Shooting great video is about more than what tools you use. In the hands of a creative camera operator, any camera, even a consumer point-and-shoot model, can be a powerful resource for capturing and creating compelling content.
Sometimes static shots work perfectly. But when you need a bit more energy in your shot and you don't have the right abilities or gear for good handheld, you've still got options. Simply changing the way to use your tripod can take a static shot and inject in with a dose of energy.
Tripod - check. Mic - check. Lights - check. Mobile phone - ah... don’t you mean camera? It’s amazing to think about, but, yes, amazing videos are being made using those ordinary devices originally meant to make a phone call.
Poorly framed shots can take a video with great dramatic possibilities and relegate it to the bargain bin of mediocrity. In this segment, we talk about the Rule of Thirds and show you how to frame your shots with proper head room and lead room to get aesthetically pleasing shots. Plus, we’ll show you how to anticipate the action in your shots, and give you the confidence to break the rules when the time is right.
Video is such an illusion. We're a bunch of tricksters, just fooling audiences by the second. Yes, you may have heard us mention frames per second or even 24p and 30p. These terms in our vocabulary are so basic because we create the visual perception of motion with many images shown in a second. Rarely do we spend time thinking of the illusion itself. Let us begin with a quick video that tests your brain's visual perception. Go through the test and look into the findings to discover more of how your brain works.
The basic concepts of controlling depth of field with aperture, focal length, and distance are fairly easy to grasp, and we covered those topics in part one of this series, but now it's time to dig a little deeper. In this segment, we talk about perceived depth of field, how sensor size and angle of view can affect your ability to get the depth of field you want, and using depth of field to rack focus. There's a lot of confusion surrounding these topics, but a little common sense, and of course a bit of math and science can help us break it all down.
There's a lot more to shooting a great scene than just planting a camera somewhere and yelling action. We all want to shoot a scene that can be cut together to achieve great continuity with a good variety of shots. The 180-degree rule is a useful tool to help you achieve this. In this segment we talk about the basic principles of the rule, establishing action lines, working with shifting action lines, and redefining the action line using neutral shots, camera movement, and cutaways. Knowing how to apply the 180-degree rule, and when you might want to break it can take your production skills to a higher level.
Released in 2002, “Road to Perdition” won the academy award for best cinematography. Director Sam Mendes and cinematographer Conrad Hall created a bleak style to represent Chicago in the 1930s, and used stunning imagery and beautiful camera moves to bring meaning to an intense murder scene.
Directed by Andrew Dominik, “The Assassination of Jesse James by the Coward Robert Ford” uses creative lighting and camera work that results in effective visuals to enhance the story. Released in 2007 this film's cinematography earned Roger Deakins an Academy Award nomination.
Capturing video in the bright snowy light is one of the most challenging conditions you can shoot in. Not only is shooting in the snow cold and your camera isn't happy with it, either! Creatively and technically when shooting in the snow, you are challenged from the moment you arrive. Here are 20 tips to capturing video and protecting your gear in that cold white wonderland.