MOVING IMAGE - CAMERA BASICS CAMERA DIAGRAM

When shooting video on a DSLR camera the mirror flips up and stays up to allow light to continuously pass onto the sensor.

This is why on DSLR cameras you can only use the digital screen (or ‘Live View’) at the back whilst filming. Most digital filmmaking cameras operate without a mirror and the sensor is exposed to light at all times. CAMERA SENSOR SIZES A sensor is in effect the camera’s ‘brain’, processing the image that passes through the lens. Generally, a larger sensor performs better in low light conditions and can take advantage of a lens’ field of view (more about that in the next workshop). Larger sensors require a larger camera body to house them. FILE/RECORDING SETTINGS - RESOLUTION

Different cameras have different file resolution settings to choose from. Resolution generally refers to how many square pixels an image has.The most common resolution settings are:

1280 x 720 - HD “Ready” (1280 x 720 pixels) -Nearly redundant format, some older digital cameras and DSLR’s will use.

1920 x 1080 - High definition/Full HD video -Most common and compatible format for recording high quality video.

3840 x 2160 - UHD “Ultra HD” -Consumer format designed for televisions and monitors. Most “4K” TV’s will be UHD. Files are much larger than HD files, and will reduce how much data you can record to a card/your camera.

4096 x 2160 - DCI 4K -DCI 4K is “Digital Cinema Initiative” 4K, for “cinema” viewing. Shooting in 4K has various pros and cons, and how useful shooting in 4K resolution is, will depend on your project. Lengthy process to transfer and edit files.

4096 x 2160 - 4K RAW -Shooting in RAW does not capture video files, but individual images for every frame. RAW data has no video processing involved, so needs to be converted before you can view/work with the footage. High quality and flexible files, but requires a lot of work in the edit.

PAL is the video standard used in the UK and other countries - it records and plays back at 25fps NTSC is the video standard used in US and other countries - it records and plays back at 30fps You would usually use PAL 1920 x 1080 HD 25fps on most projects. Always check you have set the right movie record setting before filming!

CODECS A video codec is a software that compresses/packages your video file. Different codecs range in video quality and are useful for different purposes.

E.g. H.264 is a good codec for videos that are going to be uploaded online, as the file size is low and compresses without much image quality loss. Apple Pro-res is a good codec for high quality “lossless” videos. Apple ProRes Blackmagic Pocket Camera 4K records using Apple ProRes codecs including ProRes 422 HQ, ProRes 422, ProRe 422 LT and ProRes 422 Proxy. ProRes 422 HQ provides the highest quality video with the lowest compression.

Blackmagic RAW Shooting in RAW means that the camera does not capture video files, but individual images every frame. RAW data has no video processing baked in, so has to be converted into video for viewing, using software such as Davinci Resolve. (This is often a long a process depending on how much material you have). As RAW files have a lot more data, they can provide a lot more headroom to push and pull the footage in post-production/editing. RAW provides more flexibility for fixing errors such as White Balance and Exposure, again, this requires a lot more time in the edit.

EXPOSURE Exposure is the unit of measurement for the total amount of light permitted to reach the electronic sensor during the process of taking a photograph or filming.

Electronic lenses - Exposure is controlled either digitally in the camera menu system or automatically if the camera is on AUTO setting. Manual Lenses - The exposure is controlled by turning the exposure ring on the lens itself - the lens does not communicate electronically with the camera. F- STOP relates to a lens aperture (or iris) opening or shutting, therefore letting more or less light into the camera. Confusingly, the lower f-stop number, the more light enters the lens. ‘Faster’ lenses can be opened to a lower f-stop and therefore work better in lower light. i.e a Canon EF 14mm f/2.8 lens will open up to f/2.8. TOOLS TO HELP YOU AS A FILMMAKER

ZEBRA

Zebra patterning is a tool designed to help filmmakers reach the correct level of exposure.

When zebra is enabled, areas of the image that are highly over exposed will have black and white stripes running through them.

Note: You can change the intensity of the zebra setting depending on how you would like to expose your image. SHUTTER SPEED the nominal time for which a shutter is open, exposing the film (or sensor) to light.

In stills photography a very fast shutter speed (i.e. 1/1000) freeze-frames movement. A slow shutter speed creates a ‘blurred’ image.

In film making shutter speeds alters how movement is perceived.

A slower shutter speed creates a brighter image and blurs motion.

A very fast shutter speed darkens the image and creates more movement ‘definition’ - an almost ‘sped up’ look (i.e ‘Saving Private Ryan’, ‘Gladiator’ etc.)

Film makers often set their shutter speed to twice their frame rate for ‘natural’ movement (i.e. 25fps = 1/50 shutter speed) SHUTTER ANGLE

Instead of measuring shutter speed in seconds, rotating disc shutters use shutter angles. Most film/movie specific cameras will use shutter angle.

The larger the shutter angle, the more light passes through, the lower the angle, the less light passes through.

The most common shutter angle used is 180 degrees. This corresponds to the correct angle for capturing “natural movement” shot at 25fps.

Some cameras e.g. Canon C100 allow you to change the shutter angle specifically by individual degrees. This can be useful for avoiding “strobing” when filming monitor screens or projections. ISO

In traditional (film) photography ISO (or ASA) is the indication of how sensitive a film is to light. ISO is measured in numbers – 100, 200, 400, 800 etc). The lower the number the lower the sensitivity of the film and the finer the grain in the shots you’re taking. In Digital Photography ISO measures the sensitivity of the image sensor.

ISO is very important as it controls the amount of ‘grain’ in your image.

A low ISO (i.e ISO 100) will create a less noisy, ‘cleaner’ image. The higher the ISO the lighter your image will become, however, the image will also become ‘noisier’ with noticeable grain and pixellation.

A larger camera sensor and faster lens contribute towards being able to shoot with less light and therefore ramp up the ISO without the image becoming too noisy.

FINDING THE CORRECT ISO

1/ Dial down the ISO as low as possible 2/ Too dark? Open up the aperture. 3/ Dial the ISO up until the image is right & with a clean image 4/ Still too dark? Try pushing up the shutter speed up slightly

WHITE BALANCE White balance refers to how the camera reads the colour temperature of the light.

Different lighting has different colour temperatures. These are measured in Kelvins (K). Lights below 4000K appears reddish while lights above 7000K appear blueish.

To correct a DSLRs White Balance use the White Balance menu and adjust to the lighting you are using (i.e. Fluorescent, Daylight).

If the White Balance still seems wrong to the eye set:

MANUAL WHITE BALANCE

1/ Make sure White Balance is set to ‘AUTO’ 2/ Frame a piece of white paper, card etc in front of the lens and update white balance in camera settings. 3/ Set White Balance to ‘CUSTOM’ Colour Temperature - Kelvin FOCUS

the focal length of a lens; the distance from a focal point to a corresponding principal plane/ the clear and sharply defined condition of an image. The focus is controlled by a ring on the lens or sometimes on electronic lenses, an auto-focus option. It’s good practise to use manual focus on the lens at all times to avoid unintentionally focusing on the wrong subject or area within the frame.

To focus up a static shot, zoom in as far as possible to your subject, manually make sure the focus is sharp and then zoom out again. This should ensure the entire shot is in focus. However you should not manually zoom in via the lens, as when zooming out again you may knock your shot slightly out of focus/position. Most cameras will have a button/menu option to zoom in for focusing. On a DSLR it is a magnifying glass icon. On BMPC, just double tap the touch screen.

NOTE: Some cameras have an Auto-Focus option. Although this can be useful for stills photography (as you are selecting the focus from a split second in time) in Moving Image work the frame or the action within it is (usually) constantly moving. Auto Focus can be slow and may cause a focus ‘hunting’ in the frame.

NOTE: A Shallow Depth DOF can be difficult to follow and focus in on as the point of focus will be narrower.

FOCUS ASSIST

When enabled, the focus assist function highlights the contours of correctly focused areas in a selected colour, usually red. This can make it easier for filmmakers to quickly tell if they are in focus.

Similar to zebra patterning, the focus assist function also allows for the intensity to be altered. Helping filmmakers focus on more specific parts of the image. DEPTH OF FIELD

Also called focus range or effective focus range, is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image

Shallow Depth of Field Deep Depth of Field

DOF directly relates to the amount of light passing through the lens. The lower your f stop (and the more light entering the lens) the shallower your depth of field will be.

In general to create a deep DOF you’ll need lots of light to stop the lens down and still see an image. We will cover lenses and DOF in more detail during the next workshop.

https://vimeo.com/blog/post/behind-the-glass-part-3-depth-of-field SLOW MOTION

Most cameras will crop the image when shooting slow motion. Different cameras have varying slow motion rates. E.g. Blackmagic pocket cameras can shoot up to 120fps, Canon DSLR’s can generally shoot up to 50/60fps.

DSLR: To get a few more frames out of your slow motion change the standard to NTSC and Movie rec. size to 1280x720 60fps. You’ll now shoot at 60fps instead of 50!

BMPC4K: To shoot at a frame rate higher than 60fps, enable window sensor, and off speed recording as below, then change off speed frame rate to the speed you wish to shoot at. COLOUR PROFILES - PICTURE STYLES Most cameras designed to shoot cinematic moving image such as Blackmagic and Arri, will by default shoot in a “flat” colour profile, dialing down the contrast, saturation and sharpness. This then allows you more latitude in the edit/post production to add detail, colour, contrast etc later.

NOTE: On the BMPC you can set the dynamic range to “video”, or “extended video” which will shoot an video with more contrast and colour.

DSLRs come with pre-loaded ‘picture styles’. Although these often look quite ‘punchy’ (high contrast and deep colours) this can be problematic in post production as they can leave you with less room to push the image in different directions.

‘FLAT’ Picture Style (Use this one!) LUTS

A LUT (Look Up Table) is a simple file which translates one colour to another. It’s an easy way to quickly add a certain look to footage.

LUT files can usually be used across different editing programs and can be imported into some cameras.

LUTS can also be applied to shots on some cameras whilst shooting to preview the look (and then apply the LUT later on during editing).

On BMPC4K you can also record the LUT directly onto the clip. SLOW MOTION

Most cameras will crop the image when shooting slow motion. Different cameras have varying slow motion rates. E.g. Blackmagic pocket cameras can shoot up to 120fps, Canon DSLR’s can generally shoot up to 50/60fps.

DSLR: To get a few more frames out of your slow motion change the standard to NTSC and Movie rec. size to 1280x720 60fps. You’ll now shoot at 60fps instead of 50!

BMPC4K: To shoot at a frame rate higher than 60fps, enable window sensor, and off speed recording as below, then change off speed frame rate to the speed you wish to shoot at. FRAME GUIDES

Frame guides are designed to help filmmakers compose and level their shots.

Grids can be enabled ensure images are level, as well as ratio frame guides, helping filmmakers compose shots for different aspect ratios, e.g. 4:3 or 16:9. FALSE COLOUR

False Colour is used to determine colour tones of an image using technology similar to infa red.

Bright reds - Over exposed colour/bright lights - total white. Dark blues - Under exposed colour - total black.

False Colour vs Histogram - False Colour measures exposure levels on an area basis, Histogram measures an overall colour exposure reading of a picture.

Note: Not all cameras have these functions, e.g. DSLR cameras generally do not have Zebra or Focus Assist tools, as most DSLR’s primary functions are for photography. HELPFUL TIPS:

On cameras such as the black magic pocket, battery life can be saved by turning down the screen brightness when shooting.

Talk to us before shooting 4K! Working in 4K requires a more planned shooting and editing workflow. Often you will also need a specific memory card for shooting 4K as regular SD cards can drop frames when working with such large files.

Give yourself enough time to transfer footage. HD files with an Apple Pro-res codec will take longer to transfer to a hard drive/computer than DSLR files that record with a h.264 codec. RESOURCES http://nofilmschool.com/ Site covering a number of production topics, from lighting to editing https://vimeo.com/videoschool Numerous useful videos on various topics https://www.creativecow.net/ Huge online resource. Forums covering all camera/software topics http://www.lynda.com/ Online software training site http://www.cinematography.net/ Forum for professional cinematographers http://philipbloom.net/ Some articles on film making but a trusted resource for DSLR reviews