cinematography
What is cinematography? Cinematography = Writing with movement
Cinematography is the creation of images that you see on screen, the way it's composed focusing on the best way to tell the story visually.
Key focus areas are similar to photography focusing on lighting and use of camera
Role on set: Cinematographer, Director of Photography, DOP or DP
Find out more about the role of a cinematographer on the careers page
Key elements of cinematography:
Camera movement
shot size
Camera placement
SHOt composition
focus
lighting
camera movement Is it a static or tracking shot?
Camera movement is important in establishing our relationship with characters and can be used to build suspense in a scene.
Think about a horror movie and how we can use camera movement to position the audience:
A) Aligned with the threat, watching from afar, using a static camera
B) Aligned with the victims, running through the woods, using POV tracking shots
shot size Choosing a shot size is based on many things such as:
What do we want the viewer to focus on?
Do we want to see the background?
Can we see their expression?
Can we see their body language?
Getting the Shot size and Camera level right is essential to visual storytelling.
examples: Watch this video guide to shot sizes to see how directors make their choices
camera placement Choosing where to place the camera can change how the audience reacts to the shot.
This be dictated by the angle of the camera which can influence our perception of the subject, are they powerful, mysterious, scary or weak?
Watch this video guide to camera angles and take our quiz to test your knowledge
The position of the camera also determines who is featured in the shot, is it a single shot, a two shot, POV, over the shoulder?
over the shoulder shot (OTS)
shot composition
This is all about how the visual elements in the shot are arranged/framed. What can the viewer see or not see ?
Framing gives context and can help determine hierarchy of power based on how the actors are positioned. It can be used to eliminate distractions and direct the audience's attention to specific elements which can convey a deeper meaning.
It's important to consider three factors:
Shapes
Space
Lines
What do emotional qualities do these shapes have?
Sharp, aggressive, fear, unnerving
Seen in scary movies, villains, sharp teeth, weapons
Seen in clouds, flowers, planets, raindrops, nature
Limited space, boxed in, stability
Seen in offices, old fashioned items, opposite to natural world
It's important to consider how we use lines in our shots, following the 'Rule of thirds' which guides filmmakers where to position their points of interest/action. This can be achieved using the grid line function on any camera.
To watch a video about Rule of thirds
Some directors have a specific shooting style which goes against this rule which is fine as these are just guidelines for filmmakers, doing something different can assert your style within the industry.
Filmmakers can choose a specific aspect ratio for their film which can alter the composition of the image.
Aspect Ratio= Width & Height of a screen/image and usually looks like this
4:3 (old ratio before widescreen TV)
16:9 (standard for widescreen television and computer monitor)
1:85:1 (similar to 16:9 one of the two standard aspect ratios in modern cinema)
For a full guide to aspect ratios
One technique filmmakers use in shot composition is called blocking
Watch these videos to see it in a ction
Midsommar Analysis: The Secrets Hidden in Plain Sight In this Midsommar analysis, we're reveal the clues you missed the first time and how they added to the film's constant dread.
Midsommar Explained ►► https://bit.ly/aster-ms
Chapters:
00:00 - Midsommar reaction
01:09 - Midsommar explained by Ari Aster
01:38 - How Ari Aster breaks horror movie rules
02:36 - The strange world of Midsommar
03:26 - Midsommar explained in the script
04:30 - Midsommar scene analysis
07:09 - Midsommar analysis recap
07:50 - Midsommar easter eggs
08:25 - It's a bear in a cage!
Midsommar (2019), written and directed by Ari Aster, is a horror film that absolutely rewards repeat viewing. If you can handle this daylight nightmare a second (or third) time, you will see things you never saw the first time. In fact, once you start paying attention to the background, you’ll realize that Midsommar is actually working on multiple levels to keep you spooked, unnerved, and anxious. In this video essay, we investigate the ways in which Ari Aster hides secrets, clues, easter eggs, and foreshadowing right in front of you.
This is Midsommar Explained.
First of all, Midsommar is a horror movie shot in almost complete daylight and wide-open exteriors. So, how is it possible to make anything scary? Don’t we need darkness and enclosed spaces to keep the audience tense? Hereditary, Ari Aster’s previous film, certainly knew those rules and followed them to a “T.” This is the first clue — Ari Aster knows that these are our expectations and he uses them against us. When we have a shadowy and suspenseful scene, the audience leans in, their eyes scanning the frame to spot the monster that must certainly be there.
But in Midsommar we have no reason to suspect anything nefarious, nothing lurking the dark, which is how Ari Aster is able to “hide” many elements in the background without us knowing. And yet, once you do see what’s happening in the background, you realize where the tension you felt throughout Midsommar came from. What we assume are extras performing innocent or menial tasks are actually preparing for the gruesome and ritualistic fates soon to befall our protagonists.
So, what are we supposed to take away from this Midsommar analysis? Use the background to your full advantage — don’t just hire random extras to fill the space, give them something to do that works to ramp up tension or keep us guessing. This is how Ari Aster creates a sense of claustrophobia when there is abundance of space and tension when we have little reason to be tense. Even if you aren’t going to shoot a folk horror movie in broad daylight, the lesson still stands: use every part of your frame, even when you know we won’t be looking.
#FilmTheory #VideoEssay #Filmmaking
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Music:
- Attestupan - Bobby Krlic (Midsummer Original Motion Picture Score)
- Theme From Darker Colors - Makeup and Vanity Set
- Elevator Music - Vanoss Gaming Background Music
- Theme From A Nightmare on Elm Street
- Prophecy - Bobby Krlic (Midsummer Original Motion Picture Score)
- Fire Temple - Bobby Krlic (Midsummer Original Motion Picture Score)
- The Garden - Makeup and Vanity Set
- Endless Ocean - Makeup and Vanity Set
- Candy Shoppe - Emeralds
- Rami - Makeup and Vanity Set
- The House That Hårga Built - Bobby Krlic (Midsummer Original Motion Picture Score)
- Seance - Snowman
- Fire Temple - Bobby Krlic (Midsummer Original Motion Picture Score)
- Bear In A Cage - A24 Toy Commercial
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How Kubrick, Spielberg, and Inarritu Stage their Scenes Stage your Scenes like a Pro ►► http://bit.ly/31MhtR7
Today’s video is a scene analysis and video essay on staging and blocking your scenes like Spielberg’s Minority Report, Kubrick’s A Clockwork Orange, and Inarritu’s Birdman.
There are a few secrets to directing a cinematic scene. Above basic filmmaking theory is the actual craft of filmmaking, which includes staging and blocking your scenes in your films or television shows.
This is something you can learn without the need for film school because composition in film is something you can only learn through careful film analysis and on set experience as a director.
Blocking in film can seem simple enough until you actually step on set, and that’s when you learn that directing a movie is far from easy. Our video essay and film analysis explains some of the profound and subtextual decisions made during scenes in Spielberg’s Minority Report, Kubrick’s A Clockwork Orange, and Inarritu’s Birdman.
Film directors have to juggle the script, the talent, the camera, staging, blocking, and they’re responsible for every creative decision on a movie or television show. This video essay and film analysis will go over blocking in film, composition in film, and teach you some of the most important lessons you can learn on how to direct actors and staging your scenes.
Our filmmaking tips will help you build better scenes that convey an idea to the viewer while also entertaining the viewer. Our video will show you how to shoot and direct a scene like Spielberg’s Minority Report, Kubrick’s A Clockwork Orange, and Inarritu’s Birdman.
This lesson is like a free online film school that covers composition in art, directing movies, Filmmaking tips, blocking in film, composition in film, and how to direct actors. By the end you’ll have a better idea on how to direct a scene and movie like the masters.
Spielberg’s Minority Report, Kubrick’s A Clockwork Orange, and Inarritu’s Birdman
#blockingmovie #stagingscenes #directingmovies
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Film Blocking Tutorial — Filmmaking Techniques for Directors: Ep3 In today's video, we'll cover key film blocking techniques that master directors use to create memorable scenes. Grab the FREE film blocking worksheet to stage scenes better: http://bit.ly/2A8cEIq
We’ll learn about directing actors and the basics of film blocking.
Does the idea of watching two people having a conversation sound exciting? Probably not. You probably wouldn’t pay money to see that. And yet you do every time you go to the movies.
How have so many filmmakers managed to make those conversations exciting?
Well, one big way is with film blocking. Film blocking is the “precise staging of actors in a performance”. In terms of cinema, it’s where you place your actors in the frame.
It’s more than who stands where. Film blocking conveys the mood and tone you convey with what happens in the frame. We’ll use film blocking and mis-en-scene to bolster your knowledge so you can take everything you learn on set.
We’ll incorporate Film Theory, Film Criticism, and practical reasoning to show you how to get the most out of your efforts.
In this video you’ll learn about Space, Shapes, and Lines in film blocking. By considering these components, you’ll be able to block a scene between any subjects in a visually dynamic way that is loaded with subtext.
So start watching and learn more about film blocking today!
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The films in our video:
Baby Driver
Inglourious Basterds
O Brother, Where Art Thou?
We're the Millers
Manhattan
Get Out
Whiplash
The Wolf of Wall Street
Fight Club
The Social network
The Neon demon
Birdman
La la land
Citizen Kane
Ex Machina
The Wolf of Wall Street
The Grand Budapest Hotel
Sin City
Oblivion
2001 - Space Oddesy
Kill Bill
The Grand Budapest Hotel
Guardians of the Galaxy
Sin City
Godfather Part 2
Seven
American Psycho
Drive
Enemy
Inglourious Basterds
The music::
"Aspire" by Pryces: http://bit.ly/2wbQyj6
"The Seventh One" by Kevin Graham: http://bit.ly/2w7pQIt
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The Godfather — How to Direct Power (Director’s Playbook) More on The Godfather analysis ►► http://bit.ly/36lai3P
The Godfather is an undisputed cinema classic...but why? What makes it so good? It's a story about the transformation of Michael Corleone from someone on the sidelines of the family business into a true leader. The Godfather is about POWER — who has it, who wants it, and what people are willing to do to get it.
In this scene breakdown, watch how director Francis Ford Coppola takes a simple dispute and captures the transitions in power between Sonny (James Caan) and Tom (Robert Duvall), before Michael (Al Pacino) inserts himself and takes complete control. Using framing, composition, blocking and a slow, deliberate camera move, we "feel" these power shifts as much as we see them.
The Godfather analysis in this video essay focuses on how director Francis Ford Coppola used blocking and staging to visually capture the power dynamics within the Corleone family. Specifically, how Michael Corleone (Al Pacino) takes his first steps towards inserting himself in the family business...and his first steps towards becoming The Godfather.
With Don Corleone hospitalized, Sonny and Tom are at odds with whether revenge is the appropriate tactic. In this scene, Michael goes from a passive observer of the family’s business to an active participant. This power dynamic is clear from the dialogue in the script but what does Francis Ford Coppola do with the blocking and staging to emphasize these ideas? How does he use shot types and composition to communicate Michael’s evolution? That’s what this The Godfather analysis is all about.
Francis Ford Coppola will go down as one of the greatest directors of all time. After a series of independent and underseen films, Coppola broke out in a big way with The Godfather. From there, it was a series of masterpieces like The Conversation, Apocalypse Now, and the completion of The Godfather trilogy.
The Godfather cinematography is legendary, thanks to DP Gordon Willis (aka The Prince of Darkness) but his lighting is just the beginning. In this video essay on The Godfather analysis, you’ll see how power and control can exchange hands with simple techniques like blocking & staging.
#filmmaking #filmmaker #thegodfather
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The Wolf of Wall Street Film Blocking Techniques | Director's Playbook How Scorsese Stages The Wolf of Wall Street ►► http://bit.ly/wows-staging
In today's video, we dive into Martin Scorsese's The Wolf of Wall Street to better understand how blocking and staging can create a dynamic long take. A long take can be a great opportunity to get through exposition quickly and concisely, with staging and blocking motivating action and making things feel natural. Martin Scorsese was able to accomplish all of these things effortlessly in The Wolf of Wall Street.
In this scene, Scorsese directs with purposeful framing, camera movement and eye lines to keep the chaotic office environment clear and focused for the audience. Moving through many rooms, around characters, and through a chaotic stock floor could easily confuse the viewer.
To keep the story in focus, Scorsese uses a few techniques to his advantage. First, he uses eye lines to help guide the viewer's eye, helping to motivate the camera's pan over to the conference room. He also uses a series of "hand-offs" to help keep the viewer focused on what is in front of them, while still being able to effortlessly glide between them.
These simple techniques can apply to any long take. By directing the viewer's attention with eye lines, the audience has a chance to maintain visual geography of the action. And with character hand-offs, we also keep the characters and their relationship at the forefront. Prioritizing character can help keep a long take from coming off as gratuitous when we understand WHY we are watching it.
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There Will Be Blood — How PT Anderson Directs Dominance and Disgrace There Will Be Blood Analysis ►► http://bit.ly/there-will-be-blood-analysis
There Will Be Blood (2007) is not only one of Paul Thomas Anderson’s best movies, but it might also rank as one of the best all time. Daniel Day-Lewis is stellar as the vicious oil baron Daniel Plainview and Paul Dano as his would-be nemesis Eli Sunday create sparks every time they share the screen.
Paul Thomas Anderson began his career with high energy and bombastic films like Boogie Nights, Magnolia and Punch-Drunk Love. There Will Be Blood marks a dramatic shift in tone and energy for PT Anderson — ultimately leading to more reserved but nonetheless powerful films like The Master, Inherent Vice, and Phantom Thread.
In this There Will Be Blood analysis, Paul Thomas Anderson brings these two feuding characters to a breaking point. Paul Thomas Anderson films this scene in such a way that we identify with Eli — both during his nervous approach to Daniel and his ultimate denigration in the mud and oil. But how does he do this?
PT Anderson makes simple and direct film blocking and staging choices to capture two things simultaneously — Daniel’s dominance and Eli’s disgrace. To do this, Paul Thomas Anderson uses the camera to occupy Eli or Eli’s point of view at all times. Even when Daniel begins to beat Eli into the ground, we (the camera) drops to that occupy that perspective. In There Will Be Blood, cinematography plays a key role in capturing this violent dynamic.
#film #filmtheory #filmmaking
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Wes Anderson on the Colors and Ratios of 'The Grand Budapest Hotell Wes Anderson talks about the distinctive production design and shot setup that make his "The Grand Budapest Hotel" such a remarkable-looking film.
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SFX Secrets: The Power of Aspect Ratios What is the shape of the frame of your favorite film? It may seem like a funny question, but aspect ratios are perhaps one of cinema’s most important but least recognized or understood technologies. In this era of moviemaking, any aspect ratio from the more square “Academy Ratio” to the wider formats preferred since the 1950s is at a filmmaker’s fingertips, so the way they choose to organize space in their shooting really means something. This video examines the ways that frame size and changes have been used expressively, innovatively, traditionally, and even humorously to add extra context to their content. You’ll never look at the movies the same way again!
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Aspect Ratios in Film: How to Choose The Most Cinematic Aspect Ratio #aspectratio Create your FREE Shot List ►► http://bit.ly/2PdG2zs
In today’s essay on video production, we break down aspect ratios, and jump into the current aspect ratios for video, film, TV, and the internet.
What does aspect ratio mean? We give you a clear aspect ratio definition.
So whether you’re curious about aspect ratio 16 9 or aspect ratio 4 3, you’ll know more than you did before, and feel confident going forward.
Then, we help you figure out which aspect ratio is best for your next project.
Understand this filmmaking technique so that you can use it creatively in 2019!
Aspect ratios are the ratio of width to height that describes the shape of your filmed image.
2.35:1, is an aspect ratio that was introduced in the ‘50s as Cinemascope. It’s really wide, and you’ve probably seen it in westerns, grand adventures and historical epics.
1.85:1 is a slightly narrower aspect ratio. It was also introduced in the ‘50s, and is most commonly seen in dramas and comedies - but - it can appear in just about any genre.
New digital standards introduce another aspect ratio to consider - 1.78:1, otherwise known as 16x9. This is the standard aspect ratio for television, and it’s the default for many web-based video players.
Before you shoot a frame of your movie, you need to decide what aspect ratio use.
First, study the playing field. What do other films in your genre typically do?
Comedies are usually taller, so you can get your comedic wide shots without feeling like you’re too far away from your characters. Dramas are also usually shot taller, so close-ups can be more intimate.
Adventures, sweeping epics, and stories that feature a striking or dramatic landscape tend to be shot very wide, so that even in a close-up, the setting remains present on-screen.
Next, consider the level of realism you’re trying to achieve. Do you want people to respond to your film as fact or fantasy?
Of the popular aspect ratios, the taller ones like 1.85 match our optical field of view more closely than does cinemascope. If you’re telling a gritty crime drama, you might want your image to approximate what we see in the real world.
But if you’re telling a fantasy narrative, it might help to present it with a wider image - something that differs from how we normally see the world.
Your next step is to consider the setting of your story.
In some stories, the setting is really important. For those, you should choose an aspect ratio that best captures that setting, especially when you’ve got a character in the shot.
This doesn’t always mean going for the widest aspect ratio possible.
If you’ve got a film where the tall buildings of a big city play heavily into your story, you might want to consider a taller frame to capture that feeling.
We go even further in the video, so watch and learn more about aspect ratios today.
#aspectratio #aspectratioinfilm #filmmaking
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What is 2:1 Aspect Ratio — Why David Fincher, Ari Aster, and More Directors are Switching to 18:9 What is 2:1 Aspect Ratio ►► https://bit.ly/2x1-ratio
Chapters:
00:00 What is Aspect Ratio?
01:05 Vittorio Storaro Proposes 2:1 (Univisium)
02:01 2:1 Aspect Ratio Explained
02:55 How Ari Aster Uses 2:1 (18:9 Aspect Ratio)
03:18 2:1 in Jurassic World
03:35 How David Fincher Uses 2:1
04:06 2:1 in Stranger Things
04:53 Recap — 2:1 for Your Next Project
This is Cinematic Aspect Ratios Explained — Aspect ratios in filmmaking and cinematography are not just technical jargon, there is real visual storytelling value in which aspect ratio you choose. But what is aspect ratio today? Despite TVs being designed to accommodate widescreen filmmaking, they typically default to a 16:9 aspect ratio, which often compromises the filmmaker’s original vision. Today, we’re going to look at the 2:1 or 18:9 aspect ratio, how it might just be the perfect happy medium and why filmmakers like David Fincher and Ari Aster are switching over.
Legendary cinematographer Vittorio Storaro first devised the 2:1 aspect ratio in the ‘90s when he saw that the future of TV sets and programming were being standardized at 16:9. Storaro figured since movies would all end up being watched on TV anyway, it might be a good idea to start shooting movies with that in mind. Storaro’s 2:1 aspect ratio, which he dubbed Univisium, never really took off. Until today.
Netflix series like House of Cards and Stranger Things have embraced the 2:1 aspect ratio. 2:1 combines the width of 2.35:1 and the height of 1.85:1, bridging the gap and providing a cinematic aspect ratio that any film can use. David Fincher brought this cinematic aspect ratio to House of Cards, the Duffer Brothers used it for Stranger Things, Ari Aster chose it for Hereditary and Midsommar, and Colin Trevorrow shot Jurassic World in 2:1.
So, now that you can answer “what is aspect ratio and why does it matter,” which aspect ratio will you choose for your next project? Will you stick with standard formats like 1.85:1 or 2.35:1, or will you find a happy medium in the 2:1 aspect ratio?
#cinematography #filmmaking #filmtheory
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focus This can be used to emphasise aspects of the story, directing importance and the viewers attention to specific parts of the frame.
types of focus: Seeing everything at once
Used to isolate a subject
Everything is soft, slight glow/blur around subjects. Dreamy feel
Shifting focus from foreground to background or vice versa
Similar to rack but both subjects in the foreground and background can be in focus simultaneously.
Often used in panoramic shots of entire cities
how do directors achieve this? Depth of field
This means the size of the image (the field) where subjects appear sharp. Depth of field is a spectrum with. variety of different shots and effects that can be created. Directors can manipulate this through aperture and focus distance.
Depth of Field Explained: Ultimate Guide to Camera Focus [Shot List Ep. 4] Depth of Field Cheatsheet (Shot List) ►► https://bit.ly/dof-cs
Types of Camera Focus in Film ►► https://bit.ly/focus-types
Eye Trace and the Rule of Six ►► https://bit.ly/eye-t
More on Rack Focus ►► https://bit.ly/r-focus
Chapters:
00:00 Intro — Depth of Field Explained
01:35 Deep Focus
03:32 Shallow Focus
05:42 Soft Focus
07:42 Rack Focus
09:53 Split Diopter Lens
12:10 Tilt Shift Lens
13:36 Final Takeaways
14:12 In the Next Ep: Camera Gear
Depth of field might be one of the last considerations filmmakers make when creating a shot list. But that doesn’t mean it should be ignored. In this video essay, we’re going to look at camera basics like depth of field and how camera focus is used in visual storytelling. With deep depth of field, shallow depth of field, soft focus, rack focus, split diopter lens, and tilt shift lens, each brings a different perspective to your shots. This is Episode 4 of The Shot List: Depth of Field Explained.
Deep depth of field allows for action in the foreground, middle ground, and background; perfect for blocking and staging chaotic scenes like the opening shot of Gravity. Shallow depth of field helps to isolate subjects and guides the viewer’s eye with purpose and meaning — it’s also a great way to get that bokeh effect. Moonlight is full of shallow depth of field cinematography, bringing an extreme level of intimacy to the Chiron’s emotional journey. Soft focus can be used in dream sequences or flashbacks to give the cinematography a nostalgic glow, like Spielberg did throughout A.I. Artificial Intelligence.
A rack focus is a great way to use shallow depth of field to make connections between subjects without needing to cut. Often using a follow focus controller, the focus puller can achieve even the most complicated shots, like in Bong Joon-ho’s The Host. The split diopter lens is ideal when you want to isolate foreground and background subjects simultaneously. Auteurs like Brian De Palma and Quentin Tarantino use split diopter shots all the time, including some stellar examples in The Hateful Eight.
And, finally, we have the tilt shift lens. Tilt shift shots are rarely used in filmmaking because they can produce pretty radical images. In the Coen Brothers’ A Serious Man, cinematographer Roger Deakins was able to shoot the bar mitzvah scene by visualizing Danny’s marijuana-influenced perspective.
Directing and cinematography are all about using images to tell a story. With camera focus and depth of field in your bag of tricks, there’s no limit to how much “depth” you can bring to your shot list.
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Coachella Tilt-Shift Directed, shot, cut and finished by Sam O'Hare (www.oovfx.com | www.pixelpollen.com)
Produced by Sara Eolin and Leo Nitzberg
Original music by Human (www.humanworldwide.com)
Composer: Matthew O'Malley
Music Producer/CD: Mike Jurasits
EP: Marc Altshuler
Notes from Sam O'Hare: "I wanted to portray a unique view of the incomparable Coachella experience. Following the crowds in the sunshine from arrival, camping, exploring the art in the arena, all the way through to the headliners at night, this film brings a miniature feel to this huge festival. For more information about how it was done, please check the Aero Film blog post here: http://bit.ly/d5d4yk
Many thanks to Robbie and Tuna for operating the booms, and to everyone at Goldenvoice who helped me navigate the event to shoot."
SFX Secrets: The Split Diopter Lens If you've seen Brian de Palma's Carrie or Blow Out, it’s likely that you’ve seen the split focus shot. The director popularized the use of the split diopter lens in the ’70s and ’80s, although it was used by Gregg Toland as early as the ’40s in Orson Welles’ Citizen Kane. Similar to deep focus, the effect is achieved by using a split diopter convex lens resulting in objects in the background and foreground to be equally in focus.
The Rack Focus: How to Guide Viewers Eyes with a Shot List (Casino Royale) #rackfocus Create your FREE Shot List ►► http://bit.ly/2DqAEqt
What is a rack focus? A rack focus is a technique in filmmaking and cinematography where you adjust the focus of your lens to show something that was, at first, indistinguishable.
The difference between a rack focus and a focus pull is the degree of visibility.
Focus pulling is supposed to remain invisible so as to keep you in the story…
But racking focus needs to be more apparent to draw the attention of the viewer.
A rack focus in a film should reveal some crucial piece of information, or signal a big change in the scene - something you cannot achieve with an invisible focus pull. That is why the rack focus is such a unique focus pulling technique.
We show you examples of the rack focus in several films and break down how they were used in Casino Royale (2006) directed by Martin Campbell.
In today’s essay on video production, we give you the rack focus definition and show you various rack focus examples so that you can see how the pros wield this advanced filmmaking technique.
Then we break it down so that you can have a great rack focus in your next project.
Understand this technique so that you can use it in 2019!
You want to know how to rack focus. Maybe even a rack focus tutorial. Racking focus is as simple placing subjects in frame at varying depth, marking the focus distances on your lens, and then pulling at the opportune moment. You don’t even have to rack focus very fast if you don’t want to, especially if you’re using it as a POV shot of someone waking up.
You can also use a rack focus to visually illustrate a character processing information.
That’s because they are used by thoughtful filmmakers who understand that less can be more when you know what you’re doing.
Using the rack focus in special ways can also be an opportunity to build your own visual style, and to tell the audience something they didn’t know just moments before.
What do you gain from using a rack focus?
Rack focus gives you Focused Direction - control the eyes of the viewer.
Rack focus gives you Layered images - have subjects at varying depths.
Rack focus gives you Visual Storytelling - show reactions to things on, and off screen.
Rack focus gives you Economic filmmaking - save time and money with fewer shots.
Rack focus gives you Emotional connection - make your link from ‘A’ to ‘B’ more profound.
Watch and learn more about racking focus vs pulling focus today.
#rackfocus #rackingfocus #rackfocusfilm
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Contagion — What Soderbergh's Pandemic Got Right About the Coronavirus Soderbergh best films ranked ►► https://bit.ly/soderbergh-post
Contagion (2011) was a chilling medical thriller upon release — now that COVID-19 has changed our lives forever, Steven Soderbergh’s film now functions more like a documentary. Contagion used to be a “what if…” kind of movie, leaving us to speculate whether it portrayed what life would be like in such a scenario. In hindsight, we can see that Contagion accurately predicted much of our current coronavirus circumstances.
Beyond comparisons to Contagion and our current lives in quarantine, there is something really fascinating about how Steven Soderbergh used the camera to capture a pandemic. Even before COVID-19, watching Contagion had a unique ability to get under our skin, so to speak — but how? In this video essay, we’ll explore the cinematography in Contagion and how Soderbergh used very simple yet effective techniques to make the fictional pandemic feel grounded, and much more terrifying.
Contagion stars Matt Damon, Gwyneth Paltrow, Marion Cotillard, Kate Winslet, Jude Law, and Laurence Fishburne in a deadly global pandemic. Soderbergh’s filmmaking prioritizes these characters above the macro chaos swirling around them. Most films in this genre focus on an ensemble of survivors but few pay so much attention to the characters in the cinematography. Soderbergh uses three key elements to lock us into these characters: voyeuristic framing, shallow focus, and follow shots that never lose sight of the subject.
By prioritizing the characters and leaving the chaos more to the imagination, Steven Soderbergh keeps this outbreak grounded and real. Now that COVID-19 has shown us what life in quarantine is really like, we can see just how much truth there is in Contagion. Soderbergh’s cinematography and filmmaking skills were never more focused or prescient.
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Deep Focus - Citizen Kane
lighting There will be a dedicated lighting person in a production crew but it's important to consider styles and approaches to lighting. It's essential to remember 3-point lighting for your scene.
Find out more about lighting
Roger Deakins on "Film Lighting" Part 2 — Cinematography Techniques Ep. 2 7 Best Film Lighting Techniques ►► http://bit.ly/7-flt
Watch Part 1 ►► http://bit.ly/deakins-part1
Special Thanks to the Team Deakins podcast ►► http://bit.ly/td-pc
Chapters:
00:00 - Roger Deakins' Lighting Process
00:51 Chapter 1: Learn Your Film Lights
01:54 Chapter 2: Lighting the Night
03:04 Chapter 3: Mix Your Lights
04:50 Chapter 4: Lighting Faces
Roger Deakins returns with part two of his discussion on “learning to light.” In the previous episode of Cinematography Techniques, Roger Deakins walked us through the fundamentals of how to observe light and how still photography became a major inspiration. This time, we’ll get a little more practical as Deakins touches on night shooting, lighting the human face, the subtle art of mixing light in a shot, and knowing which light is best for the job.
In Chapter One, Deakins stresses the importance of knowing the different light available and their characteristics. In this case, he mentions using a skypan in Blade Runner 2049 to create sharp, moving shadows in the scenes at Wallace Corp. The next chapter centers on shooting nighttime scenes that actually look like night — compared to scenes where a pronounced blue or green tint is added to simulate moonlight. If you’ve seen his work, you know that a big part of Roger Deakins’ cinematography is working in the shadows.
Roger Deakins admits one of his “biggest conundrums” is mixing light. From his schooling, he was always taught to match his color sources — a holdover “rule” from the Technicolor days. Deakins mentions a scene from True Grit where he lit a campfire scene by mixing firelight with the moonlight, as opposed to previous Western cinematography techniques that kept a more uniform light in every scene.
Finally, Deakins talks about a fundamental technique in photography and cinematography — lighting the human face. He quotes a fashion photographer who said, “If you can photograph a human face, you can photograph anything.” It’s more than simply adding light to the face, it’s about how you angle, diffuse, and create contrast with the light to brings out that person’s character. There’s a lot more to learn from cinematographer Roger Deakins that we’ll explore in future episodes. Stay tuned for the next episode of Cinematography Techniques.
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Roger Deakins and the Art of Practical Lighting — Cinematography Techniques Ep. 3 Roger Deakins explains his favorite practical lighting techniques in film.
What is Practical Lighting? ►► http://bit.ly/rd-pl
Special Thanks to the Team Deakins podcast ►► http://bit.ly/td-pc
00:00 - Intro
00:41 - What is Practical Lighting?
01:49 - Start with Blocking
02:51 - Find Your Source
04:03 - Natural Lighting
Cinematographer Roger Deakins is no stranger to practical lighting. In this video essay, Deakins explains his approach to practical lighting and why it isn’t just about convenience, it’s about the storytelling. As the cinematographer for such gorgeously lit movies as The Shawshank Redemption, The Village, and Sicario, Deakins knows a thing or two about practical lighting.
Using practical lighting in film has two direct and positive effects. First, practical lighting establishes a motivation for the light in your scene. This doesn’t always need to happen but it helps create the verisimilitude of the scene. As Roger Deakins explains, unmotivated lighting personally takes him out of a movie. Practical lighting, in other words, helps create a cohesive and immersive experience.
The second benefit of practical lighting in film is literally practical. Without practical lights, the entire lighting setup would need to be adjusted for each shot in a scene. And if you’re up to speed on your cliche Hollywood lingo, “time is money.” Lighting with practicals helps reduce that extra time and allows the filmmakers to work within the space more fluidly and effectively.
Roger Deakins cinematography doesn’t just look good, it’s also often minimal and motivated. You can see this even in hyper-stylized worlds like Blade Runner 2049 and In Time. Consider building practical lighting directly into your next project and see for yourself just how it can help tell better stories.
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Roger Deakins on "Learning to Light" — Cinematography Techniques Ep. 1 Basics of Film Lighting ►► http://bit.ly/light-basics
Special Thanks to the Team Deakins podcast ►► http://bit.ly/td-pc
00:00 Roger Deakins on Film Lighting
01:10 Chapter 1 - Develop Your Eyesight
03:25 Chapter 2 - Understanding Exposure
04:48 Chapter 3 - Search For Simplicity
06:14 Chapter 4 - Just Play
07:56 Deakins Wraps Up
Roger Deakins cinematography is as stunning as ever. What he pulled off in 1917 is just the latest exemplar of cinematic lighting and camera movement from a career defined by it. In this video essay, we’re doing something a little different — instead of us fawning over Roger Deakins like the cinematography messiah that he is, we’re going to let him speak for himself.
Using Deakins own words from his incredible Team Deakins podcast, we get to sit back and let him talk us through his approach to cinematography, lighting, and his inspirations. Roger Deakins discusses how fishing as a child allowed him the opportunity to observe nature and how light plays in the natural world. How the work of still photography from the likes of William Eggleston and Brassaï got him focused on the details of an image.
Roger Deakins cinematography techniques are based on simplicity. He recalls a quote from another famed cinematographer, James Wong Howe, about Howe’s ultimate goal was to find a way to execute cinematic lighting with a single light. And when you look at Roger Deakins’ work, you can see his dedication to simplicity and the love he has for image making. In films like Skyfall, Blade Runner 2049, Sicario, No Country for Old Men, and The Shawshank Redemption, Roger Deakins has inspired an entire generation of his own.
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Music List:
- Shawshank Redemption - Thomas Newman (from The Shawshank Redemption)
- White Lightning - George Bernstein
- Mesa - Benjamin Wallfisch, Hans Zimmer (from Blade Runner 2049)
- A King Has No Friends - Red Licorice
- Always Infinity - Goosetaf, Four Dogma, Kyle McEvoy
- The Wraith - Tokyo Rose
- Sea Shores - Solar Order
- All Black (Instrumental) - Taz Conley
- Reborn - Swum
- Morning Colours - Red Licorice
- If I Could - Chris Mazuera
- Saudade - Sublab
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Roger Deakins Cinematography Style in 6 Steps Famed cinematographer Roger Deakins has been nominated for the Academy Awards fourteen times, and recently won for Blade Runner 2049. Learn more ►► http://bit.ly/2wK2zju
These are six of his top tips for cinematographers.
Roger’s long career leaves a lot to learn from as you watch.
We break down Roger’s shots and his attitude on film, digital, and working on different genres.
Deakins is a master cinematographer. We follow his path through his career, pointing out his consistent practices and best kept secrets.
Roger Deakins frequently works with the Coen Brothers and Sam Mendes. He’s able to accentuate his realistic style and get emotions from the audience.
Film can be a tough business. It’s important to listen to the people that have been able to sustain a long career and learn from their successes.
It’s also a constantly changing business. Technology drives a lot of the change and you have to be at the forefront of the emerging tech to keep up.
Roger Deakins believes the best cinematography blends into the story.
We’ll show how he’s trained his eye to keep things intimate for the audience.
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things to consider: Camera Equipment: Lens, tracks, stands
What lens is best? Do you need a steadicam? Do you need a dolly?
Steadicam can give the camera operator more freedom, can be shaky and used for a particular effect however a dolly is more robust and has a distinct feel to it.
Ultimate Guide to Camera Lenses — Every Type of Camera Lens Explained [Shot List Ep. 7] Download FREE "Camera Lenses" eBook ►► https://bit.ly/cam-lenses-ebook-vol1
Learn more about camera lenses ►► http://bit.ly/cam-lenses
Watch the full series ►► http://bit.ly/the-shot-list
Chapters:
00:00 Intro to Camera Lenses
01:15 How Does a Lens Work?
04:05 Extreme Wide Angle
05:58 Wide Angle
07:13 Standard
08:51 Telephoto
10:49 Macro
13:14 Tilt Shift
14:44 Exercise
18:54 Final Takeaways
The camera lens is an essential consideration in photography and cinematography. Camera lenses are on the front line of how an image is captured but not all are created equal. In this episode of The Shot List, we’ll walk through the gamut of camera lenses to differentiate both their inherent qualities and how they each tell a different story.
Let’s begin by making an important distinction between a zoom lens vs prime lens. Within each of these categories can be a variety of camera lenses but what separates them has to do with focal length. A prime lens has a fixed focal length while a zoom lens can operate through a range of focal lengths. There are pros and cons within the zoom lens vs prime lens debate, which we will cover in detail in the video.
The different types of camera lenses are mostly divided into categories based on their focal length, measured in millimeters. Focal length is the distance between the back of the lens and the image plane — the shorter the distance, the wider the field of view. For example, extreme wide angle lenses and fisheye lenses capture the widest field of view. The field of view with a telephoto lens is much more narrow but, in exchange, you can photograph subjects at a greater distance.
A standard lens is any lens where the focal length matches the size of the camera’s sensor. This gives the image a “natural” look that best approximates human vision. A macro lens is designed to capture subjects in extremely close proximity. Whereas most camera lenses align their elements perpendicularly to the image plane, a tilt-shift lens has a unique function that can “tilt” or “shift” that alignment. This leads to both subtle and extreme distortions.
Each of these camera lenses has unique properties that shape the look and texture of the image. As you work through your shot list, keep these options in mind and you’ll be that much closer to realizing your vision.
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The Dolly Zoom: More Than A Cheap Trick The Dolly Zoom is a bizarre cinematic effect, and it can do a lot more than just make you dizzy. Let's take a look at some famous instances of the dolly zoom, see what they accomplish, and explore how it teaches a lot of principles of filmmaking.
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Cinematographer Explains 3 Different Camera Lenses | Vanity Fair Cinematographer Newton Thomas Sigel takes us through the differences between wide-angle, normal and telephoto lenses. He explains the science of each lens using examples from “Bohemian Rhapsody,” “Drive” and “Three Kings”.
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Cinematographer Explains 3 Different Camera Lenses | Vanity Fair
Camera Gear: Every Type of Camera Rig Explained [The Shot List, Ep 5] Camera Gear Cheatsheet (Shot List) ►► http://bit.ly/cr-cheatsheet
Ultimate Guide to Camera Rigs and Gear ►► http://bit.ly/c-gear
The Dolly Zoom Effect ►► http://bit.ly/dolly-zoom
Chapters:
00:00 Intro to Camera Rigs & Gear
01:33 Handheld — Avengers: Endgame (2019)
03:28 Tripod — Grand Budapest Hotel (2014)
05:00 Pedestal — Inglourious Basterds (2009)
07:13 Crane & Jib — Spectre (2015)
09:11 Overhead Rigs — Casino (1995)
10:55 Dolly, Slider, & Cable Cam — Oldboy (2003)
12:40 Stabilizers — Parasite (2019)
14:06 Snorricam — Requiem for a Dream (2000)
15:33 Vehicle Mounts — Rogue Nation (2015)
17:01 Drones — Bohemian Rhapsody (2018)
18:32 Motion Control — The Social Network (2010)
20:10 Underwater Housing — Moonlight (2016)
21:54 Camera Gear Exercise: Dunkirk Scene
23:03 Final Takeaways
Camera rigs come in all shapes and sizes...and all budgets. Camera gear is expensive and camera setup can eat up a lot of time on set. In other words, if you’re going to invest the time and money in a camera rig, you should know the camera gear options available and how they work. In this episode of the Shot List, our focus is the various camera rigs and film equipment that will provide both production value and storytelling value to your next project.
To give a shot either intimacy or intensity, handheld camera rigs like a shoulder rig or easy rig work best. For maximum stability and stillness, you can’t go wrong with a tripod. When the camera needs to move smoothly, there are a number of camera rigs that are up to the task. A camera dolly is ideal but a camera slider is another lower-cost option. Everyone has heard of Steadicam camera stabilizers but, again, you might not have the budget for it. In that case, a gimbal stabilizer is an effective and affordable option. The debate between Steadicam vs gimbal really just comes down to budget.
For large or complicated camera movements, a camera crane is great for vertical movements to establish landscapes or top-down shots. If a camera crane is too costly or if your location can’t fit massive film equipment, camera jibs or an overhead camera setup work just fine. Let’s say the shot requires extremely precise camera movements? If you can afford one, a motion control camera system (aka camera robot) can pull off shots that are literally inhuman. A Snorricam is an ideal camera rig to capture an extremely subjective point of view, great for extreme emotional states or characters under the influence.
Finally, camera rigs that are used anytime vehicles are involved — anything from a car mount to strapping a camera to the side of an airplane. Aerial cinematography has never been easier or more affordable now that drone cameras have changed the game. Underwater cameras are obviously essential for anything in or around water.
No matter the scene, there is an ideal camera rig perfectly suited to capture your vision. Camera gear is changing all the time, opening up the possibilities even further. Image makers like Peter McKinnon, Matti Haapoja, Potato Jet, and Peter Lindgren understand how important camera gear is. Like all great artists, you need to master the tools before you can master the work.
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#film-theory, #video-essay, #filmmaker
The Art of Steadicam Operating in Cinema Peter Robertson is one of the world's most distinguished Steadicam operators, receiving the 'historical shot' award for the Dunkirk Beach steadicam sequence on “Atonement”. In this episode, he discusses his philosophy behind what makes a successful steadicam shot and when to use it effectively.
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Best Steadicam Shots in Movies #1 | Atonement, The Shining, Hugo, Boogie Nights | CineLab Best Steadicam Shots in Movies #1
Atonement / Directed by Joe Wright
The Shining / Directed by Stanley Kubrick
Hugo / Directed by Martin Scorsese
Boogie Nights / Directed by Paul Thomas Anderson
Best Steadicam Shots in Movies #3 | Hanna,The Secret in Their Eyes,The Wolf of Wall Street,Kill Bill Best Steadicam Shots in Movies #3
Hanna (2011)
The Secret in Their Eyes (2009)
The Wolf of Wall Street (2013)
Kill Bill: Vol. 1 (2003)
Dolly Zoom Effect (Vertigo 1958) Dolly Zoom Effect (Vertigo 1958)
Alfred Hitchcock
whip pan camerawork
This is an intentional camera rotation on the x-axis creating a blurred, disorientating affect for the audience.
It can be achieved using a dolly, gimbal, tripod or handheld!
watch an introduction to whip pans
why do we use it?
Blurs imagery making transition easier
Effective tool to take us through time and space
stimulates fast moving objects and people
City of God (2002)
Watch from 3:00 to see a 360 degree whip pan to propel us back in time in the Brazilian favelas. This is a key technique in the narrative.
Kill Bill: Vol. 1 (2003)
Notice how the whip pan accentuates the action here and stimulates the fast moving cereal box. This is also known as Ballistic Movement.
try at home exercise: Tell a story in just 5 shot (think carefully about your shot composition)
more to watch 28 Creative Cuts From Stranger Things A video essay showcasing the 28 best cuts from "Stranger Things."
Edited by Rishi Kaneria (@rishikaneria)
Music by Kyle Dixon & Michael Stein
This is an updated version after getting great feedback from the community. Turns out making a supercut about cuts is challenging! How do you show something that is invisible? The original can still be found here: https://www.youtube.com/watch?v=yPMka1FCbzI
The Rack Focus Shot: Practical Uses and Visual Examples The rack focus is one of the most essential camera moves for any cinematographer. But how should you rack focus and why should you do it?
Read more at: https://bit.ly/2ExSTKv
091. The Spielberg Face Video Essay Catalog No. 91 by Kevin B. Lee. Featured on the New York Times and other outlets. Originally published December 13, 2011 on Fandor.
https://carpetbagger.blogs.nytimes.com/2011/12/19/staring-in-awe-its-the-spielberg-face/?_r=0
The 180 Degree Rule in Film (and How to Break The Line) #180degreerule *** At 4:15 the camera is moving in reverse - it should start on the left of the line (green) and move beyond the line to the right side (red).
The 180 Degree Rule in Film ►► http://bit.ly/180-Degree-Rule-in-Film
The 180 degree line is a rule used in filmmaking that helps you maintain a constant orientation during your scenes. That said, there are ways you can break the 180 degree rule, and ways that you can bend the 180 degree rule.
Our video breaks down how to follow the 180 degree rule, how to break the 180 degree rule, and bend the 180 degree rule to achieve maximum effectiveness from your scene.
Breaking the 180 degree rule can also be called crossing the line or jumping the line. The line you draw connects two actors in a scene, and once you’ve established your camera placement on one side of the line, you have now decided which 180 degrees you will have to place your subsequent camera setups.
You do this so that your viewer can keep their orientation, and avoid spatial confusion.
But what if you break the line?
We show specific examples of directors and films that follow the 180 degree rule, break the 180 degree rule, and bend the 180 degree rule so that you understand perfectly the different effects each has on a viewer.
When you finish this video, you will understand why you need to follow the 180 degree rule in most situations, and know exactly when you should break it or bend it.
The end result: You will understand the 180 degree rule better than you did before - and how to command your visuals.
#180degreefilmrule #jumpingtheline #180degreefilmrule
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“2001: A Space Odyssey” Opening Scene — How Stanley Kubrick Directed the Iconic “Dawn of Man" Intro A video essay that examines the key film directing decisions Stanley Kubrick made to create a "cinematic moment" in 2001: A Space Odyssey.
Best Stanley Kubrick Movies ranked ►► http://bit.ly/kubrick-13
Kubrick Directing Style ►► http://bit.ly/ds-kubrick
Kubrick's Colors ►► http://bit.ly/kubrick-color
How Kubrick uses Mise en Scene ►► https://bit.ly/ms-kubrick
Blocking like Kubrick ►► http://bit.ly/kubrick-bl
Chapters:
00:00 - Intro
00:44 - A Closer look at Kubrick
01:55 - Chapter 1 - Screenplay
03:34 - Chapter 2 - Breakdown
05:55 - Chapter 3 - The Shots
08:53 - More resources
In 2001: A Space Odyssey, director Stanley Kubrick crafted a sci-fi classic that asks big questions about human civilization. From our humble beginnings as nomadic hominids to our interstellar travels to Jupiter and beyond. In this video essay, we’ll step into Stanley Kubrick’s shoes (and what mighty shoes those are!) to see if we can understand the specific directing choices he made. Let’s look at the Dawn of Man prologue from 2001: A Space Odyssey through Stanley Kubrick’s eyes.
Before we can make any decisions in film directing, we need to look at the script. How do we take words on a page and turn them into images? For example, the black monolith that suddenly appears in the hominids’ world. In the screenplay by Kubrick and Arthur C. Clarke initially describes it as a translucent cube that acts like a television screen. Of course, this is not what the black monolith looks like in the final version of 2001 — this is a much more ambiguous and mysterious design.
As our lead hominid Moonwatcher sits playing with a pile of bones, the influence of the black monolith clicks. Moonwatcher takes a leg bone and discovers the power of man’s first weapon. To mark the significance of this moment — the literal Dawn of Man — Kubrick shifts the visual style completely. From static, wide and objective shots, we suddenly jump into more abstract and subjective imagery. Slow motion is added to the effect, amplifying the moment’s monumental status.
In 2001 A Space Odyssey, Stanley Kubrick took a wordless prologue and crafted an unforgettable cinematic moment. In film directing, there are endless options at your disposal, including the framing, lens choice, music, and production design. If we can learn anything from how Stanley Kubrick directed 2001: A Space Odyssey, it starts by isolating each decision being made and understanding the role it plays in the overall presentation.
#FilmTheory #VideoEssay #Filmmaking
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Ultimate Guide to Camera Aperture — What is Aperture & the Exposure Triangle Explained [Ep 1] Learn More: What is Aperture? ►► http://bit.ly/c-aperture
Chapters:
00:00 A Look at Aperture in Film
00:17 The Exposure Triangle
00:42 Camera Aperture Explained
01:34 Aperture Tutorial & F-Stops
01:48 Small Aperture
02:30 Example: Small Aperture in '1917'
03:38 Large Aperture
04:07 Example: Large Aperture in 'Joker'
05:07 Medium Aperture
05:59 Example: Medium Aperture in 'Marriage Story'
07:12 Exposure Triangle Preview: ISO and Shutter Speed
07:35 Learn more about aperture
What is aperture? An aperture is what determines how much light passes through a camera’s lens. In photography and filmmaking, lens aperture is more than just an anonymous mechanism inside a lens. The aperture setting is the principal element used to manipulate depth of field, focal length, bokeh, and more. Lens aperture, along with ISO and shutter speed, is also part of the exposure triangle, which dictates the exposure of the final image. In other words, the aperture isn’t just necessary to capture images, it has a direct effect on the look and feel of those images. This is aperture explained, Part 1 of our series on the exposure triangle.
In this video essay and aperture tutorial, we will cover everything you need to know about aperture, depth of field, exposure, f stops, and t stops in photography and filmmaking. Once we cover the basic mechanics of how aperture works, we’ll look at how aperture settings create depth of field and the various visual storytelling techniques you can use in your next project.
So, what are the visual storytelling techniques associated with aperture and depth of field? In 1917, cinematographer Roger Deakins used a small aperture setting (high f stop) to achieve a deep depth of field. By doing so, we are able to observe the soldiers within their surroundings with equal clarity. In Joker, cinematographer Lawrence Sher utilizes a large aperture setting (low f stop) to create a shallow depth of field. This creates separation between Arthur and his environment, allowing us to register his emotional detachment.
In photography and filmmaking, each image-maker needs to be equally adept at aesthetics and mechanics. You won’t be able to speak the language of visual storytelling if you don’t know how to manipulate tools like aperture. Depth of field, focal length, exposure, ISO, shutter speed, and aperture are elements that work in combination to create an image. When you understand the role each of those elements plays, you’ll be one step closer to becoming a master visual artist.
#cinematography #filmmaking #filmtheory
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What is ISO — Camera ISO and the Exposure Triangle Explained [Ep 2] Learn more: What is ISO? ►► http://bit.ly/whatis-iso
Exposure Triangle eBook ►► http://bit.ly/exposure-ebook
Aperture Guide ►► http://bit.ly/whatis-aperture
"What is Aperture" Video ►► http://bit.ly/aperture-vid
00:00 The Exposure Triangle
00:51 What is ISO?
01:31 ISO Meaning and Examples
02:36 Shooting in the Dark
04:21 Noise & Grain (High ISO)
05:05 Dynamic Range & Native ISO
06:04 Adding Texture with Grain
06:38 Film Grain vs Digital Noise
08:15 Final Takeaways
What is ISO? Camera ISO is just one of three camera settings that make up the exposure triangle. In photography and cinematography, the exposure triangle is how image makers can adjust to any lighting scenario. In this episode of our aperture, shutter speed and ISO tutorial series, we look at camera ISO and its essential role in exposure. This is ISO explained.
ISO (pronounced “eye-so”) is the name adopted by the International Organization for Standardization. This group, which has been around for decades, is a global organization dedicated to creating international standards for everything from medical devices to country codes. One of their first ISO standards was for the “light sensitivity” of black and white celluloid film. Since then, the term ISO in photography and cinematography has stuck and refers to how sensitive unexposed film (or a camera’s sensor) is to incoming light.
In this ISO guide, we’ll explain the various “ISO speeds” or camera ISO settings with a practical photography tutorial on when these choices should be made. Which ISO to use in low light settings or overly bright scenarios? It all depends on the other camera settings like aperture and shutter speed — and what your ultimate goal for the shot is.
A high ISO setting pushes the camera sensor to be more sensitive to light, while a low ISO setting desensitizes it. Naturally, when you’re shooting a bright exterior scene, you would need your camera ISO to be less sensitive. Vice versa, in a low light scenario, you might be tempted to raise your ISO speed. But be careful — a high ISO setting can also introduce film grain or digital noise into your image.
Another consideration when choosing your camera ISO speed is dynamic range. Dynamic range dictates how bright and dark an image can be while still retaining visual information. For example, if you’re shooting a bright sky above a dark forest, you might not be able to capture complete detail in both areas. These days, digital cameras have what’s called a native ISO setting where the optimal dynamic range is found.
With these ISO settings, your photography or cinematography can be versatile and nuanced. Remember, ISO is just one of the camera basics included in the exposure triangle. Make sure to watch the other photography tutorial videos in this series to get the complete picture.
#FilmTheory #VideoEssay #Filmmaking
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Songs:
Wild Pony - “Larchmont (STARCHILD Remix)”
Live Footage - “144”
Kerry Muzzey - “The Butterfly Effect”
Soundroll - “Dare (No Guitars)”
Flow State - “Don’t Hold Me (No Vocal Elements)”
1917 OST / Audiomachine - “The Big Smoke”
1917 OST / Thomas Newman - “Gehenna”
Hill - “The Seeds of Unrest (Instrumental)”
Sounds Like Sander - “East West Stomp (Instrumental)”
Soundroll - “Line of Drums (Reduced Mix)”
The Post OST / John Williams - “The Presses Roll”
American Beauty OST / Thomas Newman - “Dead Already”
The Disaster Artist OST / Dave Porter - “I Did Not Hit Her”
Makeup and Vanity Set - “The Zone”
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Edgar Wright on How He Writes and Directs His Movies | The Director's Chair Edgar Wright explains how he writes, directs, edits and soundtracks movies like Baby Driver and Scott Pilgrim vs. The World.
All Edgar Wright Movies Ranked! ►► https://bit.ly/ew-ranked
Learn more about Storyboarding ►► https://bit.ly/how-to-sb
Chapters:
00:00 Who is Edgar Wright?
03:45 Flipping Genre
06:18 Script Roadmaps
07:58 Music & Visuals
10:09 Storyboard Everything
12:28 Transitions & Quick Cuts
13:56 Advice for Filmmakers
14:54 What's Next for Edgar?
Edgar Wright has only directed 6 feature films. Take a moment to let that sink in. A Fistful of Fingers, Shaun of the Dead, Hot Fuzz, Scott Pilgrim vs. The World, The World’s End, Baby Driver — each an instant classic in their respective genres. Few filmmakers have been able to create such an impression so quickly and this is not an accident. In this video, our latest installment in The Director’s Chair series, we’ve collected Edgar Wright interviews from throughout his career that collectively explain his filmmaking process.
Long before his beloved Cornetto Trilogy, Edgar Wright movies exhibited a unique visual comedy with his trademark "Edgar Wright Transitions" (aka quick cuts), and a sophisticated approach to flipping genres at the writing stage. Even his short films like A Fistful of Fingers have that “Edgar Wright directing style” written all over them. In his screenwriting, Edgar Wright is openly drawn to genre films, and, as he explains, the formulas they provide become road maps to creativity. Consider the effortless blend of the zombie and romantic comedy subgenres in Shaun of the Dead, or the glowing homage to action films in Hot Fuzz.
Music is also a major element in Edgar Wright movies. In Baby Driver, he wrote the screenplay with specific songs in mind with the plan to edit the scenes to match the music. In fact, he reveals that they created a feature-length animatic, timed to the beat, before shooting even began. But again, this is nothing new — you’ll recall the thrilling execution of the barkeep beatdown set to Queen’s “Don’t Stop Me Now” in Shaun of the Dead.
In these Edgar Wright interviews, it becomes immediately apparent that this is a filmmaker in love with his medium. With his visual comedy, trademark "Edgar Wright transitions" (quick cuts), detailed screenwriting methods, and precise storyboarding, Wright is in complete control of his filmmaking. And this gives us, the audience, the ability to just sit back and watch a master at work.
#FilmTheory #VideoEssay #Filmmaking
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