10 Tips on How to Master the Cinematic Tools And
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Still Photography
Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection. -
Euromasters Reports I and II Glasnost Surprises
NEWS FOR OPERA TORS AND OWNERS Volume 2 Number 3 Jan 1990 ac?iU~ n Glasnost • I Surprises In November 1989, while visiting Moscow on a fi lm distribution deal, Ian Woolston-Smith arranged to meet cameramen whenever he could. Armed with a translator, a Sony GV-9 TVIVCR , and a book of Steadicam production stills, Ian discussed the virtues ofSteadieam with Vertical I and Vertical II plans from Mosfilm . -Do not duplicate! everyone he met in thefilm industry. EuroMasters Reports I and II "Equipment such as this is only a dream in the Soviet Union," said a cameraman who shot major Soviet 1989 European Masters Nicola Pecorini writes fr om Italy; music videos. conducted at Castle Brolio European Steadicam Operators At Mosfilm, a government studio Association proposed in Moscow, I received a camera ---- ---- -- - - demonstration by the man in charge of In October, 25 of Europe's best camera equipmen t. When I pulled out assembled near Siena and spent a Siena, 12/31/89 a still of a IIe in low mode, his eyes rewardi ng time studying and collec Strange but true, we made it! lit up. "Ahhh! Steadicam! " Yuri , my tively advancing the art and scie nce of We have been able to put together tour guide, expressed to him my Steadicam. The cameraderie, the for one week, a whol e week, 25 of the interest and then told me, "He says weath er, the food and the wine were busiest men on earth. Eu ropean and that we have this, a Steadicam, and all excellent. Castle Brolio, particu American operators were cloistered will arran ge a meeting between you larly in the fall when the great stone inside a medieval cas tle in the heart of and the man who does this." walls retain the heat of summer, Chianti, drinki ng wine and dissectin g Alas, it wasn't until my last day in offered a friendly and fasci nating every possible aspect of their profes Russia that the meet ing could be atmo sphere, and the portraits of 11th sion . -
2020 Profoto Price List
2020 Profoto Price List Product # Description 建議售價 Note Retail C1/C1+ 901360 Profoto C1 $ 10,500 901380 Profoto C1 Plus $ 17,500 Clic Kits 101301 Clic Creative Gel Kit $ 4,900 101302 Clic Grid & Gel Kit $ 4,900 Clic Grids 101201 Clic Grid 10° $ 1,700 101219 Clic Grid 20° $ 1,700 Clic Dome 101230 Clic Dome $ 1,700 Clic Gels 101012 Clic Gel Rose Pink $ 1,700 101013 Clic Gel Peacock Blue $ 1,700 101014 Clic Gel Scarlett $ 1,700 101015 Clic Gel Jade $ 1,700 101016 Clic Gel Yellow $ 1,700 101017 Clic Gel Light Lavender $ 1,700 101018 Clic Gel Blue $ 1,700 101011 Clic Gel Quarter CTB $ 1,700 101019 Clic Gel Full CTO $ 1,700 101020 Clic Gel Half Plus Green $ 1,700 101021 Clic Gel Half CTO $ 1,700 101022 Clic Gel Quarter CTO $ 1,700 104550 C1 Display A1 901201 A1 AirTTL-C $ 27,500 901202 A1 AirTTL-N $ 27,500 901211 A1 AirTTL-C Duo Kit $ 53,500 901212 A1 AirTTL-N Duo Kit $ 53,500 A1X 901204 A1X AirTTL-Canon $ 36,900 901205 A1X AirTTL-Nikon $ 36,900 901206 A1X AirTTL-Sony $ 36,900 901207 A1X AirTTL-Fuji $ 36,900 Off-Camera Kit 901301 Off-Camera Kit-Canon $ 41,900 901302 Off-Camera Kit-Nikon $ 41,900 901303 Off-Camera Kit-Sony $ 41,900 901304 Off-Camera Kit-Fuji $ 41,900 A1 Accessories 100397 Li-Ion Battery for A1 $ 4,100 100398 Battery charger for A1 $ 4,000 100498 A1X Battery $ 4,100 A1 Light Shaping Tools (For A1 Flash only) 101209 Gel Kit $ 4,000 101207 Soft Bounce $ 6,000 101205 Grid Kit $ 3,900 101226 Dome Diffusor $ 1,400 101227 Bounce Card $ 1,600 101228 Wide Lens $ 1,400 340217 A1 Bag $ 2,300 101225 A1 Flash Stand $ 900 Profoto connect -
1 the Work of an Invisible Body: the Contribution of Foley Artists to On
1 The Work of an Invisible Body: The Contribution of Foley Artists to On-Screen Effort Lucy Fife Donaldson, University of Reading Abstract: On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including footsteps, breath, face punches, falls, and the sound clothing makes as actors walk or run. Foley is a functional element of the filmmaking process, yet accounts of foley work note the creativity involved in these performances, which add to characterisation and expressivity. Drawing on detailed analysis of sequences in Cabaret (Bob Fosse, 1972) and Die Hard (John McTiernan, 1988) which foreground exertion and kinetic movement through dance and physical action, this article considers the affective contribution of foley to the physical work depicted on-screen. In doing so, I seek to highlight the extent to which foley constitutes an expressive performance that furthers our sensuous perception and appreciation of film. On-screen bodies are central to our engagement with film; the ways they are framed and captured by the camera guides our attention to character and action, while their physical qualities invite a range of engagement from admiration, appreciation and desire to awe, fear and repugnance. -
295 Platinum Spring 2021 Syllabus Online (No Contact)
CTPR 295 Cinematic Arts Laboratory 4 Units Spring 2021 Concurrent enrollment: CTPR 294 Directing in Television, Fiction, and Documentary Platinum/Section#18488D Meeting times: Sound/Cinematography: Friday 9-11:50AM Producing/Editing: Friday 1-3:50PM Producing Laboratory (online) Instructor: Stephen Gibler Office Hours: by appointment SA: Kayla Sun Cinematography Laboratory (online) Instructor: Gary Wagner Office Hours: by appointment SA: Gerardo Garcia Editing Laboratory (online) Instructor: Avi Glick Office Hours: by appointment SA: Alessia Crucitelli Sound Laboratory (online) Instructor: Sahand Nikoukar Office Hours: by appointment SA: Georgia Conrad Important Phone Numbers: * NO CALLS AFTER 9:00pm * Joe Wallenstein (213) 740-7126 Student Prod. Office - SPO (213) 740-2895 Prod. Faculty Office (213) 740-3317 Campus Cruiser (213) 740-4911 1 Course Structure and Schedule: CTPR 295 consists of four laboratories which, in combination, introduce Cinematic Arts Film and Television Production students to major disciplines of contemporary cinematic practice. Stu- dents will learn the basic technology, computer programs, and organizational principles of the four course disciplines that are necessary for the making of a short film. 1) Producing 2) Cinematography 3) Editing 4) Sound Each laboratory has six or seven sessions. Students will participate in exercises, individual projects, lectures and discussions designed to give them a strong foundation, both technical and theoretical, in each of the disciplines. Producing and Cinematography laboratories meet alternate weeks on the same day and time, for three-hour sessions, but in different rooms, Editing and Sound laboratories meet alternate weeks on the same day and time, for three-hour sessions, but in different rooms. Students, therefore, have six hours of CTPR 295 each week. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
Mcconkey on Thailand Jour, Supplanting Any and All Spurious History Continued on Page 8
NEWS FOR OPERA TORS AND OWNERS olume 1, number 3 Dec. '88 Ancient History "The Brown Stabilizer" That's what I wanted to call it. It wasn't just ego (that came later!). I thought it needed a simple, honest, "70's" kind of natural name, a pure name, not a stupid, gimmicky name like "Steadicam." It was Ed DiGiulio's suggestion, which I hated immediately. Of course, as he predicted, the word has now become simply a word, a noble word, meaning exactly what it says, and in fact , I am daily (well, yearly...), grateful that he prevailed and that we didn't call it the bloody Brown Stabilizer! In any event, I recently unearthed some early pictures, and have been inspired to relate the one-and-only true version of the birth of our noble gadget. So here it is: the truth du McConkey on Thailand jour, supplanting any and all spurious History continued on page 8 For three months in the Spring of McCONKEY: The first day it 1988, Larry McConkey worked on was 1200 in the sun, and the humidity Brian De Palma's new feature, made it feel like it was virtually "Casualties ofWar." Thefilm is raining all the time. I had a long coming out in early 1989. tracking shot down a dirt street in the Vietnamese village set. Now, I tend to be very careful not to wear myself LEITER: Was it any fun? out during a shoot, and I get as much McCONKEY: Yes. I had never rest as possible between takes and as been to Southeast Asia before, and much help from the crew as I can, but Thailand is now one of my favorite even so, after four or five takes I was places in the world. -
The Synergy of Visual Projections and Contemporary Dance
Edith Cowan University Research Online Theses : Honours Theses 2011 The synergy of visual projections and contemporary dance Hannah Molly Timbrell Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Dance Commons, and the Performance Studies Commons Recommended Citation Timbrell, H. M. (2011). The synergy of visual projections and contemporary dance. https://ro.ecu.edu.au/ theses_hons/1366 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1366 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Thesis The Synergy of Visual Projections and Contemporary Dance Bachelor of Arts Honours (Dance) Hannah Molly Timbrell WA Academy of Performing Arts Edith Cowan University February 2011 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. Abstract Projections are becoming an increasingly common part of contemporary dance performance, however, I believe that choreographers do not always integrate the media to form a dependent synergy. -
Tilt-Based Automatic Zooming and Scaling in Mobile Devices – a State-Space Implementation
Tilt-Based Automatic Zooming and Scaling in Mobile Devices – a state-space implementation Parisa Eslambolchilar 1, Roderick Murray-Smith 1,2 1 Hamilton Institute, National University of Ireland, NUI, Maynooth, Co.Kildare , Ireland [email protected] 2 Department of Computing Science, Glasgow University, Glasgow G12 8QQ, Scotland [email protected] Abstract. We provide a dynamic systems interpretation of the coupling of in- ternal states involved in speed-dependent automatic zooming, and test our im- plementation on a text browser on a Pocket PC instrumented with an acceler- ometer. The dynamic systems approach to the design of such continuous interaction interfaces allows the incorporation of analytical tools and construc- tive techniques from manual and automatic control theory. We illustrate ex- perimental results of the use of the proposed coupled navigation and zooming interface with classical scroll and zoom alternatives. 1 Introduction Navigation techniques such as scrolling (or panning) and zooming are essential components of mobile device applications such as map browsing and reading text documents, allowing the user access to a larger information space than can be viewed on the small screen. Scrolling allows the user to move to different locations, while zooming allows the user to view a target at different scales. However, the restrictions in screen space on mobile devices make it difficult to browse a large document effi- ciently. Using the traditional scroll bar, the user must move back and forth between the document and the scroll bar, which can increase the effort required to use the in- terface. In addition, in a long document, a small movement of the handle can cause a sudden jump to a distant location, resulting in disorientation and frustration. -
Camera Movement]
MPPP 1383 – Video Technology Production Teknik Asas Melakukan Penggambaran Bergerak [CAMERA MOVEMENT] Prepared BY : NUR J A N NA H BINTI JAMIL FAT I M A H SARAH BINTI YAACOB 8 BASIC OF CAMERA MOVEMENTS PAN D O L LY Z O O M T I LT TRACK/TRUCK ZOOM ARC D O L LY FOLLOW 1 Canon EOS 60D TOOLS (as secondary video record) Sony HXR-NX30U Palm Size NXCAM HD Camcorder with Projector & 96GB HDD (as main video record) Microdolly Hollywood TH-650DV Tripod system WF-553T Tripod How to do? PAN Rotating a camera to the left or right in horizontal movement. (turning your head to left/right before cross a road) Purpose? To follow a subject or show the distance between two objects. Pan shots also work great for panoramic views such as a shot from a mountaintop to the valley below. 2 How to do? TILT Rotating a camera up or down in vertical movement. (like shake your head up/down Purpose? Like panning, to follow a subject or to show the top and bottom of a stationary object. With a tilt, you can also show how high something is. For example, a slow tilt up a Giant Sequoia tree shows its grandness and enormity. Here's a good tip. In general, when you tilt up and shoot an object or a person they look larger and thicker. The subject looks smaller and thinner when you tilt down. How to do? DOLLY Moving a camera closer or further from subject over time. Purpose? To follow an object smoothly to get a unique perspective. -
Trainplayer/Tracklayer Manual
TrainPlayer/TrackLayer Manual TrainPlayer / TrackLayer User's Manual Version 7.2 June, 2020 TrainPlayer/TrackLayer User's Manual copyright ©2005-20, TrainPlayer Software file:///E|/RRW/Doc72/index.htm7/2/2020 12:59:32 PM Contents TrainPlayer Contents Introduction Welcome to TrainPlayer What's New in Version 7.2 What For? About This Manual Where to Go for Help TrainPlayer Menu Reference Getting Started About Files Opening a Layout A Tour of the Screen Layout Properties About Sizes and Scales Adjusting the View Map View Layout Printing Exporting Images The Help Menu What's Next Running Trains About Trains The Train Control Bar The Train Window Moving Trains By Hand Yard Mode Switches Coupling and Uncoupling Horns and Sounds file:///E|/RRW/Doc72/Contents.html (1 of 6)7/2/2020 12:59:33 PM Contents Turntables and Transfer Tables Managing Cars About Cars Car Collections Default Car Sets Car Loads Car Properties Car Data Properties Collection Editors The Car Inventory Bar Building Trains Selecting Cars and Trains Adding Cars and Trains Removing Cars and Trains Relocating a Train Naming Trains Train Properties The Train Tree Operations About Ops Ops Central About AO Grids Further Reading Scripting About Scripting Scripting UI Devices Working With Scripts How to Get Started in Scripting TP Programming Language file:///E|/RRW/Doc72/Contents.html (2 of 6)7/2/2020 12:59:33 PM Contents Scheduling Clock Schedule Window Stations Station Properties Customizing Operation Preferences Switch Preferences General Preferences Track Preferences Train Preferences -
Wide Shot (Or Establishing Shot) Medium Shot Close-Up Extreme
Definitions: Wide Shot (or Establishing Shot) Medium Shot Close-up Extreme Close-up Pan –Right or left movement of the camera Tilt –Up or down movement of the camera Zoom –Change in focal length (magnification) of the lens V/O –Voice-over, narration not synchronized with video SOT –Sound on Tape, Interview audio synchronized with video B-Roll -Refers to the earlier days of film when you had two rolls of film – A and B – and you had to edit them together. A-roll is the main subject of your shot, with audio such as an interview with someone or SOT (Sound on Tape synchronized with the video). B-roll is the background video for your film, often just video over which you’ll lay an audio track (such as the person talking in the A-roll). Nat Sound (Wild Sound) –Natural sound recorded with B-Roll This is video that has some natural background noise – traffic on a street, birds chirping in a park, etc. This audio can add depth and impact to a two-dimensional video tape. 2-Shot –Shot of the interview subject and the person asking the questions Reverse Angle –Straight-on shot of the person asking the questions Use a Tripod Use a tripod to get a steady shot, particularly if you’re shooting something that is not moving or a formal interview. Shaky video, especially in close-ups, can cause the viewer to become dizzy, even nauseous. If you don’t have a tripod or you’re doing a shot where you’ll have to move quickly, then find something to steady your camera – i.e.