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.
There are always lots of new lenses announced at NAB every year, but this one was truly special. Most of us can’t even afford to rent some of the lenses on the show floor, let alone the camera to use them. Canon’s Compact Servo 18-80mm T4.4 is the exception. While the $5,225 price tag is nothing to scoff at, it’s a steal when compared to Canon’s other EF servo zoom lenses, which approach $30,000.
An optional add-on to the Compact Servo 18-80 is a zoom rocker grip.
The visual style of your video is usually in the director’s head from the start of production, so what happens when you bring the footage into your editing software and you can’t get it to look quite right? Well, when it comes down to crunch time, as editing tends to, any solutions that are "as easy as it gets," are often the ones that editors rely on. You need to get the right tool, and you know that big young Internet has plenty to offer, but do you really want to be searching for, learning and purchasing something you’re checking out for the first time the same day?
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.