ProductionProduction

In digital video, television and film, In digital video, television and film, production phase refers to the production phase refers to the recording, shooting and executing the recording, shooting and executing the script. This is the stage at which all the script. This is the stage at which all the filming is carried out. All scenes planned filming is carried out. All scenes planned out in pre-production are filmed at the out in pre-production are filmed at the relevant locations. Each scene is filmed relevant locations. Each scene is filmed as many times as the director deems fit, as many times as the director deems fit, to ensure the best quality scenes will be to ensure the best quality scenes will be used to construct the filmused to construct the film

EWS (Extreme Wide Shot)EWS (Extreme Wide Shot)The view is so far from the subject that The view is so far from the subject that she isn't even visible. This is often used she isn't even visible. This is often used

as an establishing shot as an establishing shot

VWS (Very Wide Shot)VWS (Very Wide Shot)The subject is visible (barely), but the emphasis The subject is visible (barely), but the emphasis is still on placing her in her environment. is still on placing her in her environment.

WS (Wide Shot)WS (Wide Shot)The subject takes up the full frame, or at least The subject takes up the full frame, or at least as much as possible, also known as long shot.as much as possible, also known as long shot.

MS (Mid Shot)MS (Mid Shot)Shows some part of the subject in more Shows some part of the subject in more detail whilst still giving an impression of the detail whilst still giving an impression of the whole subject. whole subject.

MCU (Medium Close Up)MCU (Medium Close Up)Half way between a MS and a CU Half way between a MS and a CU

CU (Close Up)CU (Close Up)A certain feature or part of the subject A certain feature or part of the subject takes up the whole frame takes up the whole frame

ECU (Extreme Close Up)ECU (Extreme Close Up)

ECU (Extreme Close Up)ECU (Extreme Close Up)

The shot is so tight that only a The shot is so tight that only a fraction of the focus of attention, fraction of the focus of attention, such as someone's eyes, can be seensuch as someone's eyes, can be seen

Two-ShotTwo-ShotA comfortable shot of two people, framed similarly A comfortable shot of two people, framed similarly to a mid shot. to a mid shot.

Aerial shotAerial shot

Aerial shotsAerial shots are usually done with a are usually done with a crane or with a camera attached to a crane or with a camera attached to a special helicopter to view large special helicopter to view large landscapes. This sort of shot would be landscapes. This sort of shot would be restricted to exterior locations. A good restricted to exterior locations. A good area to do this shot would be a scene area to do this shot would be a scene that takes place on a building. If the that takes place on a building. If the aerial shot is of a character it can make aerial shot is of a character it can make them seem insignificant or vulnerable.them seem insignificant or vulnerable.

1. The Bird's-Eye Level1. The Bird's-Eye Level

This shows a scene from directly This shows a scene from directly overhead, a very unnatural and strange overhead, a very unnatural and strange angle. Familiar objects viewed from this angle. Familiar objects viewed from this angle might seem totally unrecognisable angle might seem totally unrecognisable at first (umbrellas in a crowd)at first (umbrellas in a crowd)

This shot does, however, put the audience This shot does, however, put the audience in a godlike position, looking down on the in a godlike position, looking down on the action. People can be made to look action. People can be made to look insignificant, ant-like, part of a wider insignificant, ant-like, part of a wider scheme of things. scheme of things.

2. High Level2. High Level

Not so extreme as a bird's eye view. Not so extreme as a bird's eye view. The camera is elevated above the The camera is elevated above the action using a crane to give a action using a crane to give a general overview. High angles make general overview. High angles make the object photographed seem the object photographed seem smaller, and less significant (or smaller, and less significant (or scary). The object or character often scary). The object or character often gets swallowed up by their setting - gets swallowed up by their setting - they become part of a wider picture. they become part of a wider picture.

3. Eye Level3. Eye Level

A fairly neutral shot; the camera is A fairly neutral shot; the camera is positioned as though it is a human positioned as though it is a human actually observing a scene, so that actually observing a scene, so that eg actors' heads are on a level with eg actors' heads are on a level with the focus. The camera will be placed the focus. The camera will be placed approximately five to six feet from approximately five to six feet from the ground. the ground.

4. Low Level4. Low Level These increase height (useful for short actors These increase height (useful for short actors

like Tom Cruise) and give a sense of speeded like Tom Cruise) and give a sense of speeded motion. Low angles help give a sense of motion. Low angles help give a sense of confusion to a viewer, of powerlessness confusion to a viewer, of powerlessness within the action of a scene. The background within the action of a scene. The background of a low angle shot will tend to be just sky or of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting ceiling, the lack of detail about the setting adding to the disorientation of the viewer. adding to the disorientation of the viewer. The added height of the object may make it The added height of the object may make it inspire fear and insecurity in the viewer, who inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on is psychologically dominated by the figure on the screen. the screen.

5. Oblique/Canted Level5. Oblique/Canted Level

Sometimes the camera is tilted (ie is Sometimes the camera is tilted (ie is not placed horizontal to floor level), not placed horizontal to floor level), to suggest imbalance, transition and to suggest imbalance, transition and instability. This technique is used to instability. This technique is used to suggest POINT-OF-View shots (ie suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' when the camera becomes the 'eyes' of one particular character,seeing of one particular character,seeing what they see - a hand held camera what they see - a hand held camera is often used for this). is often used for this).

PanPan

DescriptionDescription: Shows what's to the : Shows what's to the left or right of the screen left or right of the screen

PurposesPurposes: Reveal setting, sweep : Reveal setting, sweep across subject wider than screen, across subject wider than screen, show relationship between two show relationship between two subjects. subjects.

TiltTilt

DescriptionDescription: Shows what's above or : Shows what's above or below the screen below the screen

PurposesPurposes: Reveal parts of vertical : Reveal parts of vertical subject, useful for showing tall subject, useful for showing tall objects, show relationship between objects, show relationship between parts of a subject, can add suspense parts of a subject, can add suspense or surprise. or surprise.

TrackTrack

DescriptionDescription: Camera physically : Camera physically moves to left or right around subject.moves to left or right around subject.

PurposesPurposes: Reveal another side of : Reveal another side of subject, add dimension, show subject, add dimension, show physical relationship between objects physical relationship between objects or subjects. or subjects.

DollyDolly

DescriptionDescription: Camera physically : Camera physically moves toward or away from subject. moves toward or away from subject.

PurposesPurposes: Change focus of attention : Change focus of attention from broad view to detail of subject from broad view to detail of subject or vice versa. Provides sense of or vice versa. Provides sense of physically moving closer or farther physically moving closer or farther from subject. from subject.

Crane shotCrane shot

Crane shotCrane shot

In motion picture terminology, a In motion picture terminology, a crane shotcrane shot is a shot taken by a is a shot taken by a camera on a crane. The most obvious camera on a crane. The most obvious uses are to view the actors from uses are to view the actors from above or to move up and away from above or to move up and away from them, a common way of ending a them, a common way of ending a movie.movie.

SteadicamSteadicam

SteadicamSteadicam

A A steadicamsteadicam is a stabilizing mount is a stabilizing mount for a motion picture camera, which for a motion picture camera, which mechanically isolates the operator's mechanically isolates the operator's movement from the camera, allowing movement from the camera, allowing a very smooth shot even when the a very smooth shot even when the operator is moving quickly over an operator is moving quickly over an uneven surface.uneven surface.

Hand-held cameraHand-held camera

Hand-held cameraHand-held camera or or hand-held hand-held shootingshooting is a film and video is a film and video technique in which a camera is technique in which a camera is literally held in the camera-literally held in the camera-operator's hands--as opposed to operator's hands--as opposed to being placed on a tripod. The result being placed on a tripod. The result is an image that is perceptibly is an image that is perceptibly shakier than that of a tripod-shakier than that of a tripod-mounted camera.mounted camera.

ZoomZoom

DescriptionDescription: View of subject changes from : View of subject changes from tight to wide or wide to tight using the zoom tight to wide or wide to tight using the zoom control on the lens. The camera does not control on the lens. The camera does not move. move.

PurposesPurposes: Change focus of attention from : Change focus of attention from broad view to detail of subject or vice versa, broad view to detail of subject or vice versa, keep size of moving subject the same in keep size of moving subject the same in frame, reveal surroundings of subject (zoom frame, reveal surroundings of subject (zoom out). Provides sense of magnifying subject out). Provides sense of magnifying subject without getting physically closer (zoom in). without getting physically closer (zoom in).

Studio camerasStudio cameras

Most studio cameras stand on the floor, Most studio cameras stand on the floor, usually with pneumatic or hydraulic usually with pneumatic or hydraulic mechanisms called pedestals to adjust mechanisms called pedestals to adjust the height, and are usually on wheels. the height, and are usually on wheels. Any video camera when used along with Any video camera when used along with other video cameras in a studio setup is other video cameras in a studio setup is controlled by a device known as CCU controlled by a device known as CCU (camera control unit), to which they are (camera control unit), to which they are connected via a Triax, Fibre Optic.connected via a Triax, Fibre Optic.

ENG camerasENG cameras

Though by definition, ENG (Electronic Though by definition, ENG (Electronic News Gathering) video cameras were News Gathering) video cameras were originally designed for use by news originally designed for use by news camera operators, these have camera operators, these have become the dominant style of become the dominant style of professional video camera for most professional video camera for most uses, from shooting dramas to uses, from shooting dramas to documentaries, from music videos to documentaries, from music videos to corporate training.corporate training.

EFP CamerasEFP Cameras Electronic Field Production cameras are Electronic Field Production cameras are

similar to studio cameras in that they are similar to studio cameras in that they are used primarily in multiple camera switched used primarily in multiple camera switched configurations, but outside the studio configurations, but outside the studio environment, for concerts, sports and live environment, for concerts, sports and live news coverage of special events. These news coverage of special events. These versatile cameras can be carried on the versatile cameras can be carried on the shoulder, or mounted on camera pedestals shoulder, or mounted on camera pedestals and cranes, with the large, very long focal and cranes, with the large, very long focal length zoom lenses made for studio camera length zoom lenses made for studio camera mounting. These cameras have no recording mounting. These cameras have no recording ability on their own, and transmit their signals ability on their own, and transmit their signals back to the broadcast truckback to the broadcast truck

Master shotMaster shot

A A master shotmaster shot is a film recording of an entire is a film recording of an entire dramatized scene, from start to finish, from an dramatized scene, from start to finish, from an angle that keeps all the players in view. It is often angle that keeps all the players in view. It is often a long shot and can sometimes perform a double a long shot and can sometimes perform a double function as an establishing shot. Usually, the function as an establishing shot. Usually, the master shot is the first shot checked off during master shot is the first shot checked off during the shooting of a scene—it is the foundation of the shooting of a scene—it is the foundation of what is called camera coverage, other shot that what is called camera coverage, other shot that reveal different aspects of the action, groupings reveal different aspects of the action, groupings of two or three of the actors at crucial moments, of two or three of the actors at crucial moments, close-ups of individuals, insert shots of various close-ups of individuals, insert shots of various props, and so on.props, and so on.

Composition Composition Composition can be defined as Composition can be defined as the orderly the orderly

arrangement of elements in a scene which, when arrangement of elements in a scene which, when taken as a whole, conveys intent and meaningtaken as a whole, conveys intent and meaning. . (How's that for a genuine textbook-type definition?) (How's that for a genuine textbook-type definition?)

Television production involves both static Television production involves both static composition and dynamic composition.composition and dynamic composition.

Static composition covers the content of fixed Static composition covers the content of fixed images, such as paintings or still photos.images, such as paintings or still photos.

Dynamic composition goes a step further and takes Dynamic composition goes a step further and takes into consideration the effect of time — moment-to-into consideration the effect of time — moment-to-moment change. This change can be within a single moment change. This change can be within a single shot (including camera or talent moves), or it can shot (including camera or talent moves), or it can apply to the sequence of scenes created through apply to the sequence of scenes created through editing.editing.

The rule of thirdsThe rule of thirds

The rule states that an image can be The rule states that an image can be divided into nine equal parts by two divided into nine equal parts by two equally-spaced horizontal lines and equally-spaced horizontal lines and two equally-spaced vertical lines. The two equally-spaced vertical lines. The four points formed by the intersections four points formed by the intersections of these lines can be used to align of these lines can be used to align features in the frame. The rule of features in the frame. The rule of thirds can be applied by lining up thirds can be applied by lining up subjects with the guiding lines.subjects with the guiding lines.

Depth Of Field Depth Of Field

The term "The term "Depth of FieldDepth of Field" describes " describes the range in a photograph, from near the range in a photograph, from near to far, that appears to be in focus. to far, that appears to be in focus. Everyone knows that the more a lens Everyone knows that the more a lens is stopped down, the more depth of is stopped down, the more depth of field there will be, (field there will be, (truetrue).  Most ).  Most people also believe that wide angle people also believe that wide angle lenses have more depth of field than lenses have more depth of field than telephoto lenses (telephoto lenses (falsefalse). ).

Deep focusDeep focus

Deep focusDeep focus is a photographic and is a photographic and cinematographic technique cinematographic technique incorporating a large depth of field. incorporating a large depth of field. Depth of field is the front-to-back Depth of field is the front-to-back range of focus in an image — that is, range of focus in an image — that is, how much of it appears sharp and how much of it appears sharp and clear. Consequently, in deep focus clear. Consequently, in deep focus the foreground, middle-ground and the foreground, middle-ground and background are all in focus.background are all in focus.

Deep focusDeep focus

Shallow focusShallow focus

Shallow focusShallow focus is a photographic is a photographic and cinematographic technique and cinematographic technique incorporating a small depth of field. incorporating a small depth of field. In shallow focus one plane of the In shallow focus one plane of the image is in focus while the rest is out image is in focus while the rest is out of focus. Shallow focus typically is of focus. Shallow focus typically is used to emphasize one part of the used to emphasize one part of the image over another.image over another.

The Focus PullThe Focus Pull

The The focus pullfocus pull (AKA (AKA rack focusrack focus) is a creative ) is a creative camera technique in which you change focus camera technique in which you change focus during a shot. Usually this means adjusting the during a shot. Usually this means adjusting the focus from one subject to another.focus from one subject to another.

The focus pull is useful for directing the viewer's The focus pull is useful for directing the viewer's attention. For example, if there are two people in attention. For example, if there are two people in shot but only one is in focus, that person is the shot but only one is in focus, that person is the subject of attention. If the focus changes to the subject of attention. If the focus changes to the other person, they become the subject. This is other person, they become the subject. This is often used in drama dialogues — the focus shifts often used in drama dialogues — the focus shifts backwards and forwards between the people backwards and forwards between the people speaking.speaking.

Headroom Headroom 

In photography, In photography, headroomheadroom or  or head head roomroom is a concept of aesthetic  is a concept of aesthetic composition that addresses the composition that addresses the relative vertical position of the relative vertical position of the subject within the frame of the subject within the frame of the image. Headroom refers specifically image. Headroom refers specifically to the distance between the top of to the distance between the top of the subject's head and the top of the the subject's head and the top of the frameframe

HeadroomHeadroom

The amount of headroom that is The amount of headroom that is considered aesthetically pleasing is a considered aesthetically pleasing is a dynamic quantity; it changes relative to dynamic quantity; it changes relative to how much of the frame is filled by the how much of the frame is filled by the subject. The rule of thumb taken from subject. The rule of thumb taken from classic portrait painting techniques, called classic portrait painting techniques, called the "rule of thirds“ is that the subject's the "rule of thirds“ is that the subject's eyes, or the center of interest, is ideally eyes, or the center of interest, is ideally positioned one-third of the way down from positioned one-third of the way down from the top of the frame.the top of the frame.

HeadroomHeadroom

Headroom changes as the camera zooms Headroom changes as the camera zooms in or out, and the camera must in or out, and the camera must simultaneously tilt up or down to keep simultaneously tilt up or down to keep the center of interest approximately one-the center of interest approximately one-third of the way down from the top of the third of the way down from the top of the frame. The closer the subject, the less frame. The closer the subject, the less headroom needed. In extreme close-ups, headroom needed. In extreme close-ups, the top of the head is out of the the top of the head is out of the frame,but the concept of headroom still frame,but the concept of headroom still applies via the rule of thirds.applies via the rule of thirds.

Lead roomLead room

lead roomlead room, or sometimes , or sometimes nose roomnose room, is the , is the space in front, and in the direction, of moving or space in front, and in the direction, of moving or stationary subjects. Well-composed shots leave stationary subjects. Well-composed shots leave space in the direction the subject is moving. When space in the direction the subject is moving. When the human eye scans a photograph for the first the human eye scans a photograph for the first time it will expect to see a bit in front of the time it will expect to see a bit in front of the subject.subject.

For example, moving objects such as cars require For example, moving objects such as cars require lead room. If extra space is allowed in front of a lead room. If extra space is allowed in front of a moving car, the viewer can see that it has moving car, the viewer can see that it has someplace to go; without this visual padding, the someplace to go; without this visual padding, the car's forward progress will seem impeded.car's forward progress will seem impeded.

CA (Cutaway)CA (Cutaway)A shot of something other than the current action. A shot of something other than the current action.

Cut-InCut-InShows some part of the subject in detail Shows some part of the subject in detail

Shot reverse shotShot reverse shot

Shot reverse shotShot reverse shot ( (shot/countershotshot/countershot) is a ) is a technique wherein one character is shown looking technique wherein one character is shown looking at another character (often off-screen), and then at another character (often off-screen), and then the other character is shown looking "back" at the the other character is shown looking "back" at the first character. Since the characters are shown first character. Since the characters are shown facing in opposite directions, the viewer assumes facing in opposite directions, the viewer assumes that they are looking at each other.that they are looking at each other.

Shot reverse shot is a feature of the "classical" Shot reverse shot is a feature of the "classical" Hollywood style of continuity editing, which Hollywood style of continuity editing, which deemphasizes transitions between shots such that deemphasizes transitions between shots such that the audience perceives one continuous action that the audience perceives one continuous action that develops linearly, chronologically, and logicallydevelops linearly, chronologically, and logically

180180˚ System˚ System

Space of scene constructed along axis Space of scene constructed along axis of actionof action– Center line Center line – 180180˚ line˚ line

Scene’s action assumed to take place Scene’s action assumed to take place along discernible and predictable linealong discernible and predictable line

Axis of action determines half-circle Axis of action determines half-circle ((180180˚ area) where camera can present ˚ area) where camera can present actionaction

180180˚ System˚ System

Violation to shift to camera shot on Violation to shift to camera shot on opposite of axisopposite of axis

180180˚ System ensures relative position of ˚ System ensures relative position of objects and characters remains objects and characters remains consistentconsistent

180180˚ System ensures consistent eyelines ˚ System ensures consistent eyelines 180180˚ System ensures consistent screen ˚ System ensures consistent screen

directiondirection– Characters moving in logical and Characters moving in logical and

understandable waysunderstandable ways

180180˚ System˚ System

180180˚ System claims to organize ˚ System claims to organize space clearlyspace clearly– Viewers can trust location (and relative Viewers can trust location (and relative

location) of characterslocation) of characters– Viewers can trust their own locations Viewers can trust their own locations

and relative locationsand relative locations 180180˚ System ensures and advances ˚ System ensures and advances

continuity systemcontinuity system

Modes Of LightingModes Of Lighting

Basically, there are two types of Basically, there are two types of light:light:

Natural: The Sun is a natural light Natural: The Sun is a natural light source.source.

Artificial: Video lights, candles, fires, Artificial: Video lights, candles, fires, bedside lamps. Anything man-made.bedside lamps. Anything man-made.

Styles of LightingStyles of Lighting

There are essentially only two types of There are essentially only two types of lighting style: Low key and High key.lighting style: Low key and High key.

Low Key: Areas of high contrast, strong Low Key: Areas of high contrast, strong shadows. Film Noir of the 1940's used Low shadows. Film Noir of the 1940's used Low Key lighting to great effect. If you want to Key lighting to great effect. If you want to create an atmosphere of tension, this is ideal. create an atmosphere of tension, this is ideal. (See illustration 1 in Guide to Lighting).(See illustration 1 in Guide to Lighting).

High Key: With high key lighting, shadows are High Key: With high key lighting, shadows are obliterated, or softened, by areas of fill or obliterated, or softened, by areas of fill or reflected light.reflected light.

Three Point LightingThree Point Lighting Point 1: The Key Light. this is your main light Point 1: The Key Light. this is your main light

source. It could be the Sun, or a street light. It is source. It could be the Sun, or a street light. It is the strongest light, and is usually set up to the the strongest light, and is usually set up to the front side and slightly above your key subject. front side and slightly above your key subject.

Point 2: The Fill Light. This light, as its name Point 2: The Fill Light. This light, as its name implies, eliminates or softens shadows. This is implies, eliminates or softens shadows. This is placed on the opposite side of the subject to the placed on the opposite side of the subject to the Key light. Key light.

Point 3:Back Light. The back light is positioned Point 3:Back Light. The back light is positioned behind the subject in a high position, and behind the subject in a high position, and produces a halo effect around the head.produces a halo effect around the head.

There is one more lighting set- up... you could call There is one more lighting set- up... you could call it Point 4... The Set Light. This lights a part of the it Point 4... The Set Light. This lights a part of the set behind the actors. set behind the actors. 

Background lightBackground light The The background lightbackground light is used to illuminate the  is used to illuminate the

background area of a set. The background light will background area of a set. The background light will also provide separation between the subject and also provide separation between the subject and the background. In the standard 4-point lighting the background. In the standard 4-point lighting setup, the background light is placed last and is setup, the background light is placed last and is usually placed directly behind the subject and usually placed directly behind the subject and pointed at the background.pointed at the background.

In film, the background light is usually of lower In film, the background light is usually of lower intensity. More than one light could be used to light intensity. More than one light could be used to light uniformly a background or alternatively to highlight uniformly a background or alternatively to highlight points of interest.points of interest.

In video and television, the background light is In video and television, the background light is usually of similar intensity to the key light because usually of similar intensity to the key light because video cameras are less capable of handling high-video cameras are less capable of handling high-contrast ratios.contrast ratios.

Fill lightFill light In television, film, stage, or photographic lighting, In television, film, stage, or photographic lighting,

a a fill lightfill light (often simply  (often simply fillfill) may be used to reduce ) may be used to reduce the contrast of a scene and provide some illumination the contrast of a scene and provide some illumination for the areas of the image that are in shadow. A for the areas of the image that are in shadow. A common lighting setup places the fill light on the lens common lighting setup places the fill light on the lens axis, roughly perpendicular to the key light.axis, roughly perpendicular to the key light.

The fill light is often softer and, by definition, less The fill light is often softer and, by definition, less intense than the key light. The ratio between light intense than the key light. The ratio between light and shadow depends on the desired effect. For and shadow depends on the desired effect. For example, a fill light that is a small fraction of the example, a fill light that is a small fraction of the power of the key light will produce very high-contrast power of the key light will produce very high-contrast or low-key lighting, while filling with half or more of or low-key lighting, while filling with half or more of the key light power will produce a high key, low-the key light power will produce a high key, low-contrast tone.contrast tone.

Key lightKey light

The The key lightkey light is the first and usually most  is the first and usually most important light that important light that a photographer, cinematographer, or other a photographer, cinematographer, or other scene composer will use in a lighting setup. scene composer will use in a lighting setup. The purpose of the key light is to highlight The purpose of the key light is to highlight the form and dimension of the subject. The the form and dimension of the subject. The key light is not a rigid requirement; omitting key light is not a rigid requirement; omitting the key light can result in a silhouette effect. the key light can result in a silhouette effect. Many key lights may be placed in a scene to Many key lights may be placed in a scene to illuminate a moving subject at opportune illuminate a moving subject at opportune moments.moments.