42 thoughts on “Please leave Cinema 15/16 homework as Comments HERE. Clarify which chapter you mean.”
Ansar El Muhammad
Cine 15
Chapter 2 five things I learned…
1) I learned that on any film set the camera main part is an instrument for showing at objects or actors significance.
2) I learned the tripod is our audience’s friend. Shaky camera movement is a major distraction.
3) A set of steady videos later assists in editing the shots in post-production.
4) Another interesting point about the rule of thirds, is although it is an longstanding theory it still applies to modern filming to create a polished product.
5) I learned mostly about composition is that it helps observers comprehend what’s on screen clearly.
1. Always use three points of support for a camera. If a tripod doesn’t work for a particular situation, use a monopod or brace against something.
2. Use the rule of thirds to divide the frame into thirds both vertically and horizontally. Place elements of your shot along those lines.
3. Balance out the shot of a large object by placing a smaller object further away. Visual leverage will balance them out.
4. Since viewers will always look to the brightest object in a shot first, make sure that object is what you want them to see first. Make sure to balance the color out with another bright color or larger mass.
5. Use leading lines to draw the viewer’s attention to what you want them to see. Kind of like single point perspective.
1. The camera’s view, when you set the camera at any person, place or thing, you get to decide of how you want the camera to see and how the viewers to look like (Exam, camera viewer wants to see two people talking to each other at a diner).
2. Balance leading looks, it is the most common errors when being a cameraman, shooting a person when they’re box in is not good. try moving the frame just a little to any side, that way the person is not the only one that’s being look at.
3. Another thing about balance is masses, if you see an object on one side and nothing on the other then its unbalanced, try to add another object on the other side before shooting a scene. that way your not just looking at one object.
4. The Tripod, it is so easy to use a tripod when shooting a scene with no movement, because not only that its distracting, but it also makes the cameraman unfordable when trying to stand still.
5. Angles, when you shoot a scene of a person or a building just straight on then that’s called a flat shot. But if you shoot it on any sides, then we call that a angle shot.
1. I learned that bright colors can be a distraction. so you can either match the person you are filming with the distracting color or just remove the subject from the distracting color.
2. Every detail counts because the human eyes tend to wander. for example you want the viewer to look at the house because that is suppose to be the focus of the shot, but there is a trail that is noticeable leading away from the house which grabs the views unwanted attention. the way you can fix that is just adjusting the shot to where the trail is leading to the house.
3. taking a picture in an angle rather than the usual front or flat will make the picture ascetically pleasing.
4. a shot from the bottom or a shot from the top can either make the viewer less important than the subject or more important than the subject
5. always take notice on where you are filming. make adjustments where need to or take notice of unwanted distractions and plan in advance on how to take them out of shot
1. The rule of thirds refers to mentally dividing a frame into nine separate squares, or three columns and rows and then placing the important elements of the shot into the points where the lines cross.
2. To make a shot more interesting, you can balance it out by putting objects of different sizes into the shot composition.
3. Since bright colors in a frame attract the viewers eye, you have to balance it out with another bright area or a larger mass.
4. Frames can be made more interesting by using elements from the location to create separate full or partial frames in the shot.
5. Using leading lines in a frame can create more interesting shots because it is easier for the viewer to know what they should be focusing on.
1) First part of chapter talks about what considerations are needed before filming actually begins.
Things like who’s your audience, where are you getting your funding, how to present your project are
some of the areas that were touched on.
2) In the format of Theatrical Exhibitions (movie houses) being that 35mm film reign for so many years
people could tell the difference between digital and 35mm film. Technology has changed all this and
it’s hard to distinguish between the two today.
3) In the section of sensors and what part they play in the overall make-up of an digital video camera
and the different sizes they come in was very informative. I learn that pixel sizes vary depending on the
size of the sensor is.
4) I learned that film rate is so varied in different parts of the world. Filming in 24fps as the standard I
primarily use, I learned that 24p is a faster film rate than a standard 24fps film rate helping in reducing
motion blur and strobing when you are panning a shot.
5) The section on compression (codec) was interesting and very informative because on my camera
it records on a video cassette and SD Card at the same time. Using only film is very cumbersome when editing because to transfer files from a cassette to a hard drive takes hours, while when compressing
data to a memory card the transfer is done considerably quicker. This chapter help clarify what’s going
on in my camera better
1) I learned that when you compare a human eye & the camera it works on basically similar principles of light, color, and brightness.
2) It was an attention-grabbing point to know that images captured by a camera goes through a chemical reaction to becoming visible to us.
3) I learned that movie cameras capture pictures just like a still photo camera, yet the process is much swifter interval wise.
4) I got a better understanding on dealing with exposure. Aperture helps light pass through a center hole in the lens, thus allowing in fractions of predetermined brightness.
5) I gained information about use of light meters on a movie set. This tool greatly aids film makers determine overall superlative exposure in a scene inside or outdoors.
1) Both the lens of an eye and the lens of a camera are convex lenses. This causes the image to be inverted both in the brain and the camera viewfinder
2) In a digital camera, light patterns are focused onto an image sensor- an CCD (charged coupled device) or CMOS (complementary metal oxide semiconductor). The light causes pixels to change on the sensor forming images.
3) The hole, or aperture, on the front of the lens lets in varying amounts of light depending on the size. This measurement is called an f/stop
4) An f/stop is also a ratio of the aperature to the lens length
5) Your depth of field decreases as you increase your focal length (aperture size). Your depth of field increases as you decrease your focal length
1. Pans and tilts are used to move the shot to look at different positions. For example, a film maker can use a pan or a tilt in a wide long shot to follow a subject across the landscape.
2. It is better to capture a scene in a long uninterrupted single master shot. Then shoot other camera angles and cutaways to add more to a film.
3.Editing can be used to compress and/or expand the flow of time. Editing is used to put the pieces of the story line together.
4.The 180 Degree rule is a guideline that is used in film making that makes a scene less confusing and disorientating.
5. In order to produce a quality movie, it is suggested that the director and crew previsualize and rehearse the script to lay out the ground work for what the movie will become.
1) Lighting is an imperative component to filming actors both outer and interior shots.
2) A major concern with exterior lighting is the sun. One major disadvantage is it constantly moving throughout the day.
3) I also learned about angles of illumination and shadows. A great way to fix these issues on any set is the usage of reflectors and fill lights.
4) When using interior lights three options are focusing quartz, broads, and soft lights. Being indoors on a closed set provides better control and versatility.
5) I gained information about use of key light on an actor can cover multiple subjects.
1). How the camera works
It is a action of using someone as a model of the human eye. The eye gathers pattern which the brain changes into images
2). Exposure
Inside the camera, the lens has a whole in the middle of the lens which is called the aperture. If the aperture is big it will give you a lot of light, but if it’s small then it will give small amount of light.
3). Color
There are two types of color, color temperature and color filter. color temperature is a way to actually see different kinds of color of light sources. color filters are used to change the existing light to the color temperature.
4). Lenses
The wide angle get a shorter lens, right about 12mm then the other lenses. While the normal angle has a focal length of 12mm. And the telephoto angle has the more longer lenses then any other, which has 100mm.
5). Depth of Field
The area in front of the camera is sharp and focus, the camera stand still and does not move.
1). Exterior Lighting
Its better when the sun is falling at a 45 degree angle when the camera is looking at someone in sunlight, looking at them in noontime creates ugly shadows.
2)’ The shadows cast by backlight and sidelight can be filed brighten up in two ways, reflectors and fill lights
3). A reflector is anything which reflects light. its normally a board covered with silver paint or foil. Any light can be used as a fill light outside, as long as it puts out daylight-colored light, with a color temperature of 5400K.
4). Interior Lighting
there’re three basic types of lights used for interior. Focusing quartz, boards, and soft lights.
5). The focusing quartz light is a movie and TV version of the theatrical spot light. Boards are non-focusing lights designed to put out a board even light over a large area. A spotlight is a permanent, portable bounce light.
1. A reflector is anything that reflects light. It is normally covered in silver paint or foil.
2. Fill lights are any lights that put out a daylight-colored light. One advantage of using a fill light is that you can place it anywhere. One disadvantage is that electricity is needed to power it.
3. Broads are non-focusing lights designed to put out a broad, even light over a large area.
4. A spotlight is a permanent, portable bounce light. It consists of a curved scoop, which is made of a silver colored material.
5. To avoid multiple, unnatural-looking shadows on walls, keep your lights high and your subjects away from the walls.
1. A wide shot is used to establish your subject in the mind of the viewer.
2. The close up shot is the tightest and closest shot to your subject.
3. A cutaway shot is the one shot that lets you easily change the length and/or the order of your sequence . It usually the most forgotten shot by filmmakers.
4. Each new shot should, if possible, change in both image size and camera angle.
5. Clean entrances and exits are very helpful in getting people quickly from one place to another.
1) When looking at basic sequence it’s much simpler to look at 6 images than 1, because it’s easier for the viewer.
2) I learned that an establishing shot is simply for the viewer to understand what’s imperative, that simple.
3) It’s interesting to note that a basic sequence is accomplished with a simple diagram. This camera set up enables numerous angles, for example a 45 degree angle.
4) Basic sequence uses a cutaway that changes or switches up the shots. Editors use it to create the order from medium shot to a close up, just as one example.
5) By using clean entrances and clean exits we can move a character easily on screen. Moving a person by this method will be smooth once edited.
Chapter#4
1) One main point about screen direction is objects like people viewed through the camera is key.
2) Axis of action is an imaginary line that determines what direction the character on screen are facing.
3) A good point about crossing the line is how a camera picks up a conversation between cast. A wide shot helps determine a cut away thus making an on screen look natural.
4) An interesting point about t.v. commercials is they often use both crossing the line and continuous camera movement. These shots are done with camera mounted on a dolly.
5) The overall lesson is nothing can exist for an audience’s mind unless, we shoot it and present it.
Chapter 1
1. F/stops can be used to adjust lighting
2. Color films use color temperature and color filters to reproduce colors accurately on a film
3. Color temperature identifies different light sources of color
4. Color filters are used to make certain adjustments for a required color temperature
5. The lower the ISO number the better your shot is because it is done at a slower rate making it less sensitive
Chapter 7
1. The sun is the best light source but its always moving throughout the course of the day
2. Its best to film a shot early so you can have that angle of the sun.
3. Reflectors can be used to reflect light from an unwanted area or to an area that needs light
4. Fill lights can be used in the same way accept you need power like a battery
5. Its important that the subject you are filming is the brightest because the brightest area is what the viewer
will spot first
Chapter 3
1. Its more fun and less boring to look at different images in a short amount of time than it is to look at one image for a long time.
2. A wide shot does not always mean a shot that shows everything but it can if it makes sense of the story you are tying to express. A wide shot shows what is important, big or small.
3. Cutaways are ways to make sequences shorter than they actually are or put more emphasis on what is important in the story.
4. A change in image size and camera angles from time to time can make a shot interesting and fun to view.
5. By changing camera angles you can manipulate the size of a subject showed on the screen.
Chapter 4
1. An axis line is used to determine the direction of sight from a person through the camera.
2. A point of view shot is from the characters point of view so the audience can relate.
3. Crossing the axis line can revers screen direction. for example switching person a and b even though they did not physically move
4. Direction of sight from a character and where the camera is positioned is important. camera A can have person looking at direction C but camera B will make the person look like they are looking at direction D in which they are not.
5. Anything that is in both shots and that has a define direction can make a smooth sequence.
1). it is better to look at different images in 30 seconds then just at one image for like a minute or two.
2). having a clean entrance and a clean exist is almost as good as having a million different cutaways.
3). the more you cover yourself with changes in image size, changes in camera angle, cutaways, overlapping actions, and clean entrance and clean exist the better your final product will be.
4). the medium shot are like the wide shot endlessly variable depending on your subject and your own point of view. The close-up is the tightest, the closest you choose to be to your subject. And the cutaway is one shot that lets you easily change the length and/or order of your sequence.
5). A good way to get smooth transitions between shots is to cut on the action. The viewer’s eye naturally follows movement on the screen.
1) One interesting clue that the chapter 5 author points out is about novice camera operators. Numerous camera movement is a tremendous issue when it boils down.
2) Another point highlights on narration with, “Precarious camera work” allows less time to assist later in the editing process.
3) Go with the basic camera moves such as zooms, pans, tilts, combos, etc. on the film set. The reason is later after production it may not work as you thought.
4) I really got a better understanding of making camera moves with a simple rule, “Static to static shots.” Static composition is key to a great end product.
5) The role of muscles and body movement can effect a shot. For example, tensing and relaxing will make a shot smooth or not.
Chapter#6
1) A montage is a sequence of associated shots used for time periods and space distance.
2) Interesting note on chapter 6 was that montages a primarily used in major advertising like t.v. commercials.
3) Do’s & don’ts of a montage sequence are very simple use a plethora of shots to differentiate among them visually.
4) Most ineffective montages are due to similarities of held shot. One is just like the other.
5) The coined terminology, “Dutch tilts” was fascinating to me due to filming angles of signage used to convey an idea of distinguish.
1. Adding movement or quicker editing to a scene can keep the audience’s attention more easily.
2. A cutaway shot is an easily forgotten shot of what is essentially a reaction to the main focus.
3. Each new shot should change both camera angle and image size.
4. A Clean Exit can be used to easily transfer a character from location to location without showing how.
5. Clean entrances and exits are always preferred when shooting a sequence.
Chapter 4:
1. The line in the phrase ‘crossing the line’ refers to the axis of action, which determines the direction people and things face in relation to the camera.
2. You can cross the line a second time if you stop on it.
3. Items or people in frame can serve as references for the audience to understand the transition if the environment isn’t good enough.
4. Positioning the camera well can save you even in situations where your set only has one angle that works for your background. Shooting from a different angle and instead repositioning your characters can alleviate this problem.
5. Above all, your audience only sees and knows what is shown to them. Not showing them a part of the set that sucks means to them, there is no suck.
Chapter 5:
1. Zoom ins draw attention to information that the film wants us to recognise as important, while zoom outs reveal new information.
2. Pans and tilts are both the same sort of movement, but the first refers to horizontal movement while the latter refers to vertical.
3. Move the camera from an uncomfortable position to a comfortable one. This generally results in a better translation.
4. All camera movement should have purpose.
5. When panning and zooming, start the pan first. The initial jolt of the pan starting is removed, making for a smoother shot.
Chapter 6:
1. Ineffective montages are repetitive ones.
2. Placing shots at strange angles against each other are each called Dutch Tilts.
3. A montage is a series of shots used as a whole to convey a condensed version of a singular goal, like for example the passage of time.
4. Montages have a large variety of potential goals, such as setting a mood or summarizing information.
5.Good montages incorporate a wide variety of locales, subjects, angles, and colors.
1) When looking at planning & shooting always start with a few questions, such as what’s the story or who’s the main audience? It’s easier for the director to begin with a film’s end goal in mind.
2) I learned that a shooting plan is simply forward thinking of what’s inside your head. The placement of actors/cameras is very imperative to simple sequences.
3) It’s interesting to note that a basic tool like a slates accomplishes identifying different shots. Later on in the editing process you can thank it whether it’s an expensive clapboard or white piece of paper.
4) Basic visualization starts with shooting script that helps sequence the shots used on film day. Another way to see is the use of a story board with clear drawings of the action and camera placement.
5) By using techniques learned throughout this book, “The Bare Bones Camera Course for Film and Video,” is fundamental at best. For instance getting the footage and all post production work is exiting. Any person with a camera can post stuff online, yet moving picture knowledge is what an artiste recognizes.
Shooting the movie touches on all areas of film production
1) Important factor in making a film is consider how you want the editing of a film to
come out. Keeping in mind the flow of the shots and how they can be incorporated
in the editing room
2) Different type of medias require different approaches to filming. Documentaries for
example when rarely have scripts are handed completely different than a scripted film.
3) The section on Slow motion, Time lapse, fast motion interesting. The use of slow
fps to film a long sequence in a shorter time was very informative. Also filming at a
faster fps (or overcranking) and playing at regular 24fps to get a true slow motion effect
rather doing in the editing room
4) Shooting in 3D always seemed to me to be very complicated, but it is pretty simple
to do using a camera with two lenses or two cameras simultaneously. Like it was pointed
out, it is easy to make a 3D movie, but hard to make a good one.
5) The use of different types of tripodes can be use for more than keeping a camera steady
when shooting a frame. Tripodes with wide feet for low shoots and using a Cinevate slider
on a tripode will definitely be used in future projects.
Chapter 7
1). The sun has a powerful and common source of light, but in film and television it has some disadvantages.
2). The sun always moves from east to west, horizon to horizon everyday which gives us good shadows, but during the noon hours give us ugly shadows and you don’t want that.
3). The shadow cast by backlight and sidelight can be filled in brightened up with light in two ways: Reflects and fill lights.
4). There are also three basic types of interior lighting: focusing quartz, boards, and soft lights.
5). The focusing quartz light is the movie and TV version of the theatrical spot light. Broads are non-focusing lights designed to put out a broad even light over an large area. A spotlight is a permanent, portable bounce light.
Chapter 8
1). Planning and shooting a sequence
when planning a shoot, the first thing is to decide what you want to end up with.
2). Next, make a shooting plan, even if it’s only in your head. Decide where you camera and subjects will be for each shot.
3). Later, after you have a better understanding of you’re doing you can try shooting all the way through in a wide shot, and then just repeating certain sections for medium shots, close-ups and cutaways.
4). A slate is a piece of Identification, whether on a fancy clapboard or a scrap of paper.
5). A shooting script is simply a list of what you’re going to shoot and how you’re going to shooting it.
Chapter 7:
1: The sun is an inconsistent source of light.
2: Exterior shots are filed with the subject facing the sun.
3: Shadows cast can be filled with reflectors and backlights.
4: Fill lights must match the background light.
5: Fill lights are generally better than reflectors as they do not rely on the background light to fill effectively.
Chapter 8:
1: Closeness of sound waves is referred to as frequency.
2: The size of waves is referred to as amplitude.
3: As the frequency increases, so does the pitch of the sound.
4: Microphones have different pickup patterns, which are the direction in which they can collectively collect sound.
5: Microphones generally have two different potential pickup patterns: directional and omnidirectional.
Chapter 9:
1: Slates are used to differentiate shots just by looking at the first frame.
2: Shooting out of sequence enables filmmakers to more efficiently film their movies by shooting all shots in a given location in one go, rather then filming chronologically.
3: It’s important to let everyone know what’s going on and having good communication between all elements on set.
5: Even if you don’t have a plan for your shoot, change camera angles and shots regularly, you can create a rudimentary sequence later.
1. Practice editing in real time to get an understanding of the skill.
2. In order to effectively edit, the editor must understand where the audience’s attention is and where it wants to go next.
3. An effective way of documenting individual shots is incredibly useful for streamlining the editing.
4. Properly establishing a scene is just as important as the the scene itself. Audience members won’t understand the message if they’re just trying to figure out whats going on on the surface.
5. The editing style should not be too distracting, otherwise it may detract from the power of the main message. Find balance here.
introductiontocinema 
Ansar El Muhammad
Cine 15
Chapter 2 five things I learned…
1) I learned that on any film set the camera main part is an instrument for showing at objects or actors significance.
2) I learned the tripod is our audience’s friend. Shaky camera movement is a major distraction.
3) A set of steady videos later assists in editing the shots in post-production.
4) Another interesting point about the rule of thirds, is although it is an longstanding theory it still applies to modern filming to create a polished product.
5) I learned mostly about composition is that it helps observers comprehend what’s on screen clearly.
LikeLiked by 1 person
CINE015 Chapter 2
1. Always use three points of support for a camera. If a tripod doesn’t work for a particular situation, use a monopod or brace against something.
2. Use the rule of thirds to divide the frame into thirds both vertically and horizontally. Place elements of your shot along those lines.
3. Balance out the shot of a large object by placing a smaller object further away. Visual leverage will balance them out.
4. Since viewers will always look to the brightest object in a shot first, make sure that object is what you want them to see first. Make sure to balance the color out with another bright color or larger mass.
5. Use leading lines to draw the viewer’s attention to what you want them to see. Kind of like single point perspective.
LikeLiked by 1 person
Cinem015 Chapter 2
Here are the Five Things I learned in Cinema 15
1. The camera’s view, when you set the camera at any person, place or thing, you get to decide of how you want the camera to see and how the viewers to look like (Exam, camera viewer wants to see two people talking to each other at a diner).
2. Balance leading looks, it is the most common errors when being a cameraman, shooting a person when they’re box in is not good. try moving the frame just a little to any side, that way the person is not the only one that’s being look at.
3. Another thing about balance is masses, if you see an object on one side and nothing on the other then its unbalanced, try to add another object on the other side before shooting a scene. that way your not just looking at one object.
4. The Tripod, it is so easy to use a tripod when shooting a scene with no movement, because not only that its distracting, but it also makes the cameraman unfordable when trying to stand still.
5. Angles, when you shoot a scene of a person or a building just straight on then that’s called a flat shot. But if you shoot it on any sides, then we call that a angle shot.
LikeLiked by 1 person
Zachery Gonido
CINE015 Chapter 2
1. I learned that bright colors can be a distraction. so you can either match the person you are filming with the distracting color or just remove the subject from the distracting color.
2. Every detail counts because the human eyes tend to wander. for example you want the viewer to look at the house because that is suppose to be the focus of the shot, but there is a trail that is noticeable leading away from the house which grabs the views unwanted attention. the way you can fix that is just adjusting the shot to where the trail is leading to the house.
3. taking a picture in an angle rather than the usual front or flat will make the picture ascetically pleasing.
4. a shot from the bottom or a shot from the top can either make the viewer less important than the subject or more important than the subject
5. always take notice on where you are filming. make adjustments where need to or take notice of unwanted distractions and plan in advance on how to take them out of shot
LikeLiked by 1 person
CINA 015 Ch. 2
1. The rule of thirds refers to mentally dividing a frame into nine separate squares, or three columns and rows and then placing the important elements of the shot into the points where the lines cross.
2. To make a shot more interesting, you can balance it out by putting objects of different sizes into the shot composition.
3. Since bright colors in a frame attract the viewers eye, you have to balance it out with another bright area or a larger mass.
4. Frames can be made more interesting by using elements from the location to create separate full or partial frames in the shot.
5. Using leading lines in a frame can create more interesting shots because it is easier for the viewer to know what they should be focusing on.
LikeLiked by 1 person
George Nixon
Cinema 16
Chapter 2 “The Film-Makers’s Hand Book
1) First part of chapter talks about what considerations are needed before filming actually begins.
Things like who’s your audience, where are you getting your funding, how to present your project are
some of the areas that were touched on.
2) In the format of Theatrical Exhibitions (movie houses) being that 35mm film reign for so many years
people could tell the difference between digital and 35mm film. Technology has changed all this and
it’s hard to distinguish between the two today.
3) In the section of sensors and what part they play in the overall make-up of an digital video camera
and the different sizes they come in was very informative. I learn that pixel sizes vary depending on the
size of the sensor is.
4) I learned that film rate is so varied in different parts of the world. Filming in 24fps as the standard I
primarily use, I learned that 24p is a faster film rate than a standard 24fps film rate helping in reducing
motion blur and strobing when you are panning a shot.
5) The section on compression (codec) was interesting and very informative because on my camera
it records on a video cassette and SD Card at the same time. Using only film is very cumbersome when editing because to transfer files from a cassette to a hard drive takes hours, while when compressing
data to a memory card the transfer is done considerably quicker. This chapter help clarify what’s going
on in my camera better
LikeLiked by 1 person
Blog Discussion Chapter#1
1) I learned that when you compare a human eye & the camera it works on basically similar principles of light, color, and brightness.
2) It was an attention-grabbing point to know that images captured by a camera goes through a chemical reaction to becoming visible to us.
3) I learned that movie cameras capture pictures just like a still photo camera, yet the process is much swifter interval wise.
4) I got a better understanding on dealing with exposure. Aperture helps light pass through a center hole in the lens, thus allowing in fractions of predetermined brightness.
5) I gained information about use of light meters on a movie set. This tool greatly aids film makers determine overall superlative exposure in a scene inside or outdoors.
LikeLike
CINE015 Chapter 1
1) Both the lens of an eye and the lens of a camera are convex lenses. This causes the image to be inverted both in the brain and the camera viewfinder
2) In a digital camera, light patterns are focused onto an image sensor- an CCD (charged coupled device) or CMOS (complementary metal oxide semiconductor). The light causes pixels to change on the sensor forming images.
3) The hole, or aperture, on the front of the lens lets in varying amounts of light depending on the size. This measurement is called an f/stop
4) An f/stop is also a ratio of the aperature to the lens length
5) Your depth of field decreases as you increase your focal length (aperture size). Your depth of field increases as you decrease your focal length
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Cinema 16
Chapter 9
1. Pans and tilts are used to move the shot to look at different positions. For example, a film maker can use a pan or a tilt in a wide long shot to follow a subject across the landscape.
2. It is better to capture a scene in a long uninterrupted single master shot. Then shoot other camera angles and cutaways to add more to a film.
3.Editing can be used to compress and/or expand the flow of time. Editing is used to put the pieces of the story line together.
4.The 180 Degree rule is a guideline that is used in film making that makes a scene less confusing and disorientating.
5. In order to produce a quality movie, it is suggested that the director and crew previsualize and rehearse the script to lay out the ground work for what the movie will become.
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CINA 015 Ch. 1
1. Eight Millimeter cameras record 18 different frames per second. Sixteen and thirty-five millimeter cameras take 24 fps.
2. Exposure is the amount of light that hits the film or the CCO chip.
3. Every camera has a “normal” lens. This lens usually includes a horizontal length of 25 degrees.
4. Zoom lenses combine a wide range of focal lengths in a single lens.
5. Your depth of field decreaes as you increase your focal length.
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Cinema 16 Chapter 1
1. The lens of a camera operates in the same manner that the human eye does.
2. Each f/stop lets in half as much light as the previous one, controlling the light intake.
3. Films can only use one light source at a time. Color filters help go around this.
4. Color films are used with Daylight and Tungsten light types.
5. ISO (International Standards Organization) tells you the speed or sensitivity of the film you are using at the time.
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Chapter #7
1) Lighting is an imperative component to filming actors both outer and interior shots.
2) A major concern with exterior lighting is the sun. One major disadvantage is it constantly moving throughout the day.
3) I also learned about angles of illumination and shadows. A great way to fix these issues on any set is the usage of reflectors and fill lights.
4) When using interior lights three options are focusing quartz, broads, and soft lights. Being indoors on a closed set provides better control and versatility.
5) I gained information about use of key light on an actor can cover multiple subjects.
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1). How the camera works
It is a action of using someone as a model of the human eye. The eye gathers pattern which the brain changes into images
2). Exposure
Inside the camera, the lens has a whole in the middle of the lens which is called the aperture. If the aperture is big it will give you a lot of light, but if it’s small then it will give small amount of light.
3). Color
There are two types of color, color temperature and color filter. color temperature is a way to actually see different kinds of color of light sources. color filters are used to change the existing light to the color temperature.
4). Lenses
The wide angle get a shorter lens, right about 12mm then the other lenses. While the normal angle has a focal length of 12mm. And the telephoto angle has the more longer lenses then any other, which has 100mm.
5). Depth of Field
The area in front of the camera is sharp and focus, the camera stand still and does not move.
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Sean McNamee For Chapter 1
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Cinema 15 Chapter 7
1). Exterior Lighting
Its better when the sun is falling at a 45 degree angle when the camera is looking at someone in sunlight, looking at them in noontime creates ugly shadows.
2)’ The shadows cast by backlight and sidelight can be filed brighten up in two ways, reflectors and fill lights
3). A reflector is anything which reflects light. its normally a board covered with silver paint or foil. Any light can be used as a fill light outside, as long as it puts out daylight-colored light, with a color temperature of 5400K.
4). Interior Lighting
there’re three basic types of lights used for interior. Focusing quartz, boards, and soft lights.
5). The focusing quartz light is a movie and TV version of the theatrical spot light. Boards are non-focusing lights designed to put out a board even light over a large area. A spotlight is a permanent, portable bounce light.
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CINE015 Chapter 7
1) Reflectors and fill lights can brighten shadows cast by backlight and sidelight
2) A reflector is anything that reflects light. Usually a board covered with silver foil or paint. Reflects sunlight to areas where it’s needed.
3) A fill light puts out any daylight-colored light and can be any light with a color temperature of 5400K.
4) Broads are non-focusing lights designed to put out a broad light over a large area and have no fine-tuning controls.
5) Quartz light can be softened by diffusion material in front of the light, or by bouncing the light off a reflector surface.
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CINE015 Chapter 8
1) Always make a shooting plan. Should include where the actors and cameras will be.
2) A slate identifies which scene the shot and also should include a brief description of the scene.
3) A shoot script is a list of what and how you’re going to shoot a scene.
4) Never forget to use a slate, it’s good practice. It’s good discipline to think about how scenes fit together.
5) A storyboard helps visualizd a shoot. It’s a series of simple drawings that describe a scene.
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Cinema 15 Chapter 2
1. The rule of thirds is a good way to make sure you have good composition during a film.
2. Without it, the viewer will feel that the object in perspective is trapped inside with little room to maneuver.
3. Bright colors are going to attract the viewers eye during a film.
4. Reality has three dimensions (height, width, and depth). In pictures there are only height and width.
5.In film you should make use of leading lines, they help guide the viewers eyes to the object in focus.
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Cinema 16 Chapter 7
1. People tend to look better when the sunlight hits them at an angle of 45 degrees or less.
2. The three most common interior light types are focusing quartz, broads, and soft lights.
3. Fill lights use daylight-colored light and have a color temperature of 5400k.
4. Broads is a non-focusing light that gives out a broad consistent light over a large area.
5. In order to separate a subject from the background, you would use a backlight.
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CINE 015 CH. 7
1. A reflector is anything that reflects light. It is normally covered in silver paint or foil.
2. Fill lights are any lights that put out a daylight-colored light. One advantage of using a fill light is that you can place it anywhere. One disadvantage is that electricity is needed to power it.
3. Broads are non-focusing lights designed to put out a broad, even light over a large area.
4. A spotlight is a permanent, portable bounce light. It consists of a curved scoop, which is made of a silver colored material.
5. To avoid multiple, unnatural-looking shadows on walls, keep your lights high and your subjects away from the walls.
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Cinema 15 Chapter 3
1. A wide shot and an establishing shot are interchangeable terms that show the viewer what the subject of the shot is.
2. The cutaway is the one shot that will let you easily change the length and order of the sequence.
3. The most common example of a cutaway is when a news station will cut to a reporter.
4. You should always try to move your camera at least 45 degrees when switching camera angles.
5.Photographers can shoot a bunch of shots, but only a cameraperson can shoot a sequence.
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CINE 015 Ch. 3
1. A wide shot is used to establish your subject in the mind of the viewer.
2. The close up shot is the tightest and closest shot to your subject.
3. A cutaway shot is the one shot that lets you easily change the length and/or the order of your sequence . It usually the most forgotten shot by filmmakers.
4. Each new shot should, if possible, change in both image size and camera angle.
5. Clean entrances and exits are very helpful in getting people quickly from one place to another.
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Chapter 4
1. A different focal length in two close up shots will cause one shot to look flatter whereas the other will look sharper.
2. A normal lens focal length is 50mm.
3. You can control the depth of field by changing the size of an object that appears in the image.
4. Depth of focus is a zone of focus behind the lens where the video sensor can acceptably sharp images.
5. the front element of the lens often picks up stray light from bright objects or other light sources even when the light source is not in the frame.
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CINE 015 Ch. 4
1. Screen direction is the direction people and things face when viewed through the camera.
2. The line, or the axis of action, is an imaginary line which determines the direction people and things face when viewed through the camera.
3. As long as you don’t cross the line, you can move people, things and camera anywhere you want.
4. Nothing exists for the viewer except what you show him. Once you figure this out, you can work wonders.
5. Sometimes it is just a matter of moving or pivoting your subject a few feet to get a better shot.
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Chapter#3
1) When looking at basic sequence it’s much simpler to look at 6 images than 1, because it’s easier for the viewer.
2) I learned that an establishing shot is simply for the viewer to understand what’s imperative, that simple.
3) It’s interesting to note that a basic sequence is accomplished with a simple diagram. This camera set up enables numerous angles, for example a 45 degree angle.
4) Basic sequence uses a cutaway that changes or switches up the shots. Editors use it to create the order from medium shot to a close up, just as one example.
5) By using clean entrances and clean exits we can move a character easily on screen. Moving a person by this method will be smooth once edited.
Chapter#4
1) One main point about screen direction is objects like people viewed through the camera is key.
2) Axis of action is an imaginary line that determines what direction the character on screen are facing.
3) A good point about crossing the line is how a camera picks up a conversation between cast. A wide shot helps determine a cut away thus making an on screen look natural.
4) An interesting point about t.v. commercials is they often use both crossing the line and continuous camera movement. These shots are done with camera mounted on a dolly.
5) The overall lesson is nothing can exist for an audience’s mind unless, we shoot it and present it.
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CINE15 Chapter 2:
1. Balancing a shot lets characters appear less boxed in, often referred to as head room.
2. Treat balancing a shot like a literal balance. The smaller an object is, the farther it should be from the fulcrum.
3. Viewers will look at whatever object is lightest or brightest in a given shot first.
4. You can make a frame more interesting by setting objects at the edges of the frame, or a “frame within a frame”.
5. Changing the angle can change the way the viewer sees the subject of the shot.
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CINE15 Chapter 1:
1. A CMOS is a complementary metal oxide semiconductor. It’s a necessary component of capturing images.
2. An F/stop is a measure of the size of an aperture in a lens.
3. Color temperature is measured like literal temperature, in degrees of Kelvin.
4. Setting exposure is done by changing the f/stop.
5. Your depth of field decreases as you increase your focal length.
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CINE15
Chapter 1
1. F/stops can be used to adjust lighting
2. Color films use color temperature and color filters to reproduce colors accurately on a film
3. Color temperature identifies different light sources of color
4. Color filters are used to make certain adjustments for a required color temperature
5. The lower the ISO number the better your shot is because it is done at a slower rate making it less sensitive
Chapter 7
1. The sun is the best light source but its always moving throughout the course of the day
2. Its best to film a shot early so you can have that angle of the sun.
3. Reflectors can be used to reflect light from an unwanted area or to an area that needs light
4. Fill lights can be used in the same way accept you need power like a battery
5. Its important that the subject you are filming is the brightest because the brightest area is what the viewer
will spot first
Chapter 3
1. Its more fun and less boring to look at different images in a short amount of time than it is to look at one image for a long time.
2. A wide shot does not always mean a shot that shows everything but it can if it makes sense of the story you are tying to express. A wide shot shows what is important, big or small.
3. Cutaways are ways to make sequences shorter than they actually are or put more emphasis on what is important in the story.
4. A change in image size and camera angles from time to time can make a shot interesting and fun to view.
5. By changing camera angles you can manipulate the size of a subject showed on the screen.
Chapter 4
1. An axis line is used to determine the direction of sight from a person through the camera.
2. A point of view shot is from the characters point of view so the audience can relate.
3. Crossing the axis line can revers screen direction. for example switching person a and b even though they did not physically move
4. Direction of sight from a character and where the camera is positioned is important. camera A can have person looking at direction C but camera B will make the person look like they are looking at direction D in which they are not.
5. Anything that is in both shots and that has a define direction can make a smooth sequence.
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CINE015 Chapter 5
1) A camera move should have a purpose. If it doesnt, it distracts the viewer.
2) Shoot your move, and cover yourself with static shots.
3) Pans are horizontal movements and tilts are vertical movements. Reveal new information.
4) If you pan too fast, vertical lines will trail ghost images.
5) Follow a smaller object to lead your viewer through a long pan.
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CINE015 Chapter 6
1) A montage is a series of clips to set a mood, condense time/disance, or summarize information.
2) Shots have to be distinctly different for a montage to work.
3) When making a montage with signs, is to tilt each sign a different way.
4) When making a montage of people, use a variety of angles.
5) Most TV commercials are montages.
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CINE015 Chapter 3
1). it is better to look at different images in 30 seconds then just at one image for like a minute or two.
2). having a clean entrance and a clean exist is almost as good as having a million different cutaways.
3). the more you cover yourself with changes in image size, changes in camera angle, cutaways, overlapping actions, and clean entrance and clean exist the better your final product will be.
4). the medium shot are like the wide shot endlessly variable depending on your subject and your own point of view. The close-up is the tightest, the closest you choose to be to your subject. And the cutaway is one shot that lets you easily change the length and/or order of your sequence.
5). A good way to get smooth transitions between shots is to cut on the action. The viewer’s eye naturally follows movement on the screen.
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Chapter#5
1) One interesting clue that the chapter 5 author points out is about novice camera operators. Numerous camera movement is a tremendous issue when it boils down.
2) Another point highlights on narration with, “Precarious camera work” allows less time to assist later in the editing process.
3) Go with the basic camera moves such as zooms, pans, tilts, combos, etc. on the film set. The reason is later after production it may not work as you thought.
4) I really got a better understanding of making camera moves with a simple rule, “Static to static shots.” Static composition is key to a great end product.
5) The role of muscles and body movement can effect a shot. For example, tensing and relaxing will make a shot smooth or not.
Chapter#6
1) A montage is a sequence of associated shots used for time periods and space distance.
2) Interesting note on chapter 6 was that montages a primarily used in major advertising like t.v. commercials.
3) Do’s & don’ts of a montage sequence are very simple use a plethora of shots to differentiate among them visually.
4) Most ineffective montages are due to similarities of held shot. One is just like the other.
5) The coined terminology, “Dutch tilts” was fascinating to me due to filming angles of signage used to convey an idea of distinguish.
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Chapter 3:
1. Adding movement or quicker editing to a scene can keep the audience’s attention more easily.
2. A cutaway shot is an easily forgotten shot of what is essentially a reaction to the main focus.
3. Each new shot should change both camera angle and image size.
4. A Clean Exit can be used to easily transfer a character from location to location without showing how.
5. Clean entrances and exits are always preferred when shooting a sequence.
Chapter 4:
1. The line in the phrase ‘crossing the line’ refers to the axis of action, which determines the direction people and things face in relation to the camera.
2. You can cross the line a second time if you stop on it.
3. Items or people in frame can serve as references for the audience to understand the transition if the environment isn’t good enough.
4. Positioning the camera well can save you even in situations where your set only has one angle that works for your background. Shooting from a different angle and instead repositioning your characters can alleviate this problem.
5. Above all, your audience only sees and knows what is shown to them. Not showing them a part of the set that sucks means to them, there is no suck.
Chapter 5:
1. Zoom ins draw attention to information that the film wants us to recognise as important, while zoom outs reveal new information.
2. Pans and tilts are both the same sort of movement, but the first refers to horizontal movement while the latter refers to vertical.
3. Move the camera from an uncomfortable position to a comfortable one. This generally results in a better translation.
4. All camera movement should have purpose.
5. When panning and zooming, start the pan first. The initial jolt of the pan starting is removed, making for a smoother shot.
Chapter 6:
1. Ineffective montages are repetitive ones.
2. Placing shots at strange angles against each other are each called Dutch Tilts.
3. A montage is a series of shots used as a whole to convey a condensed version of a singular goal, like for example the passage of time.
4. Montages have a large variety of potential goals, such as setting a mood or summarizing information.
5.Good montages incorporate a wide variety of locales, subjects, angles, and colors.
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Chapter#8
1) When looking at planning & shooting always start with a few questions, such as what’s the story or who’s the main audience? It’s easier for the director to begin with a film’s end goal in mind.
2) I learned that a shooting plan is simply forward thinking of what’s inside your head. The placement of actors/cameras is very imperative to simple sequences.
3) It’s interesting to note that a basic tool like a slates accomplishes identifying different shots. Later on in the editing process you can thank it whether it’s an expensive clapboard or white piece of paper.
4) Basic visualization starts with shooting script that helps sequence the shots used on film day. Another way to see is the use of a story board with clear drawings of the action and camera placement.
5) By using techniques learned throughout this book, “The Bare Bones Camera Course for Film and Video,” is fundamental at best. For instance getting the footage and all post production work is exiting. Any person with a camera can post stuff online, yet moving picture knowledge is what an artiste recognizes.
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George Nixon Cinema 16
CHAPTER 9
Shooting the movie touches on all areas of film production
1) Important factor in making a film is consider how you want the editing of a film to
come out. Keeping in mind the flow of the shots and how they can be incorporated
in the editing room
2) Different type of medias require different approaches to filming. Documentaries for
example when rarely have scripts are handed completely different than a scripted film.
3) The section on Slow motion, Time lapse, fast motion interesting. The use of slow
fps to film a long sequence in a shorter time was very informative. Also filming at a
faster fps (or overcranking) and playing at regular 24fps to get a true slow motion effect
rather doing in the editing room
4) Shooting in 3D always seemed to me to be very complicated, but it is pretty simple
to do using a camera with two lenses or two cameras simultaneously. Like it was pointed
out, it is easy to make a 3D movie, but hard to make a good one.
5) The use of different types of tripodes can be use for more than keeping a camera steady
when shooting a frame. Tripodes with wide feet for low shoots and using a Cinevate slider
on a tripode will definitely be used in future projects.
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Chapter 4
1). Screen direction is the direction people and things face when viewed through the camera.
2). In our sequence of the man talking to the boy. The line would intersect the man and the boy.
3). As long as the camera stays on the front side of the line, the man will be looking screen left and the boy will be looking screen right,
4). The easiest way is when your subject changes direction on camera within the frame, you stand still, and the line actually crosses under you.
5). Another way is to cross the line in one continuous move with the camera.
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Chapter 6
1). A montage is a series of related shots used to condense time or distance, set a mood of summarize information.
2). For example, a montage of highway signs, a montage of pretty nature shots, or a montage of company products.
3). An easy way to make good montages, is to tilt each of the signs in different ways. ( They are called Dutch tilts).
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Chapter 7
1). The sun has a powerful and common source of light, but in film and television it has some disadvantages.
2). The sun always moves from east to west, horizon to horizon everyday which gives us good shadows, but during the noon hours give us ugly shadows and you don’t want that.
3). The shadow cast by backlight and sidelight can be filled in brightened up with light in two ways: Reflects and fill lights.
4). There are also three basic types of interior lighting: focusing quartz, boards, and soft lights.
5). The focusing quartz light is the movie and TV version of the theatrical spot light. Broads are non-focusing lights designed to put out a broad even light over an large area. A spotlight is a permanent, portable bounce light.
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Chapter 8
1). Planning and shooting a sequence
when planning a shoot, the first thing is to decide what you want to end up with.
2). Next, make a shooting plan, even if it’s only in your head. Decide where you camera and subjects will be for each shot.
3). Later, after you have a better understanding of you’re doing you can try shooting all the way through in a wide shot, and then just repeating certain sections for medium shots, close-ups and cutaways.
4). A slate is a piece of Identification, whether on a fancy clapboard or a scrap of paper.
5). A shooting script is simply a list of what you’re going to shoot and how you’re going to shooting it.
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CINA015 Chapter 8
1) Always make a shooting plan, whether it be written or in your head.
2) Storyboards can be helpful in visualizing what you’re going to shoot.
3) Shoot scenes out of sequence if you need similar shots that aren’t after one another.
4) Communication with the rest of your crew is critical in making sure things run smoothly.
5) Don’t panic in uncontrolled shooting situations. Use what you know and do the best you can.
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CINA015
Chapter 7:
1: The sun is an inconsistent source of light.
2: Exterior shots are filed with the subject facing the sun.
3: Shadows cast can be filled with reflectors and backlights.
4: Fill lights must match the background light.
5: Fill lights are generally better than reflectors as they do not rely on the background light to fill effectively.
Chapter 8:
1: Closeness of sound waves is referred to as frequency.
2: The size of waves is referred to as amplitude.
3: As the frequency increases, so does the pitch of the sound.
4: Microphones have different pickup patterns, which are the direction in which they can collectively collect sound.
5: Microphones generally have two different potential pickup patterns: directional and omnidirectional.
Chapter 9:
1: Slates are used to differentiate shots just by looking at the first frame.
2: Shooting out of sequence enables filmmakers to more efficiently film their movies by shooting all shots in a given location in one go, rather then filming chronologically.
3: It’s important to let everyone know what’s going on and having good communication between all elements on set.
5: Even if you don’t have a plan for your shoot, change camera angles and shots regularly, you can create a rudimentary sequence later.
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CINE 15 Ch. 10
1. Practice editing in real time to get an understanding of the skill.
2. In order to effectively edit, the editor must understand where the audience’s attention is and where it wants to go next.
3. An effective way of documenting individual shots is incredibly useful for streamlining the editing.
4. Properly establishing a scene is just as important as the the scene itself. Audience members won’t understand the message if they’re just trying to figure out whats going on on the surface.
5. The editing style should not be too distracting, otherwise it may detract from the power of the main message. Find balance here.
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