dslr cinematography
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An introduction to shooting films using high-definition DSLR camerasTRANSCRIPT
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DIGITAL SLR CINEMATOGRAPHY
An introduction to
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This session…
Why use dSLRs for filming? With demos and big-screen
blockbusters! Getting started with filming using
dSLRs Basic cinematography concepts and
dSLRs Advanced setups: taking it to the
next level Post-production
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Why shoot films on a dSLR? Compact and light High-def (1080p), high bitrate (50mbps)
capture Advanced creative control (Av/DoF, Tv) High-quality, interchangeable lenses Large, high quality CMOS sensors:
Optical capture area is larger than 35mm cine film
Unrivalled low-light shooting ability High dynamic range
3 years ago, to get all this in a video camera, the *least* it would have cost is $50,000 (body only)
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Demos
Vincent Laforet - “Reverie” – the clip that started it all. Shot on 5D Mark II – no colour grading.
Shane Hurlbut, ASC – “The Last Three Minutes”. Shot on 5D Mark II.
Phillip Bloom – “Sofia’s People”. Shot on 5D Mark II with just one lens, a Zeiss ZF 50mm f1.4 – no lighting or colour grading.
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Recent big dSLR productions "if you’re [not] using the 5D [Mark II],
you aren’t making your movie the best it can be.“ Iron Man 2 Captain America Black Swan (filmed in Australia!)
AFI Movie of the Year 1 Academy Award & 4 nominations including
Best Achievement in Cinematography and Best Motion Picture of
House – Season 6 Finale (clip), and ALL of (current) Season 7
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Getting started…
The minimum you’ll need (kits from $600!): A dSLR body with HD 720p or better
Full frame (35mm) vs crop sensor (“APS-C”) 5d Mark II
7D
60D
550D A lens
Prime Zoom
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Sensor sizes
35mm Full Frame (5D mkII, Nikon D3s)
APS-C (“crop”)(7D, RED One - $25,000)
Broadcast Camcorder (Sony EX3 - $10,000)
Light from lens falling on focal plane“Full frame” sensor imaging area“Crop” sensor imaging area (1.5-1.6x
“zoom”)
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Why use primes
“Faster” than zooms (esp. “kit” lenses) (Generally) better optics & image quality Many primes are comparatively cheap
E.g. Samyang 14mm f/2.8, 35mm & 85mm f/1.4 + Canon 50mm f/1.8 for less than the price of a 24-70 f/2.8 zoom - & is optically superior in every way
Zooming (while filming) is usually avoided (unless you are Stanley Kubrick, Baz Luhrmann, Alfred Hitchcock, Steven Spielberg,
Martin Scorsese, Andrei Tarkovsky, Robert Altman, Francis Ford Coppola, Peter Bogdanovich, Quentin Tarantino… )
But… need lens changes/less convenient …so less suitable for documentary/event work which needs flexibility
(for narrative filmmaking)?
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Adapting old/cheap len$e$
Many old lenses can be attached with adaptors – this is a great way to pick up a bargain lens!
You will usually lose electronic control - so most adapted lenses need a manual aperture ring!
This adaptor has electronic connectors… BUT…
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Cinematography Basics 101
Focal length Exposure – Light, aperture, ISO, ND
filters Shutter speed & frame rate Technical stuff
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Focal length
Refers to the amount of image magnification.
“Wide Angle” – perspective exaggerated
“Normal” – natural perspective
“Telephoto” –perspective compressed
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Video exposure basics
Exposure - controlling the recorded video image for correct brightness and contrast.
Lighting is the foundation of exposure. If you can control the light, you can use the camera’s exposure controls for creativity and finesse - rather than just to get a shot.
Aperture, ISO and ND filters are used for controlling exposure in-camera. Not shutter speed (though it does affect exposure).
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Video exposure basics (cont) Fast lenses have a large maximum
aperture e.g. f/2.8, f/1.8, f/1.4 (“f-stop”). Note: f/x is a fraction! So the smaller the value of x, the
larger the number “f/x” - and the larger the aperture! (e.g. f/1.4 > f/2.8)
Larger apertures: Let in more light Narrow depth-of-fieldso you can Shoot in dimmer light
(with good exposure) Blur fore/backgrounds
[subject focus/“bokeh”] Create beautiful images!
f/1.4 f/2.8 f/8 f/22More light Less light
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Video exposure basics (cont) Doubling ISO doubles the
sensitivity of the sensor and makes the image brighter.
However, high ISO results in more “noise”, reducing image quality.
Multiples of 160 are “real” ISOs for Canons – others are generated
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Video exposure basics (cont) We can also reduce the amount of light
entering the lens with a Neutral Density (ND) filter. This is useful if we want to shoot with a wide aperture on a bright day.
ND4 (1-stop) Graduated ND Fader ND
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What about shutter speed?
The shutter speed of each frame is limited by the frame rate. (Shooting) at 24 fps, the LONGEST exposure possible is 1/24s.
To mimic the appearance of film, shoot as close as possible to half your frame rate. E.g. at 24 fps, set your shutter to 1/50s.
You can increase your shutter speed, for a stroboscopic, choppy appearance (e.g. Saving Private Ryan, Gladiator).
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Frame Rate
Most standard film is shot at 24 fps. PAL is 25 fps. To mimic the look of cinematic film, use a setting as close as possible to 24 fps.
The 7D can shoot at 60 fps. This can be slowed down to 24/25 fps for flawless “slow-mo” – or even further with software (demo).
Video on frame rate and shutter speed.
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Technical stuff
Compression – How the original video data is reduced for storage. Currently, all dSLR video is compressed (lossy) Codec – how the video data is encoded.
H.264 (Canon) is more efficient than MJPEG (Nikon)
Bitrate – how much data is used to store video
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Advanced dSLR setups
Allow mounting of additional accessories
Improve visual & audio quality & monitoring
Improve creative & technical control Look awesome professional!
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Advanced considerations
Support/mounting systems High quality audio capture &
recording Manually controlling focus Controlling video and audio Monitoring video and audio
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Support/mounting systems
Shake and blur are distracting! Sturdy tripod & fluid head – almost
essential I recommend WeiFang EI-717AH head.
Sturdy “Rig” – for shoulder/handheld work Weight and/or contact points minimise shake I use this collapsible shoulder rig . Or you can make one for a few dollars . Works fine!
Stabilisers/steadicams. 15mm cinematic rails for mounting
accessories.
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Basic SupportsShoulder rig with
integral 15mm rails
Use of rails to mount accessories (overkill for most shoots!)
Steadicam stabiliser
Video fluid head
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Supports for camera “moves” Dolly & tracking: Moving the
camera in one plane. Fwd-back = dolly; left-right = tracking (Phillip Bloom “Salton Sea” demo with
slider) Crane: basically, tracking up and
down Pan & tilt: Rotating camera on H or
V axis. Don’t do this too fast (causes rolling shutter &/or strobing) or jerkily!
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Supports for camera movesTripod dolly
Slider
Crane
Fluid head for pan/tilt
Skateboard as dolly
(you can DIY most of these!)
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Capturing audio
Audio is arguably more important than video for quality filmmaking. Viewers will tolerate poorly-shot images; but rarely poor sound! Turn off Automatic Gain in camera (AGC)! Use external microphone (Lavalier/shotgun) Mic setup e.g. boom, shockmount, windshield Boost S:NR - use amp/recorder (Juicedlink/Zoom) Use shielded cabling for longer cables (XLR) Sync with slate/clapper board (acrylic/iPad/DIY)
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Capturing audio (images)
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Controlling focus
Most dSLRs cannot autofocus in video mode
But in narrative filmmaking, we use manual focus anyway for more control
For “focus pulls”, we use a “follow focus”:
Follow focus for shake-free, precise focus adjustments and “pulls” - with white marker disc
Industry-standard rail mount (15mm Ø rods, 60mm apart)
Speed crank for fast focus pull
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Controlling video
To control flare from light sources, use a lens hood or matte box:
Matte boxes also enable use of 4x4” filters
“French Flag” – helps cut glare
Filter holders: static/rotating
Matte box – should attach sturdily!
Foam “donut”, snug around lens
Attaches to 15mm rail mount
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Controlling video (cont)
Always shoot in M (Manual) setting Need to White Balance - because
we are shooting compressed video (not RAW).
To improve final dynamic range, use “Picture Styles” (Canon) to flatten contrast. I recommend Technicolor Cinestyle (free!) Colour-correct in “Post-” (Colour Grading)
with Cinestyle Look-Up-Table (LUT) (also free!)
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Monitoring audio & video
Monitoring video: External field monitor or loupe for camera LCD Use “zebra stripes” and
live histogram – not in standard camera… but…
Monitoring audio: Use headphones – closed
ear, flat response is best Use level meters - not in
standard camera… but…
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Magic Lantern for Canon dSLR
Some talented programmers have written free software for Canon cameras that improves control and monitoring of video & audio: http://magiclantern.wikia.com/
Audio level monitor (int/ext mics)
Live exposure histogram
“Zebra stripes” (shows over/underexposed areas in
image)
Focus distance
Other data
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Post-production
One you have shot your footage, it needs to be edited! Some options & tips… Free, open source video editor: Lightworks
Used to edit “The King’s Speech” (Winner of 4 2011 Academy Awards incl. Best Motion Picture)
Other options: Adobe Premiere Pro CS5 can edit dSLR video natively – saves hours
Apple Final Cut Pro Free plugin imports Canon files for best quality
Converts to 4.2.2 Apple Prores colour space
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Colour grading
Shoot flat for detail in highlights & shadows
Colour grading: for hue, saturation & contrast
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Summary - and tips!
To get started you just need a dSLR and lens: Install free Technicolor Cinestyle picture
style Use free Magic Lantern firmware Use free editor (http://lightworksbeta.com/) Use free music (e.g. http://mobygratis.com/
or http://creativecommons.org/) for audio Shoot and practice!
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Summary and tips (cont)
If you have a few extra dollars: Buy a tripod and external
shotgun microphone Make a rig, shock mount and boom pole
(even cranes, sliders and dollies if you want to!)
Use a digital audio recorder (e.g. your phone)
Shoot and practice some more!
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More information
Online dSLR filmmaker community http://cinema5d.com/
How-to Guide http://nofilmschool.com/dslr/
Latest News (Blog) http://www.eoshd.com/
Me! [email protected] |
@leonardlow