storyboard sheet.

Carpenter Story' - a shot entirely with toy dolls).

Drawing storyboards is an excellent way to keep

If your film stars a baldie like Yul Brynner you

* Standard ratio (4:3) - 20 frames (7K gif)

motivated, to show you're organised and to let

can always try Lego men.

* Standard ratio with space for overhead

everyone else know what's going on in your

Now you can add to the images if you

plan - 8 frames (9K gif)

want, scribbling on rough faces and expressions or drawing in props and buildings. I left most blank, figuring that this was the actors' job.

You can quickly build up a store of images,

head.

* Widescreen (16:9) - 15 frames (5K gif) Storyboards aren't there to constrain you. Just 3. Sketch in pencil so you can make changes

like the script they are there to back you up

easily, then ink in for photocopying. Feel free to

during shooting. If everything starts flowing on

and because many shots in films are similar

use any medium you are happy with -

set let it happen. In the real situation you may

(over-the-shoulder shots, wide shots etc.) you

professional storyboard artists use everything

see a new angle - go ahead, shoot it. Get the

can use pictures again and again for different

from magic markers to charcoal.

shots you need by checking your storyboard

scenes and different movies.

Here's a few quick methods for producing fast and dirty storyboards.

and give yourself the time and freedom to 4. Scribble down short notes about what's

experiment.

happening in shot (e.g.. BOB enters) what characters are saying ("Is this it? Is this how...")

All the information in this hand out has come

or sound effects (Roll of THUNDER).

from the University of Ohio’s:

become more like doodles than works of art.

5. An overhead plan view of the location of the

www.accad.osu.edu/womenandtech/home.html

Remember the point is to get an idea of how

camera, actors and light can be helpful if you

things will look on screen. Ridley Scott (Blade

know the location you are going to be working

Runner, Thelma and Louise) is famous for his

on.

1. Keep the area you have to draw small. It allows you to draw much faster. The pictures

Ridleygrams - rough, almost indecipherable

& The complete eejit’s guide to film making: www.exposure.co.uk ‘s

sketches that outline what he has in mind.

[16]

CAMERA SHOTS

Don’t be Afraid of getting close...

If you want to engage your audience use different camera shots and angles.

There are many types of camera shots... picking the right one isn’t always easy.

The following pages discuss cameras angles and shots that you will need to use in your projects How do you know which shots are right for your movie? That’s a hard

THREE SHOT (contains 3 figures...). Any more than three figures and the

question to answer, but often camera shots are picked because they have

shot tends to become a long shot. Another variation in this category is the

a purpose. Take a look at the following types of shots and see which ones

OVER-THE-SHOULDER-SHOT, which positions the camera behind one

you think will fit your film. The following information comes from

figure, revealing the other figure, and part of the first figure's back, head

www.mediaknowall.com/camangles.html. This article points out that Each

and shoulder.

different shot has a different purpose and effect. A change between two

Close-up

different shots is called a CUT. So before you start shooting and cutting, let’s take a look at what shots you should be using and why you might use them.

This shows very little background, and concentrates on either a face, or a detail of mise en scene. This shot magnifies the object (think of how big it looks on a cinema screen) and shows the importance of things, be it

Extreme Long Shot

words written on paper, or the expression on someone's face. The close-

This shot can be taken from as much as a quarter of a mile away,

up takes us into the mind of a character. In reality, we only let people that

and is generally used as a scene-setting, establishing shot. It normally

we really trust get THAT close to our face - mothers, children and lovers,

shows an EXTERIOR, eg the outside of a building, or a landscape, and is

usually - so a close up of a face is a very intimate shot. A film-maker may

often used to show scenes of thrilling action eg in a war film or disaster

use this to make us feel extra comfortable or extremely uncomfortable

movie. It used to set up a sense of place, it gives your audience and ideas

about a character.

as to where your film is located.

Extreme Close-up

Long Shot

As its name suggests, an extreme version of the close up, generally

The most difficult to precisely categorize, but generally one which

magnifying beyond what the human eye would experience in reality. An

shows the image as approximately "life" size ie corresponding to the real

extreme close-up of a face, for instance, would show only the mouth or

distance between the audience and the screen in a cinema (the figure of a

eyes.

man would appear as six feet tall). This category includes the FULL SHOT showing the entire human body, with the head near the top of the frame and the feet near the bottom.

Medium Shot Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action. Variations on this include the TWO SHOT (containing two figures from the waist up) and the

[17]

Camera Angles

transition and instability (any Michael Bay

attached to its operator by a harness) was

movie ). This technique is used to suggest

invented in the 1 950s to allow the camera

The relationship between the camera and the

POINT-OF-View shots (ie when the camera

operator to move in and out of scenes with

object being photographed (ie the ANGLE) gives

becomes the 'eyes' of one particular

greater speed. It gives a jerky, ragged effect,

emotional information to an audience, and

character,seeing what they see - a hand held

totally at odds with the organised smoothness of

guides their judgment about the character or

camera is often used for this).

a dolly shot, and is favoured by filmmakers

object in shot. The more extreme the angle (ie the further away it is from eye left), the more symbolic and heavily-loaded the shot.

looking for a gritty realism (eg Scorsese), which

Camera Movement

involves the viewer very closely with a scene.

Much favoured by the makers of NYPD Blue.

5. Crane Shots 1. The Birds Eye View This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd, dancers' legs). This shot does, however, put the audience in a godlike position, looking down on the action. People can be made to look insignificant, ant-like, part of a wider scheme of things. Hitchcock (and his admirers, like Brian de Palma) is fond of this style of shot.

2. The High Angle Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary). The object or character often gets swallowed up by their setting - they become part of a wider picture.

3. Eye Level A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene,

A director may choose to move action along by telling the story as a series of cuts, going from one shot to another, or they may decide to move the camera with the action. Moving the camera often takes a great deal of time, and makes the action seem slower, as it takes several second

Basically, dolly-shots-in-the-air. A crane is a useful way of moving a camera - it can move up, down, left, right, swooping in on action or moving diagonally out of it.

6. Zoom Lenses

for a moving camera shot to be effective, when

The zoom lens means that the camera need not

the same information may be placed on screen

be moved (and saves a lot of time and trouble).

in a series of fast cuts. Not only must the style of

The zoom lens can zip a camera in or out of a

movement be chosen, but the method of

scene very quickly. The drawbacks include the

actually moving the camera must be selected

fact that while a dolly shot involves a steady

too. There are seven basic methods:

movement similar to the focusing change in the human eye, the zoom lens tends to be jerky

1. Pans

(unless used very slowly) and to distort an

A movement which scans a scene horizontally.

than they really are. Zoom lenses are also

The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.

2. Tilts

image, making objects appear closer together drastically over-used by many directors (including those holding palmcorders), who try to give the impression of movement and excitement in a scene where it does not exist.

7. Aerial Shot

A movement which scans a scene vertically, otherwise similar to a pan.

An exciting variation of a crane shot, usually taken from a helicopter. This is often used at the

so that eg actors' heads are on a level with the

3. Dolly Shots

focus. The camera will be placed approximately

Sometimes called TRUCKING or TRACKING

and movement. A helicopter is like a particularly

five to six feet from the ground.

shots. The camera is placed on a moving vehicle

flexible sort of crane - it can go anywhere, keep

4. Low Angle

and moves alongside the action, generally

up with anything, move in and out of a scene,

following a moving figure or object. Complicated

and convey real drama and exhilaration.

dolly shots will involve a track being laid on set

Further Reading can be found on Daniel Chandler's web page:

These increase height (useful for short actors like Tom Cruise) and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene. The background of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting adding to the disorientation of the viewer. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.

5. Oblique/Canted Angle Sometimes the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance,

beginning of a film, in order to establish setting

for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping trolley (good method for independent film-makers looking to save a few dollars). A dolly shot may be a good way of

http://www.aber.ac.uk/media/Documents/short/

portraying movement, the journey of a character

gramtv.html

for instance, or for moving from a long shot to a close-up, gradually focusing the audience on a particular object or character.

4. Hand Held Shots The hand-held camera (despite its name, a heavy, awkward piece of machinery which is

[18]

SOUND BYTES

Assignment 1 Audio Emphasis

Remember the audio will be telling the story, so you will need as much

With your group you

can be broken down into the following categories:

will create a video that is no more than 90 seconds in length. The emphasis of this

rushmore

sound as you can get.

This is a fairly complex concept to put together. Sound for video Music - music can be used to set mood or pace, and lyrics from the music can be used to tell a story or give a message.

Sound Effects - sound fx can be used to create atmosphere and realism, it can be anything from an audience applauding to a phone

project is audio. So what does that mean?

Simply put, your video should be able to tell a story with just the sound. For example, if you were to close your eyes and listen to the movie you would be able to understand every

part of it without ever seeing the video.

Essentially this is like a radio program where you use the sound to tell the story. You may be thinking to your self; “what kinds of sounds should I choose”? This will be up to you, however; make sure that you choose sounds that will emphasize and tell your story. Don’t pick sounds that will take away from the action and plot.

ringing to an engine revving.

Ambient sound - Often when we record footage there is distracting background sound or no background sound. Ambient sound is used to create a sense of place. Examples of ambient sound may be a city street, or a forest at night, waves crashing on a beach or the rumble of an avalanche.

Foley - Foley are sound effects that you create with objects, and it is used to mimic sounds. Foley can be used to recreate footsteps, or breathing in scuba gear, doors opening, twigs snapping and many many other things as well.

To start your project you will prepare a storyboard and a script. The storyboard will show the crew and your instructor what your video will look like. The script will provide all the details about sound, narration and music.

This assignment should be thematic, so you need to have a common theme throughout your video. Mystery and Suspense work well

As a young video artist you have to consider how to collect the

for this sort of assignment.

sounds you will need. You can do this in a number of ways. Before we look at how this is done you need to be aware of something important.

Your camera has a built in microphone. Therefore it can be used as a microphone. You can use your camcorder to record sounds. Of course, it will also record video at the same time. Our video editing software allows us to extract the sound from our video tapes. In short, we can record

Your assignment must be 90 seconds in length. If you are over or under the time you will be deducted marks.

In order for you to write your script properly you will need to follow the proper script writing format for television and film. Take a look at the supplementary handouts for information and examples of script formats (script format information provided by the BBC).

sounds and throw away the useless footage.

You can create your own sound effects and record them with the

Click on the

camera. Or you may want to use the camera as a voice over device.

Picture to watch a clip from Shaun of the Dead. Take note of the use of sound.

Shaun of the Dead

[19]

Click on the movies to play the videos

Assignment 2 - Silent Film Silent films have been around since the very beginning of film making. It will be your job to create a silent film. A silent film tells a story visually. Therefore, if your audience watches it they will be able to figure out what the story is about without any sound whatsoever.

This doesn’t mean that your film should be completely void of sound. You may use music for your video, so long as it is instrumental.

Again you will need to prepare a storyboard for a video project concentrating on the development of specific effects and techniques; e.g., angle and movement, cuts, transitions, lighting and camera techniques.

Then you and your group will record a video based on your script and storyboard.

As was the case in the first project, your assignment must be 90 seconds in length. If

FROM THE BEST OF BENNY HILL 1974

you are over or under the time you will be deducted marks. You may use titles to help explain your story.

Assignment 3 - A/V and DVD Production You will prepare a storyboard and production plan for recording a five-minute project combining audio and video techniques and relating a short story or message.

You may choose to use a hand written storyboard or you may create a digital photo story board using a digital still camera and keynote.

You will transfer all of your finished films into DVD format for viewing by an audience of your peers. You will use iDVD for this project.

Make sure that your video has a

FROM THE DOVE CAMPAIGN FOR REAL BEAUTY

purpose, and goals. If you are having

• A programme that demonstrates something (how to make a sandwich)

trouble deciding what to shoot here are some suggestions: • A local news team is reporting a story.

• An educational film (why it’s important to have good hygiene)

• A movie director is shooting the trailer for a movie.

• An adventure tourism website is creating a feature to lure tourists to the area.

• A documentary about an issue you feel strongly about.

• A day in the life of something movie (it doesn’t have to be a person) • An outdoor sports show.

[20]

SELF ASSESSMENT! Your self assessment will be used to assess your own work and the work of others in your group. Please place a check mark for each category.

CATEGORY

POOR

FAIR

SATISFACTORY

COMPETENT

PROFICIENT

Camera Operation Audio Editing Story Telling Approach Artistic Unity Your Contributions Your Group’s Contributions Overall Impact

CAMERA WORK: COMPOSITION AND TECHNICAL OPERATION AUDIO: CLARITY, CONSISTENCY, APPROPRIATE USE, OVERALL MIX EDITING: FLOW, PACING, TRANSITIONS, EFFECTS, GRAPHICS, MUSIC STORYTELLING: EVIDENCE OF PLANNING; INTRODUCTION AND CLOSING; FULFILLS GOALS AND OBJECTIVES; COHERENCY; EFFECTIVE WRITING AND/OR INFORMATION APPROPRIATE TO SUBJECT MATTER, TARGET AUDIENCE AND STYLE OF VIDEO APPROACH: STYLE; EFFECTIVE COMBINING OF IMAGERY, SOUND AND GRAPHICS ARTISTIC UNITY: VISUAL FLOW OF SCENES IN A SEAMLESS PRESENTATION YOUR CONTRIBUTIONS: THE WORK YOU DID AND HOW WELL YOU WORKED WITH OTHERS YOUR GROUP’S CONTRIBUTIONS: THE WORK THAT OTHERS DID AND HOW WELL THEY WORKED TOGETHER OVERALL IMPACT: EFFECTIVENESS OF ALL TECHNICAL ELEMENTS OF THE VIDEO COMBINED WITH GROUP WORK AND INDIVIDUAL WORK

[21]

VIDEO ASSESSMENT The following rubric is used to mark the technical side of production ___ / 15 Audio: Clean audio that is easy to understand and is mixed appropriately. Effective transitions and use of natural sound. The audio adds to the presentation of the project and helps propel the story.

Audio FX! !

1!

Audio Mixing ! 1!

Audio Quality! 1!

2!

2!

2!

3!

3!

3!

4!

4!

4!

5 5 5

___ / 10 Video: All shots display correct colour, sharp focus and appropriate exposure/lighting. Shots should adhere to accepted conventions of composition.

White Balance/colour/exposure:!

Composition, distance, angles:! !

! !

1!

1!

2!

2!

3!

3!

4!

4!

5 5

___ / 20 Editing: Pleasing flow in terms of pacing, shot choices and continuity. There should be no jump cuts or other jarring edits that disrupt the visual and auditory rhythm of the story.

Cutting:!

FX:! !

Titles:!

Sound:!

! ! ! !

1!

1!

1!

1!

2!

2!

2!

2!

3!

3!

3!

3!

4!

4!

4!

4!

5 5 5 5

___ / 45 Subtotal for (B) ___ / 100 TOTAL

Did you complete all of your work?

Make certain that you and your group finished all parts of your video assignment.

Self Assessment • • • •

Keep track of your own work Keep track of the work of your peers Did you complete all of your work?

Did you mark yourself and your group on their work?

If you do not have a script, storyboard, shot

Self assessment is used to reflect upon

list and credits (in your film) you will not

your work and the work of your peers.

receive a mark for your work.

Make sure you fill in the “What I know” Check list.

[22]

1060 BASIC A/V To finish off your module you will put all of your films on DVD. Make one master copy for marking. Any additional copies can be made for you... provided that you bring in your own DVD’s.

VIDEO ASSESSMENT The following rubric is used to mark the non-technical side of production ___ / 25 Project Introduction/Story Development: How the production begins and catches the viewers attention relative to the content and focus of the story. Effective audio and video elements that present the story始s theme. Development of a story that includes a beginning, middle and end.

The story must be presented with scripts and story boards.

Storyboard!

Script! !

Synopsis! !

1!

1!

1!

2!

2!

2!

3!

3!

3!

4!

4!

4!

5 5 5

___ / 15 Treatment of the Subject Matter: The story has content that is interesting and informative and sustains the viewers始 interest. A focus is maintained throughout and the content is appropriate and meets school and community standards.

Concept! !

Theme! !

Group Work!

! ! !

1!

1!

1!

2!

2!

2!

3!

3!

3!

4!

4!

4!

5 5 5

___ / 15 Style: A creative approach to the subject matter which may include the use of unique imagery, sounds, interesting videography and advanced editing techniques.

Video Composition! 1!

Artistic Unity ! !

1!

Audio Composition! 1!

2!

2!

2!

3!

3!

3!

4!

4!

4!

5 5 5

___ / 55 Subtotal for (A)

[23]

Additional Resources • Review the student step-by-step guides referenced in this project.

• A site with more information on copyright: Stanford University Copyright & Fair Use Center.

• You might supplement this project with the following video production books: • Aronson, I. (2006). DV Filmmaking from Start to Finish. Sebastopol: O’Reilly Media, Inc. • Millerson, G. (2001). Video Production Handbook. Burlington, MA: Focal Press.

Specifically review Chapter 3, the picturemaking basics, to learn about taking persuasive shots to influence the audience.

Video shot techniques • If this is the first time you and your students are working with digital video, you may use the tips from the Adobe Digital Kids Club website.

• Camera and editing techniques that will help make a professional-looking final product: www.videoforums.co.uk/guide-video-editingtips-14.htm.

• An article detailing common video shots: www.videomaker.com/article/7575/.

Editing • Creating cuts-only edits in a camcorder: www.videomaker.com/article/7252/.

• How to shoot with editing, theme, and audience in mind; features the video production process from start to finish:

• List of all free video downloads available from

Students use digital media and environments to

iTunes: www.itsfreedownloads.com.

communicate and work collaboratively, including

• Free online video streaming service:

at a

www.youtube.com.

distance, to support individual learning and

• Free streaming and downloadable video

contribute to the learning of others. Students:

segments from the PBS series Religion & Ethics

b. communicate information and ideas

Newsweekly: www.thirteen.org/edonline/

effectively to multiple audiences using a variety

accessislam/video.html.

of media

• Free streaming and downloadable video

and formats.

segments from the PBS series Wide Angle:

3. Research and Information Retrieval

www.thirteen.org/edonline/wideangle/

Students apply digital tools to gather, evaluate,

video_bank.html.

and use information. Students:

• Photos, music, text, and video that can be

b. locate, organize, analyze, evaluate,

legally shared and reused for free:

synthesize, and ethically use information from a

http://search.creativecommons.org.

variety of

Key terms

sources and media.

• video production workflow • medium shot

tasks.

• close-up

5. Digital Citizenship

• extreme close-up

Students understand human, cultural, and

• trucking shot

societal issues related to technology and

• cutaway

practice legal and

• video sequence

ethical behavior. Students:

• copyright

a. advocate and practice safe, legal, and

• fair use • intellectual property • storyboard

6. Technology Operations and Concepts technology concepts, systems and operations.

• clips

Students:

• cuts-only edits

a. understand and use technology systems.

• export

Storyboarding

Students

• Video basics, including a description of

This project is aligned to the ISTE NETS*S

storyboarding and its importance:

Technology Standards. Depending on the

www.medialit.org/reading_room/article3.html.

subject and content

• The video pre-production process; has a

area the student selects you may research your

storyboard template:

own local content standards to see how this

www.adobe.com/go/dkc_intro_photo.

project aligns

• A storyboarding “recipe”:

to your local requirements.

www.storycenter.org/memvoice/pages/

1. Creativity and Innovation

tutorial_3.html.

Students demonstrate creative thinking,

• A theoretical approach to storyboards:

construct knowledge, and develop innovative

www.ibiblio.org/ism/articles/huffcorzine.html.

products and

Video clips

processes using technology. Students:

• A digital video-on-demand and online teaching

ideas, products, or processes.

www.unitedstreaming.com.

responsible use of information and technology.

Students demonstrate a sound understanding of

• Timeline panel

www.videomaker.com/article/1691/.

downloadable videos during a free 30-day trials:

digital tools based on the appropriateness to specific

• wide shot

ISTE NETS*S Standards for

service from Discovery education that offers

c. evaluate and select information sources and

a. apply existing knowledge to generate new b. create original works as a means of personal or group expression.

2. Communication and Collaboration

[24]

b. select and use applications effectively and productively.

FILM EDITING GLOSSARY cut

final cut

A visual transition created in editing in which one shot is

The finished edit of a film, approved by the director and the

instantaneously replaced on screen by another.

producer. This is what the audience sees.

continuity editing

iris

Editing that creates action that flows smoothly across shots

Visible on screen as a circle closing down over or opening

and scenes without jarring visual inconsistencies.

up on a shot. Seldom used in contemporary film, but

Establishes a sense of story for the viewer.

common during the silent era of Hollywood films.

cross cutting

jump cut

Cutting back and forth quickly between two or more lines of

A cut that creates a lack of continuity by leaving out parts of

action, indicating they are happening simultaneously.

the action.

dissolve

matched cut

A gradual scene transition. The editor overlaps the end of

A cut joining two shots whose compositional elements

one shot with the beginning of the next one.

match, helping to establish strong continuity of action.

editing

montage

The work of selecting and joining together shots to create a

Scenes whose emotional impact and visual design are

finished film.

achieved through the editing together of many brief shots.

errors of continuity

The shower scene from Psycho is an example of montage

Disruptions in the flow of a scene, such as a failure to

editing. rough cut

match action or the placement of props across shots. establishing shot

The editor's first pass at assembling the shots into a film,

A shot, normally taken from a great distance or from a

before tightening and polishing occurs. sequence shot

"bird's eye view," that establishes where the action is about to occur.

A long take that extends for an entire scene or sequence. It

eyeline match

is composed of only one shot with no editing. shot reverse shot cutting

The matching of eyelines between two or more characters.

For example, if Sam looks to the right in shot A, Jean will

Usually used for conversation scenes, this technique

look to the left in shot B. This establishes a relationship of

alternates between over-the-shoulder shots showing each

proximity and continuity.

character speaking.

fade

wipe

A visual transition between shots or scenes that appears on

Visible on screen as a bar travelling across the frame

screen as a brief interval with no picture. The editor fades

pushing one shot off and pulling the next shot into place.

one shot to black and then fades in the next. Often used to

Rarely used in contemporary film, but common in films from

indicate a change in time and place.

the 1930s and 1940s.

[25]

STORYBOARDING GLOSSARY CLOSE-UP SHOT: A close range of distance

TILT: Using a camera on a tripod, the camera

between the camera and the subject.

moves up or down to follow the action.

DISSOLVE: A transition between two shots, where

ZOOM: Use of the camera lens to move closely

one shot fades away and simultaneously another shot

towards the subject.

fades in.

FADE - A transition from a shot to black where the image gradually becomes darker is a Fade Out; or from black where the image gradually becomes brighter is a

From the Jane Animation Project Hunting Sequence

Fade In. HIGH CAMERA ANGLE: A camera angle which looks down on its subject making it look small, weak or unimportant.

JUMP CUT: A rapid, jerky transition from one frame to the next, either disrupting the flow of time or movement within a scene or making an abrupt transition from one scene to another.

LEVEL CAMERA ANGLE: A camera angle which is even with the subject; it may be used as a neutral shot.

LONG SHOT: A long range of distance between the camera and the subject, often providing a broader range of the setting.

LOW CAMERA ANGLE: A camera angle which looks up at its subject; it makes the subject seem important and powerful.

PAN: A steady, sweeping movement from one point in a scene to another.

POV (point of view shot): A shot which is understood to be seen from the point of view of a character within the scene.

REACTION SHOT- 1.: A shot of someone looking off screen. 2.: A reaction shot can also be a shot of someone in a conversation where they are not given a line of dialogue but are just listening to the other person speak.

[26]

FILM LINGO GLOSSARY ACADEMY LEADER - This is also known as SMPTE LEADER. If you remember watching movies as a kid in

Ambient Light - Light that exists or naturally occurs in a scene.

Anamorphic Lenses - These

and ISO numbers are completely identical in light sensitivity. ASA is something that you must compensate for when you shoot

school, you will also remember that funny

particular types of lenses are used to

countdown that goes from 8 to 2 just

squeeze the width of an image being shot

before the film begins. This is academy

so that it will fit on a film frame. When the

non-linear editing suits. Most film

leader and it's purpose is to identify the

image is projected it is unsqueezed and

producers use them to edit there films

number of frames left before your film will

restored to its original aspect ratio.

before they actually cut their negatives.

begin. It is also there to help you

Animation - It is creating the illusion

using a film stock with a different speed.

Avid - A company that builds digital

Backlight - Light coming from behind

synchronize your sound to the film. When

of movement by using successive frames

a subject and in the direction of the

the 2 appears all of your sound tracks

of the same image altered slightly between

camera is called backlight. This can be

should beep telling you that everything is

frames in a general pattern, i.e. moving an

anything, a bright wall, a window or even

in sync.

arm a little bit to the right in each frame to

the sun. It becomes backlight when you

create the illusion of swinging a fist when

position your filmic subject in front of it. A

sped up.

kicker is also a form of backlight, except

ACES and Deuces - These terms refer to the power of light. ACES are 1K or 1000 watt lights and deuces are 2K or 2000 watt lights.

Acrylic sheet filters - Acrylic filters are used outside windows to correct for color temperature of daylight to tungsten

Answer Print - It is the final reel of a

it's a light that shines on your subject off to

film when it has been cut, dubbed and

one side. Backlight serves not to illuminate

cleaned. The answer print is made from a

but to define the edges of it's subject.

negative and then sent to theatres.

Antihalation Backing - Most Kodak,

Barn Doors - Lights can either have two or four barn doors, depending on the

light or tungsten to daylight. They are

Fugi and Agfa film stocks use an

amount of control you need in a light.

heavy and a pain to carry but give you

antihalation backing to absorb unwanted

These doors can be opened wide or

much better quality then sticking gels to a

light rays. This type of backing is built into

closed down to produce a relatively narrow

window. They have very little reflection and

the film emulsion to prevent a strong light

beam of light. Barn doors are also the

they are optically sound. There are also

source from bouncing back through the

place you clip gels, diffusion, blackwrap

acrylic ND filters used to cut down the

film, ruining your image.

and flags to the light.

amount of light coming through a window.

APERTURE (LENS) - This is the small

Black Bag - A black changing bag

Adaptor Rings - You can screw on an

hole that opens in the lens and directs the

functions as a portable darkroom. You can

adaptor ring to most cameras into the front

amount of light coming in contact with the

use a black bag to load a film magazine.

of the lens. This ring will allow you to use

film plane. As the Aperture or T-stop

This bag is basically two bags, one inside

filters that are either too small or too large

number increases the amount of light

the other and is used from everything from

to normally mount onto that particular

hitting the film through the gate decreases.

loading film to fixing camera jams.

camera. Adaptor Rings save money because they allow you to use one filter set on multiple cameras.

Alligator Grip - This is a spring-

Arriflex - A company that manufactures 16mm and 35mm cameras.

Aspect Ratio - The aspect ratio is the

Typically these bags are only $35.

Blocking - in any scene where there is movement it is first necessary to block

specific proportions of a screen image.

out or choreograph all movement and then

loaded lighting grip used to attach a light

This of course various with different

rehearse it so that the camera and

to pipes, molding or even doors. The most

camera formats.

microphone can stay with the performer

common place to see these used is in a

ASA Number - ASA stands for

sound stage or studio. There are special

American Standards Association. The

lighting grids made of pipe hanging from

speed or light sensitivity of a film stock is

the ceiling, allowing you to attach these

measured by the ASA or ISO number. ASA

lighting grips to them.

[27]

and also so that no unwanted images get caught on film.

Camera Speed(frame rate) - The standard

Depth of Focus- It should never be

Flags - Flags can be made of metal or

frame rate for motion picture camera projectors

confused with depth of field. It refers to the very

foamcore. Typically flags can be used to protect

is 24 frames per second or 24fps. If you shoot

small distance behind the lens on either side of

the camera from stray light. They are also used

motion picture film at a frame speed higher then

the focal plane. This is where the lens can be

for creating a gradual transition from light to

24fps you will get a slow motion effect. If you

situated and still record an acceptably sharp

dark. This is done to avoid hard shadow lines.

shot at a lower level such as 8 frames per

image.

They can also be used to help separate and

second you will automatically speed up the

Dimmers- Dimmers are used in home and

control light spillage in your scene. If you have

action. When you shoot at different frame rates

theatrical lighting. They are there to regulate the

two characters standing side by side, you will

you must also remember to compensate for the

intensity of your light. They can lower the

want to flag off one from the other. This is done

exposure.

voltage of a light. They also lower it's colour

so that you get an equal exposure on both.

Clapper Board - This is a form of slate

temperature so a dimmer can only be effective

Fluorescent Lights - You will usually get a

onto which filmic information can be chalked to.

in Black and White film-making. When you use a

greenish tinge off of fluorescent lights. You will

The types of information you would place on a

colour film, your film gets a reddish cast when

want to avoid shooting under them in most

clapper board would includes, the production

you use a dimmer.

situations. However, in recent years many music

company, film name, director, cameraman, scene, take and the sound take number.

Claw - used to hold film in place during exposure.

Close Focusing - Zoom lenses often focus no closer than 3 feet if they are in front of an

Dolly - It is a camera term referring to when

videos have scenes that were shot under

a camera moves in or out of a shot. There are

fluorescent lights. We recommend you stay

two dolly moves, dolly in and dolly out. A dolly is

away from them.

usually done on wheels or tracks depending on the budget of the film.

Double Exposure - Used to create multiple

Footage Counters - They are used to show you how much film you have exposed and how much is left to expose. Some footage

object or scene. Prime lenses will focus if the

images by exposing the same section of film

meters on Panavision cameras have digital

camera is closer and macro lenses will usually

two or more times.

readouts accurate to the frame. But most

focus at a ratio of 1:1.

Cookie - A cookie is a cutout piece of

Establishing Shot - Typically this type of

average ones are only approximate to the foot.

shot is used to introduce a scene to the

When you start they are usually set to zero feet.

pattern, cut out from a material and placed in

audience. It can be a wide shot revealing a new

If not you should adjust it to zero.

front of a light to cast a patterned shadow.

location or it can be a close up detail depending

Cookies are most typically used to project the

on what the director decides to film.

outline of a window frame or venetian blinds.

Eye Light - Filmmakers often use a low-

Gaffers Tape - Gaffers tape is wide black tape that is very similar to silver duck tape.

However, gaffers tape is better then duck tape

powered light to produce a lively reflection in the

because it leaves no sticky residue on your film

main action, allowing you to delete uninteresting

subject's eye. The light is usually there to

equipment. It is also good because it can be

dialogues or mistakes in the main action.

substitute the sun's reflection you get when

ripped quite easily into smaller strips. The thing

Typically in editing you would try to replace bad

you're outside. If you have more then one eye

that holds up most hollywood sets is definitely

shots with cutaways. Day-For-Night - This

light it looks very unnatural. There are

gaffers tape.

means shooting night scenes during the day. To

exceptions to every rule. If you're shooting Sci-fi

this properly you have to use camera filters and

films and there are more than one sun it would

ten 12-volt car batteries set up in a series or you

underexposure. If you are shooting on B & W

be alright to have multiple eye lights.

can have a truck powered generator. The

Cutaways - Shots done away from the

film use a red or yellow filter to darken the sky.

Eyepiece on Reflex Viewfinders- If you

Generators - Generators can be a set of

ultimate poor man's battery is hardware store

With colour film use an ND or Neutral Density

shoot a film using a reflex viewfinder, you will

generator. It is very noisy. But if you can do your

filter. Shooting Day-For-Night works best on

have to cover the eyepiece after you finish each

shooting without sound this is your best

really sunny days, either early in the morning or

shot. If you don't, a single frame on your

solution.

late in the afternoon, because the shadows are

negative will be exposed and become a flash

hardest then. When you shoot, avoid shooting

frame. There are usually small shutters on reflex

gray cardboard that reflects 18 percent of the

the sky and you should also underexpose the

viewfinders to allow you to prevent flash frames.

light that strikes it. This card is intended as a

film two or three stops below what your light meter tells you.

Fill Light - The main purpose of a fill light is

Gray Card - A gray card is a piece of dull

representation of an object indoors with average

to fill in the shadows left by the key light. This

reflective potential. However, this card is not an

light is more diffused or softer then the key light

accurate reading for flesh tones. You have to do

is in focus when you shot your film. The smaller

and is less powerful too. The fill light isn't

those separately.

your aperture the greater the depth of field. But

supposed to create it's own shadow. This

the smaller your aperture the more light is

defeats the purpose of a fill light.

Depth of Field - This refers to the area that

required to light the scene. So if you have more light in your scene this will allow you to have a

Film Plane - This is the point onto which the lens focuses light onto.

greater depth of field.

[28]

Hard Light - Hard light is usually from a key light and as the main source of illumination for most scenes it casts bold shadows and

good macro lens can reproduce and image at a

A days rushes are usually viewed the following

1:1 ratio.

morning or evening after the shoot.

Magic Hour - Magic Hour is the time just

Safe Area - When you shoot a film or video

gives you the impression that the light in a scene

before sunrise or the time just after sunset. This

you must take into consideration that what you

comes from one particular direction.

is when there is enough light to get an exposure

see through the viewfinder is often a larger area

on buildings and on various landscapes but car

then your final product. You have to shoot and

are relatively new lighting source that produce

headlights and building lights can still be seen

test to see how much of the viewable area can

daylight-balanced light quality. They are also 3

as on.

be seen. This includes any text you want to lay

HMI (halogen-metal-iodide) bulbs - They

times more powerful then tungsten halogen

Pans - A pan is a camera movement along

quartz lights for the equal amount of power

the horizontal axis. Pans are often used to follow

used. however, the drawback of HMI's is that

action and reveal a scene's contents to the

they must be powered by heavy ballast units. If

audience.

the ballast isn't setup correctly then there will be

down on your images in post-production. Safe Area varies from one camera format to another.

Scrims - The are circular screens made of wire mesh and placed in front of a light. They are

Perforations on film - Perforations are the

there to reduce the intensity of light without

a flickering in your film that will be

small holes that you see on a piece of film. They

reducing the color temperature or quality. Scrim

uncorrectable. These lights are color balanced

are there to allow the film to advance through

can also be a term used to describe a thin cloth

at 5600 degrees Kelvin.

the camera, projector, etc. There are single-

used for diffusion.

Intercutting - Intercutting is an editing

perforated films and double-perforated ones.

Second Unit - Second unit refers to a crew

term used to describe the joining of two film

But in a camera the claw is what advances the

that shoots scenes that require stunt scenes,

sequences through parallel editing.

film using the perfs.

crowd scenes, battle scenes and battle scenes.

Intervalometer - An intervalometer is a

Photographic Lens tissue - This form of

Basically they shoot any scenes that do not

camera feature that lets you preset or reset the

tissue is used in conjunction with a lens cleaning

require sound. These scenes have a different

frames per second you shoot at. You can use an

fluid. The tissue soft so that the risk scratches to

director and camera crew then the first unit.

intervalometer anywhere from 1 fps onwards.

the lens can be minimized. Never rub this tissue

Shutter - The shutter in film cameras is a

ISO Numbers - See ASA Number. (above)

on a dry lens. If you can't afford a lens cleaning

circular disc that changes in shape to increase

Jump Cut - A disconcerting mismatch

solution just blow on the lens. But be careful not

or decrease the exposure of the film. Besides

to blow saliva onto it.

the aperture and film it is one of the most

between shots is called a jump cut. Cutting from a person sitting, to a shot of the same person

Practicals - Practicals are household light

important parts of a camera. It was the camera

standing in the identical spot creates a

fixtures that are placed to be visible in a shot.

part that took longest to develop when cinema

disconcerting jump in time. Most of the time this

Use only fixtures that allow the lights heat to

was first introduced.

is an editing error but it can be used for comic

escape upward, otherwise your practicals may

relief.

burn out or melt.

Key Light - The key light is the brightest

Steadicam - The steadicam allows a camera to be mounted on a person but it

Registration Pin - Expensive film cameras

absorbs most of persons shocks or movements.

light and casts the main shadows in a scene. It

have a feature called a registration pin. This pin

This allows for fluent hand-held shots. Camera

gives the sense of directionality to the lighting in

increases the steadiness of an image during

movements done this way are very similar to

any given scene.

exposure. The pin enters a perforation while the

those done on a dolly. The steadicam in film is

film is stopped in the gate and holds in steady

great because it cuts down the shot setup time

for exposure.

normally required.

Light Meters - A light meter is an instrument used to measure the intensity of light. There are three basic types of meters. One

Reversal Film Stock - Reversal film stocks

Sun Guns - Sun Guns are camera mounted

measures the amount of light reflected off a

are like slide film in still photography. Reversal

lights that are portable and provide constant and

subject or scene. Another is called an incident

films show more noticeable grain in their images

shadowless illumination. The problem with sun

meter and it measures the amount of light falling

and the contrast is also high. But the advantage

guns is that often a scene illuminated with one

onto a subject. The third type is called a spot

of Reversal film stock is the speed and the price.

light is very unpleasant to look at. Also a scene

meter and it will measure the reflected light from

It's faster to develop one piece of film instead of

with no shadows does not look very real or 3D.

an object or scene within a few degrees of

two and work prints cost extra money as well.

The most effective use of a sun gun is to use it

accuracy. Each one is suited for varying light conditions.

Low-key Lighting - With Low key lighting, the lighting contrast is low and light tones predominate. This makes everything in a scene appear bright and cheery.

Macro Lenses - Macro lenses extend far

Room Tone - This is the distinct sound every film location or set makes. It is used to

off camera to the left or right side.

Telephoto Lens - Telephoto lenses are

bridge gaps in the sound track of a film,

approximately 50% longer than normal lenses in

providing a consistent background.

the same camera format. Telephoto lenses

Rushes (dailies) - Your work prints are

render a subject large even at a great distance

usually called rushes or dailies, because a film

away. They allow you to shoot dangerous

development lab can produce them so quickly.

objects at a far away distance.

enough to bring very close objects into focus. A

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Time-Lapse Effects - With a very low film speed in your camera the effects of time are noticeably sped up. In time-lapse photography a flower can grow, blossom and die all in the course of one minute.

Tungsten Lights - Tungsten balanced lights are those that are color balanced for 3400 degrees Kelvin. These are typically used in film and television.

UV Filter - When atmospheric haze scatters large amounts of ultraviolet light. This makes haze in the distance appear heavier when distant landscapes are photographed. You should use a UV or Skylight filters to minimize this effect. You should use this filter with both B&W and color films. This filter is also good for protecting the front element of your camera lens from difficult environmental conditions.

Work print - A work print is a film copy used for editing purposes. It is used instead of negatives. Because if the negatives are scratched your film will be ruined. A work print can also be called dailies or rushes.

Zoom Lens - A zoom lens offers various focal lengths in a single lens. Focal lengths can be changed during a shot or between shots by zooming. Zoom lenses are heavier then prime lenses and more expensive. However, their optical quality is poorer then those of a prime lens.

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