Film making Tips 101: Leveled ShotsWhen we walk around, though our bodies can sway from side to side and different surfaces beneath us can put us at an angle, by and large we’re balanced. It’s extremely unsettling and annoying to be seated watching a film and the camera shakes like crazy. At that point you realize that someone was holding a camera, and the world you’d stepped into for fun has now just dissolved.Having the camera steady is extremely important (unless it’s intentionally not – “earthquakes” etc.). Even if you’re not using the most expensive industry used equipment, you can still create or purchase a simple tripod, or create a dolly. Even just place the camera on a flat, level surface. This is very important.

Film Making Tips 101: Camera Angles / FramingWhen filming a person or an object, it is possible just to tackle it head on. But, in doing so, you lack adding the depth that a slight or significant angle can provide. Seeing more than one side of a subject is a lot more interesting than just viewing it flat and simply.Camera Level / HeightPlacing the camera at an equal level, above, or below the subject can subconsciously create different understandings of what’s being seen. If the camera is facing the subject head on, it’s generally understood that what we’re seeing is of “equal” value to whatever else is going on.If the camera is placed above the subject, looking down. Firstly we can get given the indication that another person, or subject is larger than it and secondly we can get the message that the subject being seen from above is less significant or inferior.But, placed below a subject looking up, we’re presented with the notion that the subject is more important or larger, or more significant. It can also be seen as the subject being in more of a position of power.These all vary within certain degrees, but by and ...

Film Making Tips 101: The Rule of ThirdsA well known method but still relevant. Mentally divide your frame into thirds, both horizontally and vertically. The subject you’re filming should fall along one of the four points where the lines end up crossing.Examples:Falling within these settings isn’t something you have to do, but it works well and our attention is pointed towards it. If you don’t follow the rule, there tends to be some time where the viewer will browse the frame before locating what you’re trying to show. This can work, it also may not. Bear this in mind when you’re composing your frame.Leading LooksThe positioning of a subject within a frame is extremely important as well. If you take a look beneath, the photo is quite awkward.Being centered hasn’t worked for this image, but if the subject is a little further towards one side, framing the subject differently, it works considerably better.BalanceIt’s important to try to make your frame seem balanced and have the viewer take in what you’re trying to show with a sense of ease.If a frame is empty on one side and all that we can see is something on the opposite side, ...

Film making Tips 101: Frame CompositionIt’s often said that the images shot for films and shows in general are shot with a purpose. Sometimes this is labeled as “selective vision” as the crew decide themselves what will and how the image will be captured. Elements which are included or excluded tend to have been done so with a purpose.For example, the reason you see that man walking in the distance clearly (although maybe you’d expect him to be out of focus) could be that it’s the director wanting to make a cameo. Or, the reason only two of the five girls are caught in the frame when there’s a close up on the group is because they’re relevant to the story, whereas the other three around them aren’t.Every decision with a shot is just that, a decision. The creative team have decided what they want seen.It’s always important to analyze a location prior to filming within it. Unless members of your crew are extremely strict and won’t allow any leeway in terms of manipulating your area, adjust little things. Think what works in a frame and what doesn’t and then decide where you want to place the camera, what ...

Film Making Tips 101: FocusingTo focus properly, you should look through your viewfinder and adjust the focus accordingly until the area you want most sharp in the picture is as clear as you’d like. Most digital video cameras automatically focus, but it tends to be best to turn off that feature and control the preferences yourself.Zooming can help, however, it’s usually best to move your camera. Unless you’re working with a very good camera, most domestic handheld zoom features are too noticeable. They stick out and take you away from what you’re watching, breaking down being sucked into a story and allowing your audience to realize. Shit, yes, this is someone attempting to tell me a tale.To focus properly, zoom in entirely on your subject and draw focus until what you’re viewing seems perfect. Then zoom out and ensure that what you’re looking to feature is as clear as you’d just tried to make it.Depth of FieldThe depth of field is the area in front of your camera where everything is in focus. The depth of field decreases as the focal length is increased. Basically meaning that if you’re zoomed in or focusing on a subject further away (possibly using a ...

Filmmaking Tips 101: LensesOn a 16mm camera, the lens is 25mm long. With a 35mm camera, the lens is 50mm long and on a digital video camera the lens is 25mm long.Wide Angle LensesWide angle lenses are shorter than normal lenses, but are designed to capture wide areas in front of you. A wide angle lens will stretch out a person’s image if shot too close and won’t represent their likeness properly.The lens covers a larger area than a normal lens, it exaggerates depth making elements appear further apart. Because of the appearance of distance, smaller movements seem larger in a wide angle lens than in a normal lens. Walking towards and away from the camera using this lens can seem considerably greater than they actually should appear.Camera shakes are less noticeable, it’s good for steady-cam .Telephoto LensesTelephoto lenses are longer and can capture distances a lot further away in greater detail. Their scope though is limited, as they’re not designed to showcase all that’s in front of you.Subjects seem closer than normal. Movements can seem slower. Not recommended for steady cam usage because of larger size and detail.Pin-cushioningSome wide angle lenses feature geometric distortion. Vertical and horizontal lines become ...

Filmmaking Tips 101: Lighting Interior SetsFocusing Quartz LightsFocusing Quartz lights include spot lights and flood lights. Spot lights, like what you’re used to hearing about with stage performances; concentrate on a specific concentrated light which is quite powerful. Flood lights fill out the room, but don’t push as strong of a light out as they’re not as specific.On most film sets, if these lights are present, the D.O.P. will manipulate how he wants them to perform. Bouncing them off ceilings or walls, putting up gels or spun glass will all help reflect or diffuse the light as it’s creatively intended.BroadsBroad lights are designed to put out a broad light over and area, they’re not geared for focusing, but more so to illuminate an area non-specifically.SoftlightsA softlight is a bounce light which bounces off a curved surface that the lamp is aimed into and is aimed so that it hits the subject.There are four types of light; direct, intense, colour and diffusion (otherwise known as soft).Barn doorsBarn doors can be added to most lights, but come as standard with some of the more professional ones. They’re basically covers that help to direct the light, one on each of the four sides.

Filmmaking Tips 101: LightingWhen filming exterior shots, it’s best to think ahead. The reason gels and f/stops exist, and reasons why light meters are so widely used are to create an image. Now when shooting exteriors, a factor that requires considerable consideration is of course the sun. For those who know nothing about this fiery ball, let me explain to you how it relates to lighting issues; it rises and sets. Yes, it’s a gradual process, but if it takes you two hours to shoot a scene which is meant to match with another scene set at the same time, you’ll have to make the lighting match to make it look like they happened at the same time. The sun will change throughout the day and so will the angle of light that it casts upon your subject. You must pay attention to this.Subjects tend to be best lit when the sun is at a 45 degree angle. At midday (noon) the sun casts shadows over subjects, which doesn’t really help the look of your project.Filmmaking Tips 101: Reflectors and LightsProfessional photographers and D.O.P.’s (Directors of Photography) know how to make a subject and an environment look how they want. ...

Filmmaking Tips 101: Viewing Your Exposure properlyFew viewfinders on cameras accurately display what the end product will be. That’s why if you’ve ever spent time on a major motion picture set, or even a network television set, you’ll see that the Director, DOP and a lot of crew stand/sit behind monitors which do actually display what will be seen (and how it’s framed). This is very important. Remember, you never know when you’ll be able to re-visit or re-shoot what you’re filming; therefore it’s essential to get it right while you’re filming the first time around. Attaching a monitor (or strong performing television to act as a monitor) to your camera can make a huge difference when it comes to using that footage you wanted.Filmmaking Tips 101: Light MetersLight meters measure the amount of light hitting the area you’re trying to capture. They’re placed at the point you’re trying to examine and will help you gage how to adjust your surrounding light. The results help you decide which f/stops to go to.Filmmaking Tips 101: Reflective MetersReflective meters are found on cameras. They measure the light reflected at the subject the camera is pointed at. They work on the theoretical average ...

Filmmaking Tips 101: Setting Exposure on a CameraBegin by selecting the correct filter and adjusting your white balance. One of the easiest ways of doing this is just by carefully focusing the entire frame on a sheet of pure white paper. If for some reason you can’t set a white balance, it’s best to avoid extremely bright overexposed areas, or extremely dark underexposed areas.