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Cinematography for beginners

27 July 2016

The picture

There are lot of things to think when you’re planning each shot. You need to think about the individual shots, and how they’ll fit together.

Shot size

What will be in the shot and how big will it be?

Use different shot sizes to help tell your story. You could use a distant extreme long shot to set the scene; closer long shots and mid shots to introduce people and show ction; and closeups and extreme closeups to show the expressions on people’s faces and important details.  More about shot size… 

Composition

How will you arrange things in the shot?

This affects the feel of the shot, and how well it fits with the ones before and after it. For a natural look, put things over to one side (about a third of the way across). Put them in the centre, or use symmetry, to make things look more direct and formal. For a creepy or unsettling feel, put the camera at an angle or make the composition really unbalanced. More about composition…

Camera position and angle

Where will you put the camera?

Don’t just shoot everything from eye level. Point the camera upwards – a low angle shot – to make people or things look powerful or threatening, or use a high angle shot to make them look smaller or weaker. You can even use a birdseye shot from directly overhead.

Put the camera in different places around the subject as well. Film from directly in front to make people feel really engaged, or from the side to show an observer’s point of view. Change the camera position with each shot. More about camera position and angle…

Using the lens

What will be in focus? What kind of lens or zoom setting will you use?

You could use deep focus so people can see what’s happening in the foreground and background. If you use shallow focus you can blur the background so your subject stands out. You can even pull focus between different parts of the scene during the shot.

Use a wide angle lens or zoomed-out setting to get close to the action and make perspective seem dramatic. A telephoto – zoomed in –  shot is better for closeups of faces and for details. More about using the lens…

Light and colour

What will the light be like? How you will use colour?

Light affects the mood of your shot. Bright, high-key lighting from the front has a completely different feel to scary low-key side light with heavy shadows. Atmospheric rim light from behind makes the edge of the subject stand out from the background.

You can adjust the colour of the whole scene when you edit: warm, reddish tones feel comforting, but cool, bluish colours are alienating or futuristic. You could even make it black and white. Colours of things like clothes or walls in the scene can also help tell the story. More about light and colour…

Movement

How will you show movement? Will the camera move?

You could just keep the camera still and let the action happen in front of it. That’s the best way to show subtle movements.

You can keep the camera in one place and pan sideways or tilt up or down. Moving the whole camera looks better, though: track in to build intensity, track out to reveal more of a scene, or track sideways to follow action. You can move the camera on a dolly or stabiliser, or use it handheld. You can even raise it above the action on a crane or jib. More about movement…

Check your shot before you shoot

When you’re ready to shoot, follow this simple ABCDEF rule to make sure you’ve got the shot right. Check angle, background, composition, distance (shot size), exposure and focus. More about setting up your shot…

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Camcorder vs DSLR vs mirrorless 2016

21 July 2016

• SLRs and mirrorless cameras are great for the ‘film look’
• Camcorders are easier to use, and better for news and events
• Some cameras combine the best features of both

Should you get a camcorder, a DSLR, a mirrorless camera – or something else – for  low budget filmmaking in 2016? The choice isn’t a clear-cut as it was a few years ago: DSLRs are getting better, and you can now get camcorders with DSLR-like features.

What’s the difference?

A camcorder is designed specifically for shooting video. Most of them have built-in zoom lenses and tilt-and-swivel screens. They aren’t great for still photography.

A DSLR (digital SLR) is mainly designed for still photography. It takes interchangeable lenses. A mirror reflects the image up to viewfinder, and flips up – blacking out the eyepiece – when you take a photo. So when you shoot video with it, you have to use the ‘Live View’ screen instead.

A mirrorless camera is like an SLR – you can swap lenses – but it doesn’t have a mirror. You view the image on the main live view screen, or an electronic eye-level viewfinder if it has one. They’re usually smaller and lighter than DSLRs.

Why would you shoot video on a camera designed for stills?

Most camcorders have quite small sensors and fixed zoom lenses. These small sensors aren’t great in low light, which can give SLRs – which have much bigger sensors – a big advantage.

Big sensors also have much shallower depth of field: so at the same aperture, less of the shot is in focus. That looks more ‘cinematic’ (like cinema films rather than video) and you can make the most of it by fitting wide aperture prime (non-zooming) lenses. You can even ‘pull focus’, changing the focus from one part of the image to another as you film.

If DSLR video looks so great, why doesn’t everybody do it?

Cost

DSLRs and mirrorless cameras aren’t cheap. You can get a Canon, Sony or Panasonic HD camcorder for less than $250 (£200); you’ll need to spend around $400 (£300) for the cheapest current video-capable SLR.

Audio

Many SLRs and mirrorless cameras don’t have headphone sockets, and some can’t record good audio even with a separate microphone. So you may need to use a separate audio recorder.

Focus

Judging focus on a live view screen can be slow. You may need to magnify the image with a separate viewfinder or ‘loupe’.

If you’re trying to hold focus on moving subjects, shallow depth of field can be a nuisance rather than an advantage. SLRs usually have great, fast autofocus for stills, but ‘live view’ autofocus – with the mirror up – can be much slower.

Handling and stabilisation

These cameras can be awkward to hold steadily and to move smoothly for video shots. You may need a tripod, a monopod, or a special rig. Most camcorders have good image stabilisation so they’re easier to use handheld.

Image quality

SLR sensors are designed to shoot high-resolution stills. Most current ones have at least 18 megapixels, but you only need two for HD video. So makers like Canon just record video from some lines of the sensor. This can cause distracting interference patterns called moiré or aliasing. To reduce this, they add a filter over the sensor to soften the image. (Panasonic take a different approach, recording from the full sensor and processing the image down to HD. So Panasonic video is sharper and has less moiré than Canon’s, though the colours aren’t as good.)

Most SLR video isn’t recorded from the whole sensor at once: instead, it scans down the sensor. This can cause ‘rolling shutter’ distortion when you move the camera sideways or use it handheld.

Size and complexity

SLRs – and to a lesser extent mirrorless cameras – are bigger than equivalent camcorders, and you usually need accessories to get good results. But with camcorders, you can just pick them up and start shooting. Many have such good image stabilisation that you don’t really need a tripod.

It’s getting better

SLR and mirrorless makers – particularly Canon, Panasonic and Sony – have started taking video as a serious feature rather than just an add-on. Panasonic’s GH4 mirrorless camera has a whole raft of pro video features, and the Canon 80D has fast video autofocus. On the camcorder front, Canon’s XC10 looks like an SLR but shoots broadcast quality video.

Who should use SLRs?

I use an SLR, a mirrorless camera and a camcorder. I love the shallow focus and the great quality images I can get from the SLR, but when I’m shooting events I find a semi-professional camcorder much easier and quicker to use. (Often, I’ll put the camcorder on a tripod for a ‘master shot’ and use the SLR for closeups.)

SLRs and mirrorless cameras are best if you’re interested in getting that film-like image quality. So I recommend them for film students and ultra low-budget filmmakers. And they are definitely the ones to get if you want to shoot high-quality stills as well as video.

For events and news, good camcorders are better. Audio is easier and they’re easier to pick up and start shooting. And by the time you’ve stopped down the lens on an SLR to give you enough depth of field for a fast-moving scene, there sometimes isn’t that much difference in low light performance. Some pro and semi-pro camcorders like the Canon XC10 and Sony’s PWX70 have large one-inch sensors, which are good for low-light shooting and give scope for some creativity with depth of field.

What else could I use?

If you’re on a really tight budget, you could pimp your phone: a current iPhone with a good filming app, an add-on microphone and a case or pistol grip can shoot good video and attracts less attention than bigger cameras.

If you want to combine some of the advantages of camcorders and SLRs, Canon’s expensive Cinema EOS cameras like the C100 have large Super 35mm sensors and take interchangeable lenses, but they’re much more ergonomic for filmmaking than SLRs and have better video quality.

 

 

 

 

 

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Sound equipment for film

15 July 2016

• Lavalier microphones are good for interviews and presentations
• Radio microphones let your subjects move around, but they’re expensive
• Directional microphones can help to limit unwanted sounds
• You may need an audio recorder if you’re filming with an SLR

Sound is vital. You need to choose the sounds you want, and cut out the ones you don’t want. The best way to do this is to use separate microphones.

Why you need a separate microphone

The big problem with any in-camera microphone is that it’s near you, not near the the sound. Move closer or further away to get different shots and the sound will change. And it’ll probably pick up sound from all around, including stuff you don’t want.

Even if you buy a better on-camera microphone you’ll only get good sound up close. You really need to put a microphone near the sound you’re trying to record. Only use in- or on-camera microphones if you’re working in a hurry (e.g. in a news or event situation) and don’t have time to set up separate mics.

Comparison test of microphone options for iPhone filmmakers.

Types of microphone

Lavalier microphones

Lavalier or ‘tieclip’ microphones – worn on clothes – are a good way to record voices if you don’t mind having people attached to the camera by a cable. (You can avoid this by using a radio mic or separate audio recorder – see below). The Audio Technica ATR3350IS is quite cheap and has a long cable, but the output level is too low for some cameras and recorders. It comes with an adapter to connect it to a smartphone.

The Rode Lavalier mics are more expensive but better quality.

The Rode Smartlav+ is made to be connected to an iPhone or other smartphone. You can use this – or the ATR3350IS – as a cheap alternative to a radio mic: put the phone in an actor or presenter’s pocket (running the Rode REC app), then sync the sound later.

Directional microphones

You can use a directional (supercardioid) microphone. This will mainly pick up sound from in front, cutting out sound from other directions.

The Rode NTG-2 can be held above the action on an extending boom pole. This is the traditional way to record sound for a drama scene (you’ll need someone to hold the boom for you).  The NTG-2 and higher-quality options like the NTG3 use professional 3-pin XLR connections, which keep noise down when you use long cables. (You’ll need an adaptor if your camera doesn’t have XLR inputs). For working outside, you’ll need a blimp and windshield as well – see below.

The Rode VideoMic Pro is designed to be mounted on the camera. It has its own built-in elastic suspension system to cut down handling noise. It’s good with DSLRs as you can boost the output level, so you shouldn’t need a separate preamp. Fit a Deadcat windshield and you can use it outdoors as well as indoors.

You can use the VideoMic as an inexpensive substitute for a pro directional microphone, by mounting it on a boom pole and connecting it to a basic audio recorder like the Zoom H1 (see below) clamped to the boom with a little Gorillapod. You’ll need to synchronise the sound when you edit.

Audio recorders

If your camera only has basic sound recording options – like many still cameras – you may be better off recording sound with a separate audio recorder and then syncing the sound up in your editing program. Pro editing programs like Final Cut Pro X can do this automatically.

I’m a fan of the little Zoom H1.  It’s very affordable and records great sound indoors with its built-in stereo microphones. It’s a good, economical solution for interviews and presentations, and even indoor drama if you hide it behind props.  You can connect external microphones, but you’ll need ones with a good output level to avoid hiss. It does suffer from wind and handling noise so it’s not great outdoors.

The Zoom H4nSP has two XLR inputs for use with pro microphones.

The TASCAM DR-60D Mk II, designed specifically for DSLR filmmakers, is a four-track recorder/mixer with professional XLR mic inputs, so you can combine several microphone inputs. Unlike the Zooms, it doesn’t have a built-in microphone.

Radio microphones

Radio microphones are quite expensive, and some can be tricky to use. But they are a great way to get really good sound quality without a lot of cumbersome equipment. The new Rodelink is straightforward to use (I’ve been using one over the summer: review here) and more affordable than most. It includes the excellent Rode Lavalier microphone.

The more expensive Sennheiser G3 system is popular with professional video makers.

Windshields

When you film outside, you’ll need something to cut down wind noise. Foam covers are useless for this: you need something furry. You can get basic wind gags like the Redhead for small microphones and audio recorders.

For anything above a gentle breeze you need to fit a furry cover to a proper windshield : a tube-shaped enclosure with the microphone suspended inside it on elastic support, and a furry cover. The Rode Blimp is designed to fit the NTG-2, NTG-3 and NTG-4 directional mics.

Cheap tip: Put an audio recorder on a mini tripod in an IKEA Fyllen laundry basket for recording ambient sound outside – it makes a handy windshield.

Headphones

 

You should listen to the sound on headphones while you record, if at all possible. I use Sony 7506 studio headphones.

Audio Technica’s ATH-M30 are a lower priced alternative.

Using sound in your film

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Lighting for low budget filmmaking

14 July 2016

• Learn to work with natural light before you buy lighting
• If you need a serious lighting kit, hire rather than buy
• Five in one reflector-diffusers help you make the most of natural light
• LED lights are safer than tungsten and can run off battery power
• Worklamps from hardware stores make effective, inexpensive lights

Film lighting can be expensive and awkward to use, and it takes practice to get good results. I suggest you learn to get the best out of natural light first, maybe with simple reflectors and diffusers. If you need a full lighting kit it may be better to hire it. But it can be useful to own a basic portable light; maybe not to use as a main lighting source, but as a ‘fill’.

Traditionally films used three-point lighting, but you may not need three lights: many documentary makers just use one, plus a reflector.

Reflector/diffusers

To enhance natural light, get an inexpensive folding 5 in 1 reflector, which includes a diffuser (to reduce and soften light); gold, white and silver reflectors (to ‘fill’ or lighten shadows); and a black side to use as a ‘flag’ (to block out light and make shadows deeper).  I have two – a small and large one.

Tungsten lights

Good tungsten lights are powerful but expensive, hot, and need mains power. So they’re best in studios. They’re still the preferred choice of many professionals. I wouldn’t buy cheap ones. Arri and Ianiro are the main high quality makers. I’d suggest looking for used sets in good condition rather than buying new.

LED panels

LED lights are safer than bulbs as they don’t get nearly as hot, though you shouldn’t look at them without a diffuser fitted (bare LEDs can cause eye damage). Most of them can run off mains or batteries: many use Sony NPF-pattern batteries.

You need to match the light to the overall light in the scene, so you can buy daylight or tungsten balanced LEDs. You can also get bi-colour lights which include both, and you can get coloured diffusers to adapt daylight panels to tungsten. If you’re making a black and white film, you don’t need to worry about lighting colour so you can use cheap LED worklamps.

Bigger panels give softer lights. To get natural skin tones, you need lights with a CRI of 90-95 or better. The Aputure Amaran 672 are relatively affordable with a high CRI: you can buy them individually or in sets, and they’re available as a focused spot, a more even flood, and a bi-colour version.

I have an F&V R-300 ring light for education projects. It’s adjustable, reasonably priced, tough, and can be mounted on a camera or a lighting stand. But the colour isn’t that great as the CRI is only around 85.

Lighting stands

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If you’re working with a friend you could get them to hold LED lights for you. Otherwise you’ll definitely need a lighting stand. Get one that’s strong enough – some of the cheaper ones aren’t stable and don’t last long. You can use sandbags to weight the legs of lighter stands. Lumo Pro LP605 is compact and lightweight.

Budget lighting options

You can use inexpensive clamp lamps, builders’ work lights or high powered torches instead of pro lights. Roberto Rodriguez used these for his low-budget debut El Mariachi. If you’re using tungsten bulbs rather than CFLs, be careful as they’ll get hot and can shatter dangerously. Never move hot tungsten lights: wait for them to cool down first.

Chinese balls

Alternatively, put high powered CFL (energy-saving compact fluorescent) bulbs into standard light fittings or Chinese balls. They’re fragile. For good colour rendition you need CFLs with a CRI of 90 or more (though you don’t need to worry about this if you’re making a black and white film).

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Fashion Flats

The ability to draw technical flats is an essential skill for every fashion designer. Flats are used to brainstorm variety of  design options in the early stages of the design process. They are the preferred approach when designers need to quickly brainstorm 50 or more ideas that will be later shrunk to the best 10 included in the final collection. A much more refined version of the same flats is used in factories to get the clothes manufactured. In addition well drawn designs flats (aka CADs)  make a beautiful presentation for your clients and investors. Here are the most important things you should know about flats:

 FASHION SKETCHES VS FLATS

It is a common misunderstanding that flats will save you from the challenge of drawing the fashion figure. Unfortunately model drawings and technical flats are not interchangeable. They serve very different purposes!

• The main goal of a fashion sketch with a model wearing the clothes is to show the mood, the proportions, the fabric movement & to suggest a styling. It is your chance to make a little black dress look like 1 million dollars piece. Fashion sketches can sometimes tell beautiful lies to help you sell your ideas.
• While flats can only tell the truth. Plain and simple flats serve to show the important details that remain hidden in the artistic drawing. Such could be a hidden zipper, the color of the underlining or stitches.

HAND DRAWN OR DIGITAL ?

While many fashion designers and illustrator still prefer to draw their model illustrations by hand flats are usually drawn digitally. The industry standard is to present flats with perfect symmetry, clean lines  and true to life proportions. Digital drawing programs such as Adobe Illustrator, Corel Draw, Manga Studio and Photoshop make this task fun and easy. If you want to draw technical flats by hand there are some strict rules you need to follow. Check out the “How to draw fashion flats” tutorial for details.

HOW TO BRAINSTORM ENDLESS DESIGN IDEAS

Fashion flats give you the chance to expand your creativity by letting you focus most of all on the actual design. By drawing a basic top flat and  trying out different collar types and sleeves you can design something that you might never thought of before. Flats let you become a better designer ( don’t confuse a good designer with a person who draws well!) Here is an example of a very basic pants design. 5 different designs were created by simply playing with the pockets. Imagine what you could create by changing the belt, the legs length, adding loops, cutouts, zippers, stitches…..

MANY STYLES OF FLATS

Flats serve the purpose to clearly show the design elements therefore you need to keep the drawing relatively simple.  The classic approach is to use just black ink lines. Yet you can add shadows for extra realism or even show the fabric in some cases. You can draw realistic folds or keep it very minimal. Flats allow you less artistic creativity compared to model sketches but you can still have an unique personal style in drawing them. 

USING DESIGN FLATS TO PRESENT YOUR IDEAS

In the this illustration I’ve used flats to show different color options. It is common to show fabric swatches next to flats or Pantone # of the color.

In the below illustration I have drawn the front and the back view of the dress adding a fabric swatch “Design notes” field. Design notes include sleeve length, buttons size, etc. & can be either included like this or as arrows + some text.

 

I hope this post helped you understand design flats better – how and why should we use them. Stay tuned for the next tutorial where I will share important tips for drawing nice technical flats.

If you wish to see your design ideas professionally illustrated you are welcome to contact me for commissions here.

 

The post Fashion Flats appeared first on I Draw Fashion.