Jennifer and John once again go out in the field to answer some confusing questions about screen direction.
Female: Hi, I’m Jennifer O’Rourke. In today’s tips and techniques John and I are gonna show you some things to work with continuity, to make your movie flow just a little bit better, have a little more fluidness to it. One of the tricks we want to talk to you about is what we call the 180 degree rule. It’s often called the line of action; I like calling it 180 degrees ‘cause it kind of reminds you stay within 180 degrees of your subject so your camera never crosses over this invisible line. In this case I’ve got the camera shooting at me from my left-hand side, and if I crossed over on the camera on the other side of me my cutaway shots would have me looking in the wrong direction, and we’ll show you some of those – an example.
Male: Here we are setting up our master shot, a standard two-person interview. Here we’re setting up for our first over-the-shoulder cutaway. As you can see, the camera’s been moved more than 180 degrees from the initial line of action. The result is a jarring cut where the interviewer and the interviewee appear to flip positions in the frame. And here we have the correct setup where the camera was placed less than 180 degrees from its initial plane, and you can see that this shot cuts together much more pleasantly.
Female: What we’re gonna show you on this technique is what we call cutting on the action, or when you’re supposed to be making your cut. You’re doing a wide shot of me walking up to this bench, but eventually I’m going to sit down and you’re gonna want to get a cutaway of me sitting down. Now you can take this cut in several different places. You could take the cut as I walk into the shot, and you see that empty chair, and then your cutaway is the empty chair, or you could take the cut after I’m already sitting down. But actually the best place to take the cut is during the sitting down portion, when I’m right about here, because my movement makes the cut less obvious.
Testing the S-Gamut3.Cine Slog3 colour profile in the Sony a7S II. Please note this is 4K down scaled to a 1080P timeline. Canon 16-35 F4 Set to F11 on both cameras. Shutter speed used to get correct exposure. White balance 5500K
We've been screaming about this for years, but Simon Cade at DSLRguide has put it into words more eloquently than we've heard in quite some time. Simon strikes down all the buzz words we industry geeks tend to throw around like dynamic range, aliasing and 4K, but emphasizes that the they all take second fiddle to storytelling.
5 ways to avoid embarrassment - Client based video production. Client relationships are at the heart of good business. Being prepared is key to success.
We show you 5 ways to avoid embarrassment and win favor with your client. A great product begins with a great experience.
We give you the first look and unbox The DJI Inspire 1. With its retractable landing gear, 360 degree rotating 4k Camera mounted on a 3 axis gimble and cool stylings comes with a hefty price tag, but is it worth it? Take a look and see our first impressions.
Brandon from LinusTechTips brings us this amazing explanation how Metabones Speedboosters are able to give your interchangeable-lens camera an additional f-stop. That means more light and even shallower depth of field.