Digital Filmmaking for Beginners: A Practical Guide to Video by Michael Hughes

By Michael Hughes

Observe how one can create professional-quality electronic videos--faster than you could say "lights, digital camera, action"

Digital video cameras are everywhere--even on our telephones! yet cameras don't make nice videos; filmmakers do. Written by way of a pro professional with forty years of training adventure, electronic Filmmaking for newbies is your totally illustrated advent to all technical elements of electronic filmmaking.

Featuring transparent, concise instruction--accompanied via on-line video demonstrations--this accomplished consultant covers the easiest equipment and methods to plot and script initiatives; arrange lights, microphones, and cameras; and shoot, edit, and practice postproduction results and different completing touches. no matter if you're an beginner movie buff or an aspiring specialist videographer, this is often the resource for every little thing you must carry your principles from the web page to the screen.

Coverage includes:

--Best practices to make sure soft operations in all venture stages, from making plans to put up production
--Recommendations on picking and buying cameras, filming apparatus, and the simplest enhancing and results software program to suit your price range and needs
--Advice on making plans, capturing, modifying, and different technical elements
--Fully illustrated tutorials on composition, framing, and different visible storytelling techniques
--Exclusive bonus on-line content material, together with entire video demonstrations of key filmmaking thoughts and informative articles

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Extra info for Digital Filmmaking for Beginners: A Practical Guide to Video Production

Example text

There are many types of dollies. A pneumatic crab dolly has a pneumatic camera mount on the wheeled platform that allows the camera to be raised or lowered a few feet using air pressure. Again, the dolly is manually operated, but there is a small motor that is only run between shots to charge the air tank that runs the pneumatic lift. When the lift is used during a shot, it is extremely quiet in its operation. There are often one or two seats on this dolly for the camera operator and, perhaps, the director, while the poor dolly grip struggles to push that much extra weight.

Figure 3-6 shows another example of a moving subject. Imagine that the camera is mounted on a moving vehicle or camera dolly and we’re tracking the subject. The buffer zone isolates the runner from the edge of the frame, but this space is less important than the lead room. As we move along with the subject, the background that enters the frame becomes new information. By the time it gets to the buffer zone, it’s old news. This gives the viewer something to look forward to. Head Room The term head room literally refers to the amount of space between the top of a person’s head and the top of the frame.

Capturing a Clear Image Creating an image for your production requires some light on the subject and the right lens to pass the image through to the camera. Lenses In the early days of photography and motion pictures, there was only one lens to a camera (see Figure 4-1). If you wanted to switch from a standard field lens to a telephoto lens, you would have to unscrew one lens and replace it with the other while the camera was not rolling. Then a new level of sophistication was reached with the invention of the lens turret, a rotating plate mounted on the front of the camera that held three or four lenses, which could be rotated into place as required, again, as the camera was at rest (see Figure 4-2).

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