Camera Workshop. Terms and Literature

Atmo (the main atmosphere, or “wild”) — the main sound, bounding the film atmosphere.

Cut — the “cut” or “take” is the most common transition when editing. It is an immediate switch from one shot to the next.

Firewire — a standard for transmission of data between digital equipment. A high-performance standard becoming one of the preferred methods of moving data in the media production world.

Jump Cut — an anomaly of the edited fi lm when two very similar shots of the same subject are cut together and played. A “jump” in space or time appears to have occurred, which often interrupts the viewer’s appreciation for the story being shown.

Perspective — a certain point of view.

Postproduction — the phase of motion picture creation that traditionally happens after all of the live-action film or video is shot. Postproduction can include picture and sound editing, title and graphics creation, motion effects rendering, color correction, musical scoring and mixing, etc.

Preproduction — the period of work on a motion picture project that occurs prior to the start of principal photography.

Production — the period of work on a motion picture project that occurs while the scenes are being recorded on fi lm or video. This could be as short as a single day for a commercial or music video or last several months for a feature fi lm.

Scene — a segment of a motion picture that takes place at one location. A scene may be composed of many shots from different camera angles or just one shot from one camera setup.

Sequence — the smallest film particle, combined of several settings.

Shot — one action or event that is recorded by one camera at one time. A shot is the smallest building block used to edit a motion picture.

Storyboards — drawings often done during preproduction of a motion picture that represent the best guess of what the ultimate framing and movement of camera shots will be when the fi lm goes into production. These comic book-like illustrations act as a template for the creative team when principal photography begins.

Take — each action, event, or dialogue delivery recorded in a shot may need to be repeated until its technical and creative aspects are done to the satisfaction of the filmmakers. Each time the camera rolls to record this repeated event is a “take. ” Takes are traditionally numbered starting at “one”.

Timeline — usually includes multiple tracks of video, audio, and graphics in a nonlinear editing system.

Tripod — a three-legged device, often with telescoping legs, used to support and steady the camera for motion picture shooting. The camera attaches to a device capable of vertical and horizontal axis movements called the tripod head, which sits atop the balancing legs.

Literature:

-- Michail Rabiger. Directing The Documentary. — New York: Focfl Press, 1998.

-- Johannes Kramarek, Rainer Pockrandt, Peter Kerstan - DuMont's Handbuch für praktische Filmgestaltung. – Köln: DuMont Buchverlag, 1986.

-- Dan Rahmel. Nuts and Bolts. Filmmaking. Practical Techniques for the Guerilla Filmmaker. - Focal Press, USA, 2004.

-- Fridhelm Büchele. Digitales Filmen. Verständlich erklärt. Einfach gute Videofilme drehen und nachbearbeiten. - Galileo Design, Bonn, 2005.

-- Roy Thompson, Christopher J. Bowen. Grammar of the Shot. Second Edition. – Focal Press, USA, 2009.

-- Robert B. Musburger. Single Camera Video Production. Fifth Edition. - Focal Press, USA, 2010.

-- Video Production Handbook. Fourth Edition - Gerald Millerson, Jim Owens, Focal Press, USA, 2008.

Practical Part

Getting started:

Write a production statement

At the very beginning of your project, perhaps before the script is even complete, you should write a production statement. This statement is a brief description of what the production is actually about.

It doesn’t even need to contain a plot summary. A production statement might read like one of these: “This 35-mm film will be a claustrophobic psychological murder mystery with gothic overtones”, “This commercial spec will provide a demonstration of the cutting edge compositing technology available from our effects house”, “This DV romantic comedy will be a light, surreal romp through the highways and byways of employee relationships in the banking system”.

Each of these single sentence abstracts tells the reader a great deal about the production.

To do list:

• Get an organizer or project folder for any film, you’ll have a million requests before you shoot one frame.

• Take note of other movies - there are many occasions where something you can use in your own.

• Don’t listen to criticism.

Storyboarding:

Storyboarding tells the story of a film visually in a series of comic-like panels. Storyboarding is a form of planning that enables a filmmaker to understand and recognize exactly what footage needs to be obtained to tell the desired story. Once the storyboards have been created, the panels can be re-arranged and augmented. Time is taken in preproduction to create the storyboards from a shooting script. Like the script, a storyboard is not the movie itself, but instead a blueprint or a guideline from which the movie can be dynamically created.

A storyboard can provide a visual checklist for an accurate idea of how much of the film is in the can. The most difficult estimation problem on a shooting schedule is determining how much can be shot in a single shooting day. Outside of your lead actor refusing

to come out of his trailer, re-lighting for each new shot is probably the most time-consuming process that takes place in a shooting day.

A storyboard can help you determine how many shots you can make. A scene may only take up a single script page, but if you want to shoot it from 18 different angles, a dozen or more lighting set-ups may be required. Since each storyboard panel would show you a different angle, you can more accurately determine what is and isn’t possible in your shooting schedule.

Storyboarding allows you to see what props need to be rented for a shot or what locations can be faked or “cheated” to minimize expensive locations. The storyboards allow for much more accurate time and financial budgeting than a script alone.

You can get started by creating a simple sketch of the frame on the blank side.

Where to get the Camera?

It is not very difficult to find a video camera, even a professional one, if you live in acity or a large town. There always might be a film school or studio, where you could borrow a camera and other equipment for short time without of charge or for a reasonable fare. You could arrange there a studio for cutting and get a piece of advice as well.

Another one solution is a personal camcorder, which might be quite cheap or second hand and not necessary professional to learn the basic shot skills. Different models of cameras are available nowadays.

How to show your films?

After you finished your work, you might let the other people see it. One of the most accessible ways is to do it online. There are several websites, where you could for free upload your videos.

For instance:

• http://www.youtube.com
• http://www.vimeo.com
• http://www.flickr.com

Your public will be quite broad then – say it, worldwide. It is also practical, while you could get the feedback from the viewers – it is possible to leave comments on these websites.

Another one solution is to show your film to your friends and beloved ones, consider it as a good reason for the party. There are as well independent cinemas and alternative film projection initiatives in most of the social and cultural centrums, you could contact them and make an event, where not only the friends, but also the critics could come.

If you are reaaly confident that your work is worth to show to the people who are especially interested in film-making, feel free to send your film to one of the numerous local or international film festivals.

Theory Part

Theory part:

- What for?

Film-making is a wonderful activity and lifestyle. There are not so many genres of art which let you to save your memories and to realize your dreams. The film is one of the best. With a video camera you could document everyday life, develop your imagination and share your ideas with the other people. Nowadays you could make a film even using the mobile phone, if it has a built-in one, and upload it online almost at the same time.

A Good Shot. Camera workshop

Participatory camera workshop, aimed at sharing the skills and ideas during 2 hours of the adventurous insight in the shooting techniques. Up to 15 participants with different backgrounds will try to create a friendly atmosphere for the communication, cooperation and learning.

This workshop is for all those who are interested in creating new videos. Fresh ideas are welcome.

If you have a video camera, bring it with. One simple video camera for those who do not have their own will be provided. If you want to share your equipment with other participants, it is wonderful. Please, bring it and share.

Structure of the workshop:

- Timing of the workshop:

45 min. theory/15 min. pause/45 min. practice.

Basic Shots

1. How to construct the shot?

Before the shooting it is important to do:

- to do location scout

- to consider intellectual rights

- to do time planning

- to obtain requisite

- to write the plan of filming.

1. Extreme Long Shot

1. Also referred to as a "very wide shot" or a "very

wide angle shot".

2. Traditionally used in exterior shooting.

3. Encompasses a large field of view.

4. Often used as an establishing shot at the beginning of a motion

picture or at the start of a new sequence within a motion picture.

5. Shows where/ when/ who.

2. Very Long Shot

1. May be used in exterior or interior shooting when enough width and height exist within the studio set or location building.
2. Environment within the film space is still very important.
3. May be used as an establishing shot where movement of character brings the figure closer to the camera.

4. Shows where/ when/ who.

3. Long Shot/ Wide Shot

1. This is usually considered a “full body” shot, wide but in close to a figure with hea d and feet visible in the frame.

2. Interior or exterior shooting.

3. Larger human figure takes attention away from the environment; however, a fair amount of the character’s surroundings is still visible.

4. May not work well for an establishing shot.

5. Shows where/ when/ who.

4. Medium Long Shot

1. Increases magnitude. The bottom of frame cuts off the leg either just below or, more commonly, just above the knee. In the last case it is sometimes referred to as the “Cowboy” because in American Western movies the firearm in the holster strapped to the thigh of a cowboy is shown.

2. May be interior or exterior shot.

3. Human figure is prominent; details in clothing, gender, and facial expressions are visible.

4. Shows who/where/when.

5. Medium Shot

1. Or the “Waist” shot, as the frame cuts off the human figure just below the waist and just above the wrist if arms are down at the side.

2. Interior or exterior.

3. Is most prominent in the frame, eyes and the direction they look clothing, hair color, and style are all plainly visible.

4. Subject movement may become a concern, as the tighter

framing restricts the freedom of gesture - be careful not to break frame.

5. Shows who/where/when.

6. Medium Close-Up

1. Or the “two-button” for the tight bottom frame cutting off at the chest, roughly where you would see the top two buttons on a shirt. Definitely cuts off above the elbow joint.

2. Interior or exterior.

3. Character’s facial features are rather clear — where the eyes look is obvious, as is emotion, hair style and color, make-up, etc. This is one of the most commonly used shots in filmmaking.

4. An audience is supposed to be watching the human face at this point in the framing so actions or objects in the surrounding environment hold little to no importance.

5. Shows where/when.

7. Close-Up

1. Sometimes called a “head shot”, as the framing may cut off the top of the

subject’s hair and the bottom of the frame can begin anywhere just below the chin

or with a little upper shoulder visible.

2. Interior or exterior.

3. A very intimate full face shot of a human subject showing all detail in the eyes and conveys the subtle emotions that play across the eyes, mouth, and facial muscles of an actor.

4. An audience member should be totally focused on the human face with this framing, especially the eyes and/or mouth.

5. Shows who but not so much where/when.

8. Big Close-Up

1. Human face occupies as much of the frame as possible and still shows the key

features of eyes, nose, and mouth at once.

2. Interior or exterior.

3. Such an intimate shot puts the audience directly in the face of the subject - because

every detail of the face is highly visible, facial movements or expressions need to be

subtle - very little head movement can be tolerated before the subject moves out of frame.

4. Shows who and how that “who” feels.

9. Extreme Close-Up

1. Purely a detail shot - framing favors one aspect of a subject such as his/her eyes, mouth, ear, or hand.

2. Lacking any points of reference to the surrounding environment, the audience has no context in which to place this body part detail, so understanding will stem from how or when this shot is edited into the motion picture.

3. This type of extremely magnified imagery can be used in documentaries (medical films or scientific studies), and in fictional and experimental art films.