Making Images

Making Images: Introduction

28/9/23

As the title suggests, this was an introduction session allowing us to understand the unit with a recap on facts learned in college. That was the first half at least, with the second half we were shown the equipment room so when it comes to making a start on our film projects we know where to get the equipment and how to book them out.

Week one to five of this unit is going to be a focus on camera, sound and lighting.

Week six to nine will be multicamera studio practice.

Then to finish up, week ten and eleven will be post-production, viewing and feedback.

The suggested websites to have a look at in preparation of our study's are 'Studio Binder', 'No Film School' and 'Filmmakers Academy'.

Getting onto learning now, a big question was asked. "What is the difference between Film and TV?"

Film V TV

Scripted V non scripted, movies will use a script whilst in TV, most of it isn't... exactly.

Expensive V cheap, the production in film will need a large budget, whereas in TV you can get more with little.

For the remaining of the first half of the class, we got onto the different camera techniques used to create a memorable shot.

Cameras are the key to the overall effect in film. Cameras are the eyes of the audience. They are also fundamental to the narrative and emotional experiences for the audience.

Camera framing is the placement and position of the subjects on screen. It is all about composition.

Framing:

Wide shot - Audience can see everything on screen.

Long shot - Can see the full body of a figure.

Extreme long shot - Full body and what is surrounding the figure.

Medium shot/Knee-level shot - Frame cuts off at the knees.

Middle shot/ Waist-level shot- Cut off at the waist.

Medium close-up - cut off at the breast plates.

Close-up - Cut off at the neck, focusing on the face.

Extreme close-up - Eyes or mouth only in frame, (features only).

Insert shot - Object only in frame.

Shots:

Establishing shots - Setting without a character in sight.

One shot/single - One character in frame.

Two shot, Three shot - Two or three characters in frame.

Group shot - Four or more characters on screen.

Clean shot - clean frame

Dirty shot - Something n frame blocking part of the character in focus.

Over the shoulder shot - Common for dialogue.

POV shot - Putting the audience in the shoes of the character.

Angles:

Eye level - camera frame is at eye level with the character.

Low angle - Framed upwards at a character highlighting dominance and power.

High angle - Pointed downwards showing weakness and timidness.

Worms eye shot - Camera is on the ground.

Overhead shot/Birds eye/Gods view shot - Pointed at the ground, establishing.

Dutch angle - camera is slanted for dramatic entrance, confrontation, confusion, music videos and overall creating something uneasy, different and peculiar,

Aerial shot - Wider establishing shot using a drone to capture the scene.

Movement:

Static shot - No camera movement.

Dolly shot - smooth, following a target with camera mounted on a track.

Dolly zoom shot - Zoom is adjusted to keep the character the same size whilst the camera is pushed in or out of them. (The Spielberg face example).

Tilt and Pan shot - the camera tilting (Y-axis) and panning (X-axis) in the same shot.

Whip pan/tilt shot - Faster process.

Tracking shot - Follow the character-object without the track restrictions.

Deciding on the frame: 'Breaking down the script as a DP part 1'.

Choose the shot that allows you to tell the story in a coherent matter.

What will convey the emotion and meaning of the scene at best.

Consider carefully!

This is the job for the Director and the Director or Photography.

The decision begins with the script.

"How can I make the shot unique?"

Obsess with the subtleties.

Re read the script before coming to any decision.

'Breaking down the script as a DP part 2'.

"The way the actors present themselves embed that emotion."

Don't always need a close-up shot to highlight the emotion as body language can also create that emotion for the audience.

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A note given when it does come to working on our own films, if illegal activities have been written into the script, check with the lecturers as things could go wrong if in the wrong place proceeding with such actions.

5/10/23

Exposure

Using this session to gain a better understanding of camera exposure, how it works and how to control it, first we must answer, what is exposure?

A balance between the light and darkness in an image, exposure is affected by the amount of light that reaches the camera sensor and is also varied by the overall brightness. This is determined by the iris/aperture, the shutter speed and the ISO. 

Controlled by these three adjustments, 'the exposure triangle' as you would call it, that is the reasoning for why you would rarely find an exposure button embedded into modern day cameras.

Iris/aperture

The iris, or aperture depending on what you want to call it, is the first ring around the camera lens in front of the zoom adjustment ring. With that, you adjust the aperture of the image.

Measured with f-stop numbers, by going for the highest number a smaller aperture is resulted allowing the least amount of light to reach the sensor. And vice versa with the lowest number.

A side effect to playing around with this adjustment is the depth of field, for what the tool is mostly used for, it can create a blurred focus in what you are wanting to capture.

Media terms:

Blown out - over exposed.

Bokeh - blurrier image.

A tip made that doesn't affect film as much as it does TV or documentary making, "always ask your subject to move back and forth" in interview type situations to make sure the camera is on the right setting and doesn't blur when the figure moves to speak or adjusts themselves even.

After going over what each element is, we would watch a youtube video, from the same channel for each, going over again how the adjustment works. 'How to expose an image: Everything about the iris/aperture' Shutterstock Tutorials.

In the video, what wasn't already mentioned, the guy visually compared using the iris/aperture to shining a light through, at first, a small hole in a piece of paper to then creating a larger hole where the light bouncing off the wall replicates the exposure in a captured image.

Shutter speed

Moving onto shutter speed, this one refers to the speed at which the camera lens closes for a picture. A faster shutter speed will create a shorter exposure with a slower shutter speed creating a longer one.

The side effects here include:

• Slower creates more blur.
• The slower the shutter speed, the more light that reaches the camera sensor.
• By being open longer, more visual information will be captured adding a blurred motion.

Tips to using the shutter speed:

• Choose a shutter speed that is twice your frame rate.
• To avoid blue, triple or quadruple your frame rate.
• To create blur, lower the frame rate all the way down.

Shutter angle

An option that modern day cameras don't really have anymore, with this you can only either have the shutter speed, or the shutter angle as with the shutter angle, you will be filming at half your frame rate which will also avoid capturing motion blur.

Another thing, shutter angle gives you one less thing to think about adjusting the three elements automatically working out the calculations itself.

'What is shutter speed?' part two to the shutter stock tutorials.

Providing another practical element to visually explain how the shutter speed works, a 360 degree circle had been cut out and placed in front of a camera. Cutting out a quarter of that to start off with, as the circle is spun for what the cameras light shines through is what is captured in an image. Then as more of the circle is removed, a bigger gap is created presenting a longer effect.

• A commonly used technique for sport photographers.

"Experiment to get control."

Shutter speed and slow motion

When intending to create a slow motion piece, always film at a higher frame rate to produce a cleaner scene.

ISO

Touching the cameras sensitivity to light, a higher ISO number will indicate a higher sensitivity and a greater ability to capture light producing a brighter image.

• ISO is not a variable of exposure as it doesn't affect how much light touches the sensor.
• It only determines how brightly a picture is rendered.
• ISO can capture images in darker environments allowing flexibility between the shutter and aperture.

The side effect? Grain and noise.

If there is found to be grain and noise in your shot, there must be context behind it to accept its use.

Base/Native ISO

International Standards Organization.

• Try stick with the ISO base or native.
• Native ISO is the range of ISO settings that don't need extra digital manipulation keeping things neutral.
• Only adjust, if necessary.

There are professional videographers and filmmakers that touch their ISO afraid of ruining the quality of their products. "There are other ways to adjust the exposure."

Part three of the tutorials:

• Must expose correctly, have to adjust all three elements to find the sweet spot for your image.
• Work with the side effects.

Advice:

• Avoid using shutter speed to address exposure issues.
• Although it does affect the exposure, it isn't a tool to regularly use between shots as will cause motion blur issues.
• Stick to doubling your frame rate.
• Leave camera in native ratio where possible.
• A wide range ISO doesn't mean you should use it as a first means for adjusting brightness.
• Will result in noise. 
• Adjusting is to add/remove brightness.
• Make sure you are considering the depth of field, slow motion and blur.

ND Filters

If there is too much light/an over exposure where you are shooting, a neutral density filter will act as sunglasses to your frame blocking out the light the same way sunglasses do for your eyes.

And if there is too little exposure and it is too dark, add light! Make sure when filming and considering your settings, consider the lighting just as much!

 

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Following learning the theory behind camerawork, we were split up into pairs to then get a practical element on adjusting the exposure elements ourselves. Allowed to take a camera, in our groups we had each been set with a task allowing us to get a hang of the devices. As for that, I will speak of in a different blog.

12/10/23

Not making as many notes this lecture due to it being more of a practical and going towards the mini photography task we were doing, we basically just went through the settings on a video camera in attempt of getting a grasp on how to control the image we want to capture.

Tips made from the practical session:

• Use LOG when filming scripted as there is time to plan and adjust.
• Capture the white balance for every scene.
• Use automatic when you are in a rush. (Non-scripted).

After that and getting on with our video task, we met the technician Mark Layzell who had went through using the university computers, adobe cloud, editshareconnect and airflow for our upcoming projects.

19/10/23

Finding this weeks session to be a lot more interesting, our main focus this week was single camera shooting, audio and the do's and do not's.

Relevant again to both scripted and non scripted Tv, the differences here are;

Non scripted: Lower budget cameras, single camera, sound recorded onto camera, small crew.

Scripted: High end cameras, multiple cameras, separate sound department, large crew.

Due to how clear single camera shooting was used in the early seasons of dinner date, just to get an idea of the production style it was suggested for us to give it a watch.

When it comes to Tv, "shoot for the edit".

RX - Record

TX - Transmission

GV - General view

"If in rush, stick the camera in auto". Otherwise, adjust the framing/focus, exposure, white balance, shutter speed/angle. Repeated from last week.

Keep it stead, use a tripod, rest on a wall/table, move slowly and/or hold the camera close to ones chest.

You always need more than you think! Gather as many replica shots as you can with a variety of experimental angles as such.

Non scripted, "no one is there to help with continuity." When filming with one camera, capture the whole interview and then go back for "filler shots" to give the editors a range of footage. Providing clunky cuts that the audience wont notice. Also, overlap the actions.

5 shot rule

• Close-up on hands. (Or feet, depending on what the subject is doing).
• Close-up on face.
• Wide shot.
• O/S shot.
• Shot from another angle.

Unless in a rush, capture the first three points.

Lighting

• Don't shoot a subject against the light source.
• Avoid hard lights and shadows.
• Avoid mixed lighting if possible.

Sound

• Wear headphones to monitor.
• Use an external microphone to plug into the camera.
• Watch the sound levels.
• Avoid unnecessary background noise.
• Never interview with music playing in the background. Messes with cuts, copyright issues and can be distracting. 

When creating a 180 system, visually create a 360 circle and place a line in direction of the characters placement and make sure not to cross it as it will create confusion on the viewers' behalf. If you are to cross it, do it slowly on camera so the audience can follow along.

Make the mistakes now whilst in education, saving you from making them in the industry.

Which microphone is right to use? That depends on your shoot and crew.

General tips

• Don't use the internal microphone.
• Buy an XLR cable.
• Always use headphones.
• Record audio at -6db/75% roughly.
• Have the mic as close to the subject as possible.
• Monitor the audio.
• Use a dead cat when shooting external with a shot gun mic.

That being it for the theory today, when it came to the practical side we got to test out a new film camera, different to what we were first given to learn, and had learned how to set up the sound equipment.

26/10/23

Not making any notes this session, we used it to go back over setting up the film cameras and microphones for the first session with the second session being used to go through again how three-point lighting work but in a practical manor again.

3/11/23

Moved over to Fridays now as we are making a start in the TV studio room with our first assignment for this unit approaching. 

Studio Production

Today is to understand the space in the studio, each working role and the health and safety.

Key aspects: Directing, lighting, working under pressure, communication and teamwork.

Types of TV

• Magazine shows: always changing, almost like flicking through the news. Tv equivalent to flicking through a magazine.
• Chat shows
• Game shows
• Light entertainment/Shiny floor shows
• Comedy
• Shopping channels

O.B.s: Outside Broadcast

Studio gallery in a truck.

Positives

• Fast turn-around, 1 minute of recording is a minute of TV. Minimal editing.
• Can record multiple shows in one day.
• The need for currency in TV, people want to be up to date on TV and news.
• The need for live TV.
• The energy/entertainment experience

Negatives

• Tv studios can cost up to £100,000k just to hire.
• O.B. trucks cost eight million to build.
• Require huge crews compared to location productions.
• Maintenance, repairs and upgrade kits are expensive.

Notes made from the studio gallery

Have phone on aeroplane mode before entering the gallery.

Switch on the DMX lights before anything, they power on the stage lights.

Intensity - red, green, blue - 100 is daylight equivalent.

X fade - 0 is no colour; 100 is full colour.

Make sure each individual section has been turned on and off before and after every session.

Top amplifier is for the full studio, allowing you to hear what is being said in the gallery.

Balance the sound, frequency numbers must match.

Pre-amp adjusts what sounds are going into the sound desk.

Peak: harsh distortion.

Soft 1: Floor microphones.

Soft 2: Radio microphones.

P in resolution: Progressive.

HD: High definition.

PI, I is interlink.

Use consistency when filming.

Digi software: auto queue, import as RTF, ( rich text file), press 'esc' for preview mode.

CCV: camera control unit.

Too hot: over exposed.

Too cold: under exposed.

Should never have to add light, only tone down.

Studio lights

Gain: add light.

Blue dial is to pan.

White dial tilts.

Yellow dial floods/washes affecting the spotlight.

'Bike cable' is wrapped around the lights to prevent them from falling down completely.

Rolling rig acts like a break, can only go left to right and can be called "walking the dog".

Big studio curtain is called a syc. 

Tv studio camera

Elevate to lift the camera.

De-press is to put it back down.

Floor manager hand signals

A floor manager can use a earpiece, mostly depends on the preference of the worker and the set.

Can be assisted by an assisted floor manager.

Is responsible for everything that happens on set, including the health and safety.

Can instruct orally only when not recording.

• Stand by
• Cue/start talking
• 'you're on this camera'
• Speak up
• 5/4/3/2/1 minute left
• 50 seconds left
• 30 seconds left
• Stretch it out
• Wrap it up
• Cut

13/11/23

For the first half of this session, we covered being a director in the Tv studio before taking it in turns in the last half of the session being the director. Of course not having time for everyone to get ago, we rotated roles three times to produce a five minute mock interview giving us practice before we choose our roles for when the final assignment comes around.

For the first go, I worked alongside the director as the vision mixer. Selecting the frame the air as commanded.

For the last two, I played the role of a camera operator focusing on the interviewer. Listening for commands, the first director didn't ask for any change in frame whereas on the final go, the interviewer decided to give us a scare in preparing us for "anything can happen". Deciding to stand up, we had all froze in response. Not knowing whether to go ahead and re-adjust the camera frame or wait for the instruction, it did take a while before I readjusted my camera. But for next time, I know I don't need to wait for the instruction unless asked to change it up.

Back to the first half of the session;

Directors instructions

The director in the Tv industry is in charge of getting the right shots, and must be clear and concise in giving instructions.

Separating the instructions into three sections, we covered:

• Starting a rehearsal/recording.
• Directing the vision mixer.
• Ending the show.

Starting a rehearsal/recording

"Stand by to record." Once everything is set to begin filming, the VT (video tape recordist who makes sure all is being recorded) must switch on the recording/on air light and respond with "standing by".

"Roll to record." The VT must begin recording and call back, "recording." Do not start until you hear the call back. VT must double check the time is rolling.

"Coming to presenter/VT in 10, 9...2, 1". Can be done by the PA (production assistant who keeps an eye on the times) down to the floor manager.

"Cue presenter." Unless the director says to cue, nothing happens.

"Run VT/Roll VT." If starting the show off with pre-recorded footage, make sure all the video tapes are there, ready and work.

"Cue applause." Done before the countdown is finished, the FM must turn to the audience and signal the clapping motion to roll with the opening.

"Cue lights." If lights are important to the opening.

Directing the vision mixer - instructions once recording

"Coming to camera (number camera) and cut." Coming to is to preview a shot, cut to is on air.

Can either ask the VM to be a second pair of eyes, share the responsibility of which shot to use, or can take full control.

"Coming to...and mix."  Fade transition between shots. Rarely used.

Camera adjustment instructions:

• Pan, tilt.
• Track in, track out.
• Zoom in, zoom out.
• Crab left, crab right.
• Elevate, depress.
• Focus, de-focus.
• Check focus.
• Repo camera to...
• Clear camera.
• Steady.
• Stop.

"Opening shot please." Have the camera in its initial shot placement for the opening sequence.

"Head room." Head space.

"Looking room." Eyeline.

"Camera right/left." Pan the camera to reveal something that was out of frame.

"Frame right/left." Cut something out of frame.

Remember manners!

Ending the show

"Fade to black." to VM if there are no end credits.

"Stop recording." To VT operator, must stop the recording and switch the recording light off.

"That's a wrap." No one is finished until this is said. Unless live, director might want to rerecord something.

Follow the ABC rule: Accurate, Brief, Clear.

16/11/23

Only a week away to our next assignment, today we had jumped straight in; working together to set up the studio and gallery. Creating a set for a children's art episode with two performance students as our presenters, this week was originally meant to be a rehearsal with the full performance class but due to no one a lack of appearances, we had to make do still getting what we were after.

Rotating again, due to how long it had taken for us to set up, we only got two goes this time. First time I went again as the camera operator, then for the second go I took up the role of the director. Both of which I enjoyed.

23/11/23

With today out the way now, that makes our second assignment complete. 

Turning in early to help set up, again I took up the role of set designer helping to decorate and lay out the table ready for the presenters use. Getting little bits done here and there before filming, as it came to our first out of what was meant to be four episodes we'll say, I took up the role of the director. With repeated re-shoots I believe I didn't do too bad with it.

Moving on to the second, the one that took the longest when it came to switching over presenters, I was then the camera operator getting my hands back on the very same camera I used in last weeks takes, and the week before. Doing a better job this time I imagine, I stuck to, as requested, focusing on the item which the presenter would hold up every now and again.

Running out of time, we got to our last presenter, this of which I worked as the vision mixer. Helping the director who hadn't taken up the role before, I did take quick initiative by request as the director figured out what she was doing and saying.

That being that, I enjoyed today very much as tiring as it became staring at the screens and lights all day. But hey, that's business.