Camera Dolly 360 Motion Plus (US) SKU SH06030215

Total Page:16

File Type:pdf, Size:1020Kb

Camera Dolly 360 Motion Plus (US) SKU SH06030215 1.0 Logo C 0 - M 0 - Y 0 - K 10 R 0 - G 0 - B 0 [email protected] C 0 - M 100 - Y 100 - K 0 R 255 - G 0 - B 0 www.shootools.com 1.1 Logo negativo Camera Dolly 360 Motion Plus (US) SKU SH06030215 1.2 EANLogo tagline 8055687020737 1.2.1 Logo tagline negativo UPC 816892020138 FilmmakersCamera Motion EquipmentDolly 360 Motion PlusFilmmakers (EU) Motion Equipment SKU SH06030205 1.3 Logo Social EAN 8055687020232 UPC 816892020114 Camera Dolly 360 Motion Plus (UK) SKU SH06030210 EAN 8055687020720 UPC 816892020121 Camera Dolly 360 Motion Plus (AU) SKU SH06030220 EAN 8055687020744 UPC 816892020145 OVERVIEW The Camera Dolly 360 comprises of two solid aluminium sections, which can be taken HIGHLIGHTS apart with three practical handles; its three Shore polyurethane wheels have ABEC 9 bearings for maximum smoothness are mounted on adjustable rotating clusters, which 100% Made in Italy can be set against a handy . This way and quickly adjust the angle of each wheel cluster to Motion Control Plus create the perfect circular or linear tracking to suit your needs. Turntable Included The Turnable kit is designed to turn the Dolly into an extremely handy 40-cm diameter Over 66 lb payload turntable (for still life and for objects at 360°), with control over direction, speed, position, Billet Anticorodal Components and deceleration. ABEC 9 bearings CONTROLLER Professional Tool The heart of the Motion Control! A device which combines electronics and long life Two Sections Front / Back storage batteries. The controller enhances the movements setting system for tracking Cordura® Bags Included shots, timelapse and manage the turntable, with a possibility to change speed, direction, 5 YEAR WARRANTY rotation times, accelerations and slowing downs. TURNTABLE IN THE BOX An important distinctive trait of ShooTools Dolly is that it can be easily changed into Camera Dolly 360 a motorized rotary table, with a 40 cm of diameter bearing plate, perfect for making Motion Control Plus 360°still life. In this setting too it is possible to decide both the rotation of the rotary plate and the stop motion move by using Controller One. The green cover cover provided Controller Plus allows to make shots with the “green screen” technique. Motor 55 Turntable TimeLapse / HYPERLAPSE Bag for Turntable The motion uses SMS (Shoot Move Shoot) Technology that allows to synchronize the Cordura® Bag track move with the Reflex shutter. This feature gives the possibility to use any exposure Set-up Keys time, with no worry about blurry. The pause between a move and another can be set Instruction Manual in a range from 1 second to 99 hours thanks to an intervalometer integrated into the controller. WARRANTY TRACKING SHOT Extremely precise and fluid tracking shots; opportunity to manage speed, direction, 5 YEAR WARRANTY acceleration and slowing- down ramps. STOP / MOTION Easy Stop Motion mode: Give a new movement of camera at your Stop/Motion Videos MACRO CAMERA DOLLY 360 MOTION PLUS 360 MOTION CAMERA DOLLY Amazing Macro Tracking Shots with the lowest speed of 3,7 cm/sec SETUP Suitable for any type of photo or video head with 3/8” thread, or you can install the new Tilt Hi Hat ShooTools CDMP1605 1.0 Logo C 0 - M 0 - Y 0 - K 10 R 0 - G 0 - B 0 [email protected] C 0 - M 100 - Y 100 - K 0 R 255 - G 0 - B 0 www.shootools.com 1.1 Logo negativo OVERVIEW CHASSIS 1.2 ObtainedLogo tagline from the high precision processing1.2.1 Logo of a taglinesingle negativo aluminium raw slab, Camera Dolly is made of 2 sections extremely easy to set up tool-less. Light and portable, ShooTools dolly weight is only 7,7 lb (3.5 Kg) so it can be easily carried everywhere inside its Cordura® bag, included into the set. Both the peculiarities of the finest materials that Filmmakerscompose Motion ShooTools Equipment Dolly and the full processingFilmmakers to Motion obtain Equipment it, made of ShooTools’ dolly a truly valuable tool, guaranteed for life due to its sturdiness and its capability to support over 66 lb (30 Kg). 1.3 Logo Social SPECIAL WHEELS 3 special polyurethane wheels, characterized by ABEC 9 high precision steel ball bearing, offer extreme smooth tracking shoots and 360 videos. Each wheel assembly is adjustable and easy to manipulate accordingly to the needs of shooting. A detailed explicative table support and fasten the management of the wheels. TECHNICAL SOLUTIONS Dolly 360 is an absolute unique and complete device as it allows the realization of close ups, limitless tracking shots [due to the absence of the truck end,] and 360° shootings with a coverage from 5 cm up to 4 mt. Moreover, it is perfect for “in and out shots”. As a matter of fact, the peculiar lightening obtained into the lower base of the chassis guarantees a perfect balance of the weight and, as a result, it offers an incomparable constancy of movement. BRAKE Totally practical and ergonomic. Dolly ShooTools distinguish itself for its brake: it is extremely useful to maintain easily the preferred position while shooting or even during a break or for a lens change. SPECS Length 15,7" (40 cm) Width 15,7" (40 cm) Weight 7,7 lb (3,5 kg) Payload (Dolly) 66 lb (30 kg) Payload (Dolly Motion) 44 lb (20 kg) Payload (Turntable) 22 lb (10 kg) Wheels Three Shore polyurethane wheels Ball Bearings ABEC 9 bearings Screw Thread 3/8"-16 3 x 1/4"-20 Extera Holes 3 x 3/8”-16 Materials Anodized aluminium, steel ball bearing, polyurethane wheels Shot peening through ceramic spheres Treatments Organic Anodization at 30 micron Battery Life Over 48H in Timelapse and 22H in Video mode Motor 55 Min Speed 1,45 inc/sec (3,7 cm/sec) Motor 55 Max Speed 4,14 inc/sec (10,52 cm/sec) Motor 55 (Dolly) Load 44 lb (20 kg) Motor 55 (Turntable) Load 22 lb (10 kg) CAMERA DOLLY 360 MOTION PLUS 360 MOTION CAMERA DOLLY CDMP1605 1.0 Logo C 0 - M 0 - Y 0 - K 10 R 0 - G 0 - B 0 [email protected] C 0 - M 100 - Y 100 - K 0 R 255 - G 0 - B 0 www.shootools.com 1.1 Logo negativo ACCESSORIES 1.2 Logo tagline 1.2.1 Logo tagline negativo Filmmakers Motion Equipment Filmmakers Motion Equipment 1.3 Logo Social TILT HI HAT 3/8“ TILT HI HAT M10 SKU SH81040005 SKU SH81040009 EAN 8055687020669 EAN 8055687020812 UPC 816892020343 UPC 816892020428 SHUTTER CABLES SKU EAN UPC SHUTTER CABLE DC0 SH12180005 8055687020287 816892020190 SHUTTER CABLE DC2 SH12180010 8055687020294 816892020206 SHUTTER CABLE E3 SH12180015 8055687020300 816892020213 SHUTTER CABLE N3 SH12180020 8055687020317 816892020220 SHUTTER CABLE RS1 SH12180025 8055687020324 816892020237 SHUTTER CABLE S1 SH12180030 8055687020331 816892020244 SHUTTER CABLE UC1 SH12180035 8055687020348 816892020251 SHUTTER CABLE S2 SH12180040 8055687020355 816892020268 CAMERA DOLLY 360 MOTION PLUS 360 MOTION CAMERA DOLLY CDMP1605.
Recommended publications
  • Techniques of Cinematography: 2 (SUPROMIT MAITI)
    Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) The Department of English RAJA N.L. KHAN WOMEN’S COLLEGE (AUTONOMOUS) Midnapore, West Bengal Course material- 2 on Techniques of Cinematography (Some other techniques) A close-up from Mrinal Sen’s Bhuvan Shome (1969) For SEC (English Hons.) Semester- IV Paper- SEC 2 (Film Studies) Prepared by SUPROMIT MAITI Faculty, Department of English, Raja N.L. Khan Women’s College (Autonomous) Prepared by: Supromit Maiti. April, 2020. 1 Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) Techniques of Cinematography (Film Studies- Unit II: Part 2) Dolly shot Dolly shot uses a camera dolly, which is a small cart with wheels attached to it. The camera and the operator can mount the dolly and access a smooth horizontal or vertical movement while filming a scene, minimizing any possibility of visual shaking. During the execution of dolly shots, the camera is either moved towards the subject while the film is rolling, or away from the subject while filming. This process is usually referred to as ‘dollying in’ or ‘dollying out’. Establishing shot An establishing shot from Death in Venice (1971) by Luchino Visconti Establishing shots are generally shots that are used to relate the characters or individuals in the narrative to the situation, while contextualizing his presence in the scene. It is generally the shot that begins a scene, which shoulders the responsibility of conveying to the audience crucial impressions about the scene. Generally a very long and wide angle shot, establishing shot clearly displays the surroundings where the actions in the Prepared by: Supromit Maiti.
    [Show full text]
  • Film Terminology
    Film Terminology Forms of Fiction English 12 Camera SHOTS camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Extreme long shot A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people would fill the screen. Extreme long shot/Establishing shot This shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene. Long Shot A framing in which the scale of the object shown is very small A standing human figure would appear nearly half the height of the screen. It is often used to show scenes of action or to establish setting - Sometimes called an establishing shot Medium long shot A framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically Medium Shot A framing in which the scale of the object shown is of moderate size A human figure seen from the waist up would fill most of the screen Over the shoulder This shot is framed from behind a person who is looking at the subject This shot helps to establish the position of each person and get the feel of looking at one person from the other’s point of view It is common to cut between these shots during conversation Medium close up A framing in which the scale of the object is fairly large a human figure seen from the chest up would fill most the screen Close-up Shot A framing in which the scale of the object shown is relatively large; most commonly a person’s head seen from the neck up, or an object of a comparable size that fills most of the screen.
    [Show full text]
  • Glossary of Filmmaker Terms
    Above the Line Clapboard Generally the portion of a film's budget that covers A small black or white board with a hinged stick on the costs associated with major creative talent: the top that displays identifying information for each shot stars, the director, the producer(s) and the writer(s). in the movie. Assists with organizing shots during (See also Below the Line) editing process; the clap of the stick allows easier Art Director synchronization of sound and video within each shot. The crew member responsible for the design, look Construction Coordinator and feel of a film's set. Includes props, furniture, sets, Also known as the construction manager, this person etc. Reports to the production designer. supervises and manages the physical construction of Assistant Director (A.D.) sets and reports to the art director and production Carries out the director’s instructions and runs the set. designer. The first A.D. is responsible for preparing the Dailies production schedule and script breakdown, making The rough shots viewed immediately after shooting sure shooting stays on schedule and on budget. The each day by the director, along with the second A.D. is responsible for distributing information cinematographer or editor. Used to help ensure and cast notifications, keeping track of hours worked proper coverage and the quality of the shots gathered. by cast and crew, management of extras, signing Director actors in and out and preparing call sheets. The The person in charge of the overall cinematic vision of second A.D. is also in charge of the production the film and the performance of the actors.
    [Show full text]
  • A Guide to Working Effectively on the Set for Each Classification in the Cinematographers Guild
    The International Cinematographers Guild IATSE Local 600 Setiquette A Guide to Working Effectively on the Set for Each Classification in The Cinematographers Guild Including definitions of the job requirements and appropriate protocols for each member of the camera crew and for publicists 2011 The International Cinematographers Guild IATSE Local 600 Setiquette A Guide to Working Effectively on the Set for each Classification in The Cinematographers Guild CONTENTS Rules of Professional Conduct by Bill Hines (page 2) Practices to be encouraged, practices to be avoided Directors of Photography compiled by Charles L. Barbee (page 5) Responsibilities of the Cinematographer (page 7) (adapted from the American Society of Cinematographers) Camera Operators compiled by Bill Hines (page 11) Pedestal Camera Operators by Paul Basta (page 12) Still/Portrait Photographers compiled by Kim Gottlieb-Walker (page 13) With the assistance of Doug Hyun, Ralph Nelson, David James, Melinda Sue Gordon and Byron Cohen 1st and 2 nd Camera Assistants complied by Mitch Block (page 17) Loaders compiled by Rudy Pahoyo (page 18) Digital Classifications Preview Technicians by Tony Rivetti (page 24) News Photojournalists compiled by Gary Brainard (page 24 ) EPK Crews by Charles L. Barbee (page 26) Publicists by Leonard Morpurgo (page 27) (Unit, Studio, Agency and Photo Editor) Edited by Kim Gottlieb-Walker Third Edition, 2011 (rev. 5/11) RULES OF PROFESSIONAL CONDUCT by Bill Hines, S.O.C. The following are well-established production practices and are presented as guidelines in order to aid members of the International Cinematographers Guild, Local 600, IATSE, function more efficiently, effectively, productively and safely performing their crafts, during the collaborative process of film and video cinematic production.
    [Show full text]
  • F9 Production Information 1
    1 F9 PRODUCTION INFORMATION UNIVERSAL PICTURES PRESENTS AN ORIGINAL FILM/ONE RACE FILMS/PERFECT STORM PRODUCTION IN ASSOCIATION WITH ROTH/KIRSCHENBAUM FILMS A JUSTIN LIN FILM VIN DIESEL MICHELLE RODRIGUEZ TYRESE GIBSON CHRIS ‘LUDACRIS’ BRIDGES JOHN CENA NATHALIE EMMANUEL JORDANA BREWSTER SUNG KANG WITH HELEN MIRREN WITH KURT RUSSELL AND CHARLIZE THERON BASED ON CHARACTERS CREATED BY GARY SCOTT THOMPSON PRODUCED BY NEAL H. MORITZ, p.g.a. VIN DIESEL, p.g.a. JUSTIN LIN, p.g.a. JEFFREY KIRSCHENBAUM, p.g.a. JOE ROTH CLAYTON TOWNSEND, p.g.a. SAMANTHA VINCENT STORY BY JUSTIN LIN & ALFREDO BOTELLO AND DANIEL CASEY SCREENPLAY BY DANIEL CASEY & JUSTIN LIN DIRECTED BY JUSTIN LIN 2 F9 PRODUCTION INFORMATION PRODUCTION INFORMATION TABLE OF CONTENTS THE SYNOPSIS ................................................................................................... 3 THE BACKSTORY .............................................................................................. 4 THE CHARACTERS ............................................................................................ 7 Dom Toretto – Vin Diesel ............................................................................................................. 8 Letty – Michelle Rodriguez ........................................................................................................... 8 Roman – Tyrese Gibson ............................................................................................................. 10 Tej – Chris “Ludacris” Bridges ...................................................................................................
    [Show full text]
  • Manufacturing of Low Cost Semi Automatic Camera Slider
    Research Article Manufacturing of Low Cost Semi Automatic Camera Slider Tamilarasan C1, Dinesh Sankar S2, Sundar Ganesh CS3, Srihari G4, Sadish Kannan S5, Aishwarya Senthil Kumar6 Abstract This papers deals with the efficient design of a camera slider. A camera crane is useful for getting high shots or low shots which need to move a great distance horizontally or vertically, without the expense and safety issues of putting a camera operator on a crane for a crane shot or laying track for a camera dolly. The slider has a movable carriage that is attached directly to the camera or attached with a tripod head between the camera and the carriage for more panning and angle options. It is difficult for the short film makers to capture the effective shots without any blurriness, noise and uninterrupted video. Hence, the equipment’s like tripod, slider, shoulder rig, crane are required to get proper quality of the captured shots. This equipment’s are of high cost, difficult to afford and are not portable. To overcome these factors, all the equipment’s are integrated as one compact device. In this paper the use of each equipment is analysed. The techniques of all the equipment was studied and integrated. Aluminium profile extension is used to integrate these equipment’s. Aluminium profile extrusion is mounted on the already available tripod stand. The functions of slider, shoulder rig, crane is gathered as a single component. The zooming, focusing and rotation of the camera axis is automated using servo motor, gear motor and servo controller. Keywords: Automatic film making system, Dolly, Camera Slider, Open loop control Introduction A jib is a boom device with a camera on one end, and a counterweight and camera controls on the other.
    [Show full text]
  • Tear-Out Checklist
    Tear-Out Checklist Be Prepared Director’s “Perfect Shoot” Checklist Standard Filming Procedures o Film site has been scouted and is available & ready o Storyboard & script reviewed and in hand o o Props for the scene(s) are available (as needed) o Talent is prepped, practiced, and ready to go o All equipment required for the shoot has been obtained (as necessary), this includes specialty equipment (i.e. extra lighting, truck, dolly, etc.) o Tape is in the camera & cued to blank area before recording oration f o Camera is in the record mode o Camera is stabilized (normally with a tripod) for a steady shot Per o Camera is positioned correctly in relation to the target and background g o Cameraman is using the “rule of thirds” to align all visual elements on screen (background and foreground) o Background looks good o Microphones & headphones are plugged in and working (as required) o o Sound is good Tear Alon o Target is well lit without any backlighting problems o Lights & reflectors are used to light foreground/background (as needed) o Lighting is good o o While filming, use your shotsheet to assure you are getting all the shots you need o o Cameraman is viewing through the camera’s LCD screen while filming o Cameraman hits RECORD & assures talent does a 5 second verbal countdown (5, 4, 3, 2, 1, pause, start talking) o Cameraman “leads” the target with the camera (remember “look-room” & “lead-room”) o o Cameraman double checks the filmed scene to assure it is good prior to leaving the shoot location o Camera, microphones, & other equipment
    [Show full text]
  • Supreme Professional Camera Dolly System (DL-254-00)
    Supreme Professional Camera Dolly System (DL-254-00) Instruction Manual 2 At Proaim, our goal is to ensure 100% Customer Satisfaction in all that we do. We back our sales with a 1 year warranty from the date of purchase and work hard to resolve any problems in the unlikely event one should arise. With our commitment to continuous improvement and your Feedback, building on our reputation of providing affordable, quality products is PRIORITY #1. Table of Contents Subject Page Foreword 3 Introduction 4-5 Safety Hints 5-6 Assembling of Dolly Track 6-7 Assembling of Supreme Dolly 7-11 Warranty 12 3 Welcome To Proaim! Dear Client, On behalf of all the people that work so hard to provide you with the most up-to-date, flexible and cost-efficient production gear, we would like to welcome you into the Proaim family. By purchasing your Proaim Supreme Professional Camera Dolly System , you have just joined a host of designers, engineers, machinists, assembly, customer service and office staff that take great pride in all that they do. Our mantra of continuous improvement has been the guiding principle of how we conduct our business since day one. Once you have the opportunity to experience your new Supreme Professional Camera Dolly System, we hope you will agree that we craft quality products at a competitive price. Products designed to meet and exceed the standards of today’s real production world. Standards set by our valued clients and standards we strive to maintain. With Best Wishes, Proaim Team 4 Introduction Proaim Supreme Dolly is a wonderful piece of equipment to own when making a movie because the movement of the camera adds to your project immediately improves the production value.
    [Show full text]
  • "Vertigo Effect" on Your Smartphone: Dolly Zoom Via Single Shot View
    The “Vertigo Effect” on Your Smartphone: Dolly Zoom via Single Shot View Synthesis Yangwen Liang Rohit Ranade Shuangquan Wang Dongwoon Bai Jungwon Lee Samsung Semiconductor Inc {liang.yw, rohit.r7, shuangquan.w, dongwoon.bai, jungwon2.lee}@samsung.com Abstract Dolly zoom is a technique where the camera is moved either forwards or backwards from the subject under focus while simultaneously adjusting the field of view in order to maintain the size of the subject in the frame. This results in perspective effect so that the subject in focus appears sta- tionary while the background field of view changes. The (a) Input image I1 (b) Input image I2 effect is frequently used in films and requires skill, practice and equipment. This paper presents a novel technique to model the effect given a single shot capture from a single camera. The proposed synthesis pipeline based on cam- era geometry simulates the effect by producing a sequence of synthesized views. The technique is also extended to allow simultaneous captures from multiple cameras as in- puts and can be easily extended to video sequence captures. Our pipeline consists of efficient image warping along with depth–aware image inpainting making it suitable for smart- phone applications. The proposed method opens up new avenues for view synthesis applications in modern smart- phones. (c) Dolly zoom synthesized image with SDoF by our method Figure 1: Single camera single shot dolly zoom View Syn- 1. Introduction thesis example. Here (a) is generated from (b) through dig- ital zoom The “dolly zoom” effect was first conceived in Alfred Hitchcock’s 1958 film “Vertigo” and since then, has been frequently used by film makers in numerous other films.
    [Show full text]
  • Vizualna Analiza Pokreta Kamere Temeljene Na Suvremenoj Filmskoj Produkciji
    Vizualna analiza pokreta kamere temeljene na suvremenoj filmskoj produkciji Kovačić, Aron Undergraduate thesis / Završni rad 2017 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University North / Sveučilište Sjever Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:122:374910 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-09 Repository / Repozitorij: University North Digital Repository Završni rad br. 562/MM/2017 Vizualna analiza pokreta kamere temeljene na suvremenoj filmskoj produkciji Aron Kovačić, 5505/601 Varaždin, listopad 2017. godine Odjel za multimediju, oblikovanje i primjenu Završni rad br. 562/MM/2017 Vizualna analiza pokreta kamere temeljene na suvremenoj filmskoj produkciji Student Aron Kovačić, 5505/601 Mentor doc.art. Robert Geček Varaždin, listopad 2017. godine SAŽETAK S obzirom da su film, snimanje, montaža i video produkcija već dulji niz godina puno više od mog hobija, odlučio sam u svom diplomskom radu istražiti kako je i zašto kamera od potpuno statične postala pokretna. Kroz povijest kinematografije opisao sam kako su nastali prvi, sasvim “slučajni” pokreti kamere, od prvog pada kamere i otkrića da je ono što je kamera snimila u padu zapravo jako vizualno zanimljivo, prve vožnje gondolom po Veneciji i prvih panorama. Naveo sam neke najpoznatije primjere filmova u kojima su po prvi puta kameru postavljali na vlakove, kola, konje, kasnije automobile, brodove itd. Proučio sam i opisao prve kadrove snimljene iz ruke, iz balona i raznih ratnih letjelica iz tog doba. Nakon sažetog “kretanja” kroz povijest pokreta analizirao sam koja sve stanja kamere postoje, kad se koriste i kakav je njihov učinak na gledatelja. Vodio sam se kategorizacijom pokreta prema Enesu Midžiću na vrste panoramskog pokreta, iluzija pokreta dobivena zum objektivom i kretnje, tj.
    [Show full text]
  • Grammar of the Shot, Second Edition
    Grammar of the Shot This page intentionally left blank Grammar of the Shot SECOND EDITION Roy Thompson Christopher J. Bowen AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2009, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: ( ϩ 44) 1865 843830, fax: ( ϩ 44) 1865 853333, E-mail: [email protected] . You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “ Support & Contact ” then “ Copyright and Permission ” and then “ Obtaining Permissions. ” Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-52121-3 For information on all Focal Press publications visit our website at www.elsevierdirect.com 09 10 11 12 5 4 3 2 1 Printed in the United States of America Contents Acknowledgments ix Introduction xi Chapter One – The Shot and How to Frame
    [Show full text]
  • Chapter 7, Overview
    Day Two – Extended Leave Assignments Camera Operation and Picture Composition ASSIGNMENT: Read the following pages about Camera Operation and Picture Composition. Then, write a summary discussing what you see are the most important factors concerning Camera Operation and Picture Composition. Also, update your notes to illustrate the most important aspects Camera Operation and Picture Composition. Intro: Digital cameras with their automated features have become so user-friendly that anybody can run a camera, right? Wrong! Although you may see entire television series that are shot by amateurs, professional camera work still requires practice and a basic knowledge of how to move the camera with or without a special camera support—and especially how to compose effective pictures. There is nothing wrong with using the automated features of an electronic camera so long as the conditions allow it. But even the smartest automated camera has no way of knowing what part of the event you consider important and how best to clarify and intensify the selected event details through maximally effective shots. Nor can it exercise aesthetic judgment—how to frame an extreme close-up, for example. This is why it is important to learn as much as possible about camera operation before trying to do your blockbuster documentary. Section 7.1, Working the Camera, discusses the basic camera movements, the standard mounting equipment, and the do’s and don’ts of camera operation. Section 7.2, Framing Effective Shots, focuses on some of the aesthetic aspects of picture
    [Show full text]