笔记

1. BASICS

THE CAMERA -- HOW IT WORKS

-- The camera is an imperfect imitation of the human eye.

-- Sixteen millimeter and thirty-five millimeter movie cameras take 24 frames per second. When these pictures are projected on a screen at the same fast rate, they give the illusion of continuous movement. The viewer's mind fills in the gaps between the individual frames, due to a physiological phenomenon known as persistence of vision.

-- In digital cameras ... the lens focuses light patterns onto a light-sensitive surface made up of small flat chips called charge coupled devices, or CCDs. Each CCD contains thousands of tiny light-sensitive areas called picture elements, or pixels, which change according to the color and intensity of the light hitting them.

EXPOSURE

-- Exposure is the amount of light that comes through the lens and hits the film or CCD chip.

-- The hole in the center of the lens that the light travels through is called the aperture. ... The size of the aperture is adjusted by the f/stop ring on the outside of the lens. An f/stop is simply a measure of how big or how little the aperture is.

-- F/2 means that the aperture is 1/2 as big across as the lens is long. ... An f/2 aperture won't physically be exactly 1/2 the length of the lens. But optically it will let through as much light as if it were indeed 1/2 the length of the lens.

-- f/1; f/1.4; f/2; f/2.8; f/4; f/5.6; f/8; f/11; f/16; f/22; f/32; f/45; f/64 ... Each stop admits 1/2 as much light as the one before.

-- T/stops are more accurately measured f/stops.

COLOR TEMPERATURE

-- Color films and CCD chips can handle only one color of light source at a time and reproduce colors accurately. They do this by means of color temperature and color filters.

-- Color temperature is a way to identify different colors of light sources. It's measured in degrees Kelvin, after Lord Kelvin, who devised the system.

-- The idea is, you take a perfectly black body, like a piece of coal, at absolute zero (-273 C), and start heating it up. As it gets hotter, it puts out different colors of light: first red, then blue, then bluish-white。 The different colors of light are identified by the temperatures at which they occur. 2000K is the reddish light produced by 2000 degrees Kelvin. 8000K is the bluish light produced at 8000 degrees Kelvin.

-- To take pictures under a different colored light source, color filters are used to convert the existing light to the color temperature required.

-- A typical filter selection might include: TUNSTEN-INCANDESCENT (3200K); MIXED TUNSTEN AND DAYLIGHT/FLUORESCENT (4300K); DAYLIGHT (5400K); AND SHADE (6600K).

-- Once you select the correct filter on a video camera, fine tune the color by adjusting your white balance. ... It assures that the whites in your scene reproduce as whites, the other colors fall into place.

-- Color movie films are manufactured for two kinds of light: 3200K-TUNGSTEN; and 5400K-Daylight.

-- To shoot tungsten film in daylight: #85 filter (orange filter);

-- To shoot daylight film inside with tungsten light: #80A filter (blue filter);

SETTING EXPOSURE ON A TV CAMERA

SETTING EXPOSURE ON A FILM CAMERA

-- ISO

-- COLOR TEMPERATURE

-- LIGHT METERS

-- USING A LIGHT METER 

LENSES

-- FOCUS

-- ZOOM LENSES

DEPTH OF FIELD

THE BARE BONES CAMERA COURSE FOR FILM AND VIDEO

(SECOND EDITION, REVISED)

BY Tom Schroeppel

SHOOTING GUIDELINES

* Top principle: Give the greatest freedom for editing, allow lots of room, create rhythm for editing;

1. Use a tripod for fixed camera positions;

2. Always complete the action being shot, and allow one to two seconds after the action is completed before cutting the camera;

3. Maintain screen direction, e.g. a man walking exits one shot frame left in the next shot he must enter frame right;

4. Allow moving characters or objects t enter and exit an empty frame (clean frame);

5. When shooting the same action from several angles allow lots of overlap of action;

6. Allow action overlap when going from a wider shot to a close up;

7. When panning static shots allow seven seconds from the time an object enters the frame until it exits, or simply beware of strobing;

8. When panning a static scene begin and end on a static frame;

9. Remember the focal point of each shot and how it can be used to smooth cutting from shot to shot;

10. Establish the cutting axis (in the wide shot in which way people look) and use neutral or transition shots to cross it.

11. If you want to cut panning or tracking shots together the pans and tracks must be the same speed.

12. Remember continuity;

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SHOOTING OPERATIONAL PROCEDURE

1. Choose set

Factors to consider:

-- a) what will help to tell the story;

-- b) lighting -- availability of practical (pre-existing light we want to use), natural light, places to hang lights;

-- c) set design, background decor, compositional elements;

-- d) coverage background;

* Filmmaking is about creating illusion;

2. Choose camera position (subject to change during blocking):

Factors same as choosing set and :

-- e) Camera angle: what angle gives best viewpoint on scene, enhances drama;

3. Block (difference between drama and documentary)

Factors:

-- a) organic unfolding of subject matter (might change camera position);

-- b) set camera movement if any;

-- c) wide shot background;

-- d) coverage background;

-- e) lighting;

4. Light:

-- a) light wide shot first to determine light logic;

-- b) consider contrast ratio (key + fill/fill);

-- c) set key light position -- light one light at a time (if possible);

-- d) start from 3 point lighting plan;

-- e) add fill, backlight, kickers, eyelight, set lights;

-- f) determine exposure (protect hightlights);

5. Rehearse

6. Trim

-- make lighting or camera changes based on rehearsal;

7. Shoot

-- shoot everyting going in one direction, then turn around;

GOVERNING PRINCIPLES

1. Dynamic Diagonal:

-- Arranging compositional elements or action along a diagonal from one corner of the frame to the opposite corner is more dynamic than horizontal or vertical arrangements.

2. Rule of Thirds:

-- Divide the frame into thirds, vertically and horizontally. Arrange the focial point of the frame, the point where a viewer's eyes will go, whether it be someone's eyes in a close-up or their body in a full figure to be on or near one of the dividing lines.

-- The eyes have to be sharp; Peaking & Magnifier can help focusing;

3. Leadroom:

-- Place a person walking from left to right or in a close-up a head looking to the right in the left hand quadrant of the frame, allowing more of the empty frame in the direction they are travelling or looking, including up or down.

-- Keep the leadroom;

4. Headroom:

-- Headroom will vary with the size of a fram but beware of too much headroom, a classic error. Generally on a 'two T' close-up the top of frame will just graze the top of a person's head, all else being equal (amount of hair, shape of head, direction of look, etc.)

-- Same amount of head room from time to time.

5. Depth:

-- Arrange a frame wherever possible with a foreground, midground and background, being always watchful for elements which can be added to give depth to an image.

-- Through lighting and composition;

-- Different lens can manipulate distance --> how you feel something should look;

6. Balance:

-- An imbalanced frame may be chosen for effect, but under normal circumstances strive to achieve a balanced frame, balancing people in the frame, positive space with negative space, objects, etc.

7. 7 Second Rule:

-- When panning over a static object (landscape, building) beware of strobing by controlling panning or tilting speed to allow seven seconds of an identified part of the object to enter then exit the frame.

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FRAME SIZES AND TERMS

-- Extreme Close up (ECU): Chop to the forehead & allow comfortable chin room;

-- 'Clavicle' Close up (CU): Chop to shoulder;

-- '2T' Medium Close up (MCU): Chop to nipple line;

-- Waist

-- Cowboy: Chop to mid-thigh

-- Full Figure;

   *   *   *

Some additional concepts:

-- A director 'directs attention,' and one of the most powerful ways of directing attention is through lighting.

-- Patterns are interesting and pleasing to look at. Ieally, they should also set the scene and supply a visual context for the story. Geometric patterns add interest and often represent leading lines.

-- Two prime objects can divide composition. The exception is when the two elements are tied together in some way;

-- An odd number of prime objects is generally stronger than an even number, at least unitl the total number of objects exceeds six or more.