You are on page 1of 1

Director Actors Drama/Commercials Scripted storyboard Strong sense of outcome Controlled environments How & What to use CODEC

Software process Bullet proof workflow This is huge... Media management FCP Premiere Color Magic Bullet Other platform/Davinci Color Grading Genre Edit Platform Transcoding/File re-wrapping Live Events Larger crew Self Directing Some Planning Very Little control of environment Unpredictable Multi Camera? Self Direct/or work with Director

Post Production and Grading

Smaller crew Documentary Semi controlled Strong emphasis on editorial Quick response needed for unexpected opportunities Considerations Self Directing High Pressure No Retake Option Weddings Very Limited Control Multi Camera options Secondary to main event

You Tube Vimeo Settings to reduce file size without affecting perceived quality other formats Transcoding Working within limitations Choosing the right media Metadata and Workflow Planning Output

Subject Matter

Codec Bit Rate Media

Client Expectation very high Director

Recording Format

Actors/real people Scripted/story boarded Think Drama on a reduced scale Can also be similar to Documentary/live events On going projects ie building a skyscraper All of the Above

Media Management

Gamma Matrix Detail benefits Considerations Benefits Considerations DSLR Choosing camera Paint settings

Personal Film making

Landscape/montage Vacation/travel Family events Film festival submissions?

different genre's require different approaches Locations/ ambient surroundings Mood and tone

traditional video? Tripod Slider crane/jib Hand held

choosing a tripod important elements guiding principles techniques & Why

Camera settings and Exposure
Lighting Theory Camera Support

Why we light

can affect with lights/in camera or both

Contrast- the difference between light and shade Intensity

Camera stabilization ie steadicam Clip Latitude Camera dynamic range Zone system Why vary? Understanding core Focal lengths light control DOF control f-stop stopping down the lens Opening up the lens setting focal point Fixed Video Zoom lens Prime still lenses photographic zoom lenses Dedicated cinema style lenses understanding this and the effect on focal length Using it to your advantage Focal length and Crop Factor Lens types & Choice Focus Jargon explained Understanding lens functions Aperture/Iris Exposure control

Film Look DOP Blueprint

3 Core Elements

Quality Color Color Temperature soft light

Learning to work with what you have

Types of light

hard light Intensity of light Open Faced

Focal length Types of Lighting

Fresnel Lights Fluorescent Lights LED Lights HMI Lighting Flags/Nets ND Lighting Gel Color Correction Diffusion Controlling Light Stands & Clamps Black Wrap Reflectors Silks

Lenses and DOF

Light control
Single light, hard source Framing Why filters? Intensity Quality Color Light control Using 2 lights Using 1 light Utilize ambient light

Bounce Silk Diffuse Traditional Diffuse SoftBox Position and angle of light mixing sources

Lens choice and subject distance

Bring in 2nd source, Fresnel/Dedo 3/4 light, Back/rimlight 3rd light smaller fresnel/Dedo

Using Matte Box to control Flare Know how and when to use filters Using Matte Box & Filters Polarising Solid Neutral Density ND Graduated ND Blender Color grads Contrast reduction Softening Filters Variable ND's Filter types

Using 3 lights

Lighting backgrounds 4th light flexibility

Camera Filters

Using 4 lights

Adding dimension Begin with empty location Daylight control Emulating Daylight - maintaining location consistency Using Color Balance to affect Mood of Scene Lighting for broad Scene coverage Modifying Light for CU's Lighting the Master shot Placing Subject to take advantage of natural shade Lens choice and implications for light Contrast reduction Filters Light Control Reflectors Light Control Silks

Lighting an interior scene

Lighting exteriors

© Den Lennie/F-Stop Academy 2010