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Thursday, March 31, 2016
Whoops. Andhra Pradesh University Accidentally Named For Pak Scholar.
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Wednesday, March 30, 2016
Andhra Pradesh Assembly Passes Bill To Hike Salaries Of Legislators
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Man, 21, killed by car in Islington
Tuesday, March 29, 2016
'We Were Beaten, Shifted To 6 Police Stations': Hyderabad University Students
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How To Find People Who Invest In Movies
Sunday, March 27, 2016
2 YSR Congress Legislators Likely To Join TDP In Andhra Pradesh
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Thursday, March 24, 2016
How Affordable Digital Film Cameras Makes You Vision Possible (On a Micro-Budget)
Wednesday, March 23, 2016
The Minimalist Guide To Writing A Film Business Plan
Tuesday, March 22, 2016
No-Budget Filmmaking: Rise of The Backyard Indie
Filmmaking for photographers
If you’re a good photographer you’ve already got many of the skills you need to make films. You know about composition, light, lenses and focus. But there’s a lot more to filmmaking than the image.
Get organised
Making a film takes planning. It’s much easier if you follow an organised filmmaking process.
Think in sequences
A shot in a film isn’t the same as a photograph. It’s part of a sequence. One beautifully composed shot can make a great still image, but with a film you should always be thinking about what comes before and after it. The example film on this page shows how shots build up to tell a story.
Coverage means getting the shots you need to tell the story, and making sure that they will edit together.
Keep your shots simple
Complex pictures work well in a gallery or on the page. But in a film, they’ll only be on screen for a few seconds. Just show one (or maybe two) things in each shot, and put them together to build your story. Shots that seem plain or boring on their own can build together to make really strong sequences.
Follow the rules
When you shoot action or dialogue scenes, you need to follow a set of ‘rules’ about where to put your camera, how to arrange things in the shot, and how you edit. These continuity principles will help ensure that that your scene makes sense to the viewer.
Watch the light
You need to keep the light and white balance consistent, otherwise your shots may look as if they were filmed in different places.
Look for movement
As a photographer, you’ll already be looking for things like pattern, texture and colour. With video, you need movement as well, or your shots will just look like stills. If there’s absolutely no movement in the image, try moving the camera itself: slowly tracking in, out or sideways.
Hold the shot
When I first switched from stills to video I’d just shoot a couple of seconds of each image. But those short clips were impossible to edit. You need to keep filming for at least ten seconds.
If there’s action or speech, start filming a full five seconds before the action, and keep the camera running for at least five seconds afterwards.
Keep the camera still…
You may have a steady hand, but nobody can hold an SLR completely still for ten seconds. Use a tripod or a monopod. If you can’t avoid handholding, use a wide-angle lens: camera shake will be less obvious.
…or use smooth camera movements
Smooth camera movements can add life and depth to your film. But movements should always be slow, steady, and go in one direction only.
Sound
It doesn’t matter how great your shots are: if the sound is poor, it’ll turn your viewers off straight away. Your built-in microphone almost certainly isn’t good enough: you either need a separate mic or audio recorder, or you need to create the soundtrack separately. Here’s an introduction to film sound, some tips on how to get it right, and a list of sound equipment.
Technical issues
There are a few technical issues you need to know about when you shoot video with a still camera.
Shutter speed and frame rate
For movement to look smooth and ‘film-like’, your shutter speed should be half the frame rate – so if you’re shooting at 25fps, your shutter speed will be 1/50. To adjust exposure without changing the aperture, you can vary the ISO (which can introduce noise) or use filters. Variable ND filters can help, but good ones are expensive and may give strange results with wide angle lenses.
Moiré
Shooting HD video, or even 4K, with a sensor designed for much higher resolution stills can cause problems. Some manufacturers do this by line-skipping: they only record video from some rows of pixels on the sensor. This can cause distracting moiré patterns if your subject has a lot of detail, particularly with grids, meshes, lines and rows of bricks or tiles.
Rolling shutter
When you move your camera sideways, or record horizontal motion, you can sometimes get distorted images. This happens when the camera doesn’t record all the image at the same time, instead scanning down or across the sensor. Most SLRs and mirrorless cameras suffer from this to some extent, though some are a lot worse than others.
What do you need?
Here’s a list of filmmaking equipment.
The post Filmmaking for photographers appeared first on Learn about film.
Sponcer pageThe iPhone SE is a bargain for video shooters
The iPhone family: 6S Plus, 6S, and the new iPhone SE on the right.
Thanks, Apple: I bought an iPhone 6S a month ago, and now you’ve brought out the iPhone SE: exactly the same camera and processor, but a lot less expensive.
The new phone is basically an iPhone 5S with the 4K camera and A9 processor from the 6S. If you’re happy with a four inch phone and don’t care about 3D touch, it’s a bargain. With 64Gb of memory, you’ll save $200/£180 by choosing the smaller phone.
Many people actually prefer smaller phones: lots of 5S users haven’t upgraded yet. Being thicker, it should be easier to handhold than the 6S, which I find very slippery without a case. And because it has the same body shape, presumably older iPhone 5S accessories – like the Moondog Anamorphic lens, not yet available for the 6S – will fit. Some reports also suggest that the SE will have better battery life than the 6S.
What do you lose? When Apple brought out the 6S they didn’t just make the screen bigger, they gave it better contrast and a wider viewing angle. In addition to 3D touch, it has a more advanced fingerprint sensor. And you can get a 128Gb model (the SE tops out at 64). The FaceTime camera on the 6S can shoot 5MP stills rather than 1.2MP. But the only video feature you lose is geotagging.
I’m not a fan of big phones, which is why I didn’t buy the 6S Plus with its optical image stabilisation. And as I edit on computer, not on the phone, the bigger screen of the 6S doesn’t make much difference to me. So if I was buying now, I’d definitely go for the SE. It’s out on March 24th in the US and March 31st in the UK.
The post The iPhone SE is a bargain for video shooters appeared first on Learn about film.
Sponcer pageMonday, March 21, 2016
Kanhaiya Cannot Be Stopped From Visiting Us, Say Rohith Vemulas Friends
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