c4-Angles and shots.ppt

Video Angles and Shots

Prepared by: CKT First Prepared on: 21-07-08 Last Modified on: 21-07-08Quality checked by: XXX

Copyright 2008 Asia Pacific Institute of Information Technology

Digital Audio Video video

• Characteristics of video.• Gain insights into the definition of

video.• Identify the key concepts and skills in

video production.

Topic & Structure of the lesson


At the end of this lecture YOU will be able to:-1.Gain insights into the definition of video.2.Identify the key concepts, characteristics

and skills in video.3.Discuss video camera position and angles4.The basics of video lighting, including a

few tips to get around the most common problems you'll run into in your productions.

Learning Outcomes


If you have mastered this topic, you should be able to use the following terms correctly in your assignments and exams:•Video•Video angle•Video shot•Rule of Thirds•Framing Photos•Pan•Tilt•Dolly Zoom•Cutaway•Cut-In

Key Terms you must be able to use


Video Camera Positions (shots)

• When describing camera positions (or shots), different terms are used to indicate: The amount of subject matter contained

within a frame How far away the camera is from the

subject The perspective of the viewer. • Each different shot has a different

purpose and effect.


Video Shot Types

Tilt: A vertical camera movement in which the camera points up or down

from a stationary location. For example, if you mount a camera on your shoulder and nod it up and down, you are tilting the camera.

Less common than panning because that's the way humans work — we look left and right more often than we look up and down.


Video Shot Types

Pan: A horizontal camera movement in which the camera moves left and

right about a central axis. This is a swiveling movement, i.e. mounted in a fixed location on a

tripod or shoulder, rather than a dolly-like movement in which the entire mounting system moves.


Video Shot Types

Dolly Zoom: A cinematic technique in which the camera moves closer or further

from the subject while simultaneously adjusting the zoom angle to keep the subject the same size in the frame. The effect is that the subject appears stationary while the background size changes (this is called perspective distortion).

In the first example pictured, the camera is positioned close to the subject and the lens is zoomed out. In the second shot, the camera is several metres further back and the lens is zoomed in.

Dolly in Dolly out


Video Shot Types

Zoom Shot:• A zoom is technically not a camera move

as it does not require the camera itself to move at all. Zooming means altering the focal length of the lens to give the illusion of moving closer to or further away from the action.


Video Shot Types

Trucking Shot:• Side-to-side camera movement with

respect to the action.


Video Shot Types

Extreme Wide Shot (EWS)• In the extreme wide shot, the view is so far from the subject that she

isn't even visible. The point of this shot is to show the subject's surroundings.

• The EWS is often used as an "establishing shot" - the first shot of a new scene, designed to show the audience where the action is taking place.

• The EWS is also known as an extra long shot or extreme long show


Video Shot Types

Very Wide Shot (VWS)• The very wide shot is much closer to the subject than an extreme wide shot,

but still much further away than a wide shot. The subject is (just) visible here, but the emphasis is very much on placing her in her environment.

• This often works as an establishing shot, in which the audience is shown the whole setting so they can orient themselves.

• The VWS also allows plenty of room for action to take place, or for multiple subjects to appear on screen.


Video Shot Types

Wide Shot (WS):


Video Shot Types

Mild Shot (MS):


Video Shot Types

Medium Close Up:


Video Shot Types

Close Up:


Video Shot Types

• Extreme Close Up:


Video Shot Types

• A cutaway is a shot that's usually of something other than the current action. It could be a different subject (eg. this cat when the main subject is its owner), a close up of a different part of the subject (eg. the subject's hands), or just about anything else.

• The cutaway is used as a "buffer" between shots (to help the editing process), or to add interest/information.

Cutaway (CA):


Video Shot Types

Cut-in (CI):• Like a cutaway, but specifically

refers to showing some part of the subject in detail.

• Can be used purely as an edit point, or to emphasise emotion etc. For example, hand movements can show enthusiasm, agitation, nervousness, etc.


Over the Shoulder Shot (OSS):• Looking from behind a person at the subject, cutting off

the frame just behind the ear. The person facing the subject should occupy about 1/3 of the frame.

• This shot helps to establish the positions of each person, and get the feel of looking at one person from the other's point of view.

Video Shot Types


Point-of-View Shot (POV)• Shows a view from the subject's perspective. This shot is

usually edited in such a way that it is obvious whose POV it is (see the example below).

Video Shot Types


Camera Angles

• The relationship between the camera and the object being photographed (ie the ANGLE) gives emotional information to an audience, and guides their judgment about the character or object in shot.

• The more extreme the angle (ie the further away it is from eye left), the more symbolic and heavily-loaded the shot.


Camera Angles

• Low Angle Shot:


Angle shot

• High Angle Shot:


Angle shot

• Eye Level Shot:


Rules of Thirds• The most well known principle of photographic

composition.• The basic principle behind the rule of thirds is to imagine

breaking an image down into thirds (both horizontally and vertically) so that you have 9 parts.

• With this grid in mind the ‘rule of thirds’ now identifies four important parts of the image that you should consider placing points of interest in as you frame your image.


Rules of Thirds

• In learning how to use the rule of thirds (and then to break it) the most important questions to be asking of yourself are:

What are the points of interest in this shot?

Where am I intentionally placing them?


Rules of Thirds


Framing Photo

• A frame serves to isolate our main subject and create an interesting composition.

• We may choose to keep the detail of the frame (as in a wall, fence or branch), or let the frame go completely dark (as in a window frame).


Framing Photo


Lighting in Video Productions

• Believe it or not, your productions can look almost as good as television without buying new cameras.

• The secret is in better lighting. While broadcast television networks do use better quality cameras, the fact is the major difference between underexposed home videos and really excellent broadcast television pictures is principally lighting and exposure.


The Myths in Video

• MYTH 1: "The new digital cameras don't need as much light." Yes, this is technically true when compared to the lighting needs of cameras of a decade ago. But don't be deceived by the manufacturer's claims of light sensitivity.

• MYTH 2: "You don't need lighting with digital camcorders." Wrong! Good video still needs to be lit right. The pictures we are used to watching on television are all carefully lit.


The Facts in Video Lighting

• FACT 1: Even the best video cameras can't handle real life - at least not

the way your eyes do. Most people can easily perceive a contrast range (the range of the darkest area to the brightest area in perception) of about 1000:1. The best video cameras can deliver a contrast range of about 250:1. Average video cameras can handle a contrast range of about 100:1, which is about 1/10th the range your eyes handle effortlessly. To stay inside our camera's optimum exposure range, we will need to compress the contrast range, either by adding ambient (fill) light or by reducing light on overexposed areas.

The result of over-contrast is that some parts of the picture will be too bright or too dark to see any detail.


The Facts in Video Lighting

• FACT 2: Video lighting is not realistic. The lighting we are

used to seeing in films and video is often very unnatural. In most cases, it is an improvement on reality for the benefit of the camera. For example: Where does the light come from in the night scenes?

In many cases, "realistic" would be to shoot using ugly overhead fluorescent lighting-just like in our classroom. A video professional would never shoot under those conditions.


Real world problems with video

• Schools, house, building are usually lit by overhead fluorescents, which are often of the "cool white" variety. These are missing portions of the color spectrum and have a strong green component that makes people look sickly on video.

• Schools have a lot of windows, too, which present contrast problems in many pictures.

• The reason this happens is the sun outside is many, many times brighter than the fluorescent lights in your room. While our eyes can handle this contrast, our camera can not.


Real world problems with video

• There are several solutions for this common problem. The easiest is to keep windows out of your shot. Plan your shots from a different angle whenever possible (refer to photo below). If you simply must have a window in your shot, your best bet is to set the camera on Manual exposure; set the exposure so the windows are overexposed but not completely "blown out." Then add light to the interior scene.


Lighting Equipments


Lighting Equipments

Barn Doors


Lighting Equipments

Egg Crates


1st Rule of Thumb for Good Lighting

• In video recording, first and foremost you need enough light.

• Assuming you have enough light, you must then consider the quality of the light and how the various light sources combine to produce the image. For example, you may have clashing light sources (e.g. artificial interior lights with sunlight coming through the windows. It is best to control the light sources yourself if possible e.g. turn off the lights or close the curtains).


2nd Rule of Thumb for Good Lighting

• Good video lighting is different from architectural lighting. Architectural lighting is nearly always ceiling down, and will usually cast ugly shadows on the eyes and under the nose.

• Video lighting is aimed into the subject's face rather than down on the top of her head. This eliminates the ugly shadows and sends illumination into the eyes;



• A better solution is to use a stand-mounted light three to five feet to one side of the camera and four to six feet off the floor

Lighting kits:



• A single light mounted slightly above the subject's face and off to one side of the camera will improve the look of our video immensely. It may not be a full professional lighting design, but it will look much better than overhead light from "cool white" fluorescents.

Position your interviewee in front of a window, but at an angle looking into one corner of the room and about six to eight feet from the window. Position the camera so the window is not "in frame" to avoid exposure problems. Now position the single light about four to five feet to the other side of the camera, and a couple of feet higher than the eyes of the subject. The light from the window will serve as a "backlight" while the single fresnel or work light will be the "key" light, or main light. Be sure in this situation to set the camera's White Balance to Indoor or Tungsten (see your camera manual for how to do this). If you leave the White Balance on Auto it will probably set to the color of sunlight and your subject will look too orange.



But what if you can't come up with a light at all? You can use sunlight and a reflector or "bounce card." This can be a simple piece of white foam core or poster board. Try this setup: Position your interviewee in front of a window, about six to eight feet from the window-but this time angled toward the window. Position the camera near the window pointing into the room, so the window is not "in frame" to avoid exposure problems. Now have a student hold the bounce card just outside of the shot (make sure it's really out of the shot) on the shadowed side of the subject's face. The idea here is to bounce some of the sunlight into the shadows to reduce the contrast. Here, the sunlight is the "key" light and the bounce card is the "fill" light. Set the camera's White Balance to Outdoor. This shot can look very nice with minimal equipment.


The Standard 3-Point Lighting Technique

• A standard method used in visual media such as video, film and still photography.

• Simple but versatile system which forms the basis of most lighting.• The technique uses three lights called: Key light Fill light Back light. • Naturally you will need three lights to utilise the technique fully, but

the principles are still important even if you only use one or two lights. As a rule:

If you only have one light, it becomes the key. If you have 2 lights, one is the key and the other is either the

fill or the backlight.



Key Light:This is the main light.Usually the strongest and has the most influence on the look of the scene. Placed to one side of the camera/subject so that this side is well lit and the other side has some shadow.


Soft Key Light

• Look at the cheek closest to the camera. Notice the effect; the shadow line running down the cheek. Begin to notice how often you see this in movies, television, and photographs. It's everywhere isn't it?


Hard Key Light

• The transition between the light and dark areas is more dramatic. If you move the key light until you see a light triangular patch under the near eye, you have achieved what is referred to as Rembrandt lighting.


Key Light

• When you practice placing the Key light on your subject, keep an eye on the shadow it creates from the nose.

• The nose shadow is easier to see if you use a hard light but blends more attractively when you a larger soft source.


Hard vs Soft Key Light



Fill Light: This is the secondary light

and is placed on the opposite side of the key light.

Used to fill the shadows created by the key. The fill will usually be softer and less bright than the key.

To achieve this, could move the light further away or use some spun. You might also want to set the fill light to more of a flood than the key.


Fill Light


Fill Light

• Images A & B to the right show differing levels of Fill light. Notice how image A looks more fully lit, while still maintaining the Key as the dominant light source, and the reduced Fill in image B increases its dramatic effect.

• Image C shows a closer view with a double nose shadow. This is caused by having a Fill light that is almost as strong as the Key.


Reflected Fill Light

• Another method of providing Fill is by bouncing the Key light off of a reflector. A specular reflector (the shiny hard side) will kick back nearly as much light as the Key light shining on it, in the same degree of hardness that strikes it.


The Standard 3-Point Lighting Technique: Back Light

Back Light: Placed behind the subject

and lights it from the rear. Rather than providing direct

lighting (like the key and fill), its purpose is to provide definition and subtle highlights around the subject's outlines. This helps separate the subject from the background and provide a three-dimensional look.


Back Light


Background Light

• If you have a fourth light, you could use it to light the background of the entire scene.


Background Light

Background Light Techniques• How you deal with backgrounds depends on whether it is part of the story or

just a neutral setting for your subject. Either way you may notice the background level is usually down, or less bright than the subject. However it is not unusual to highlight something in the background for interest. A plant or dim lamp is a common set dressing.

• For the setup used in the Viewer above, we created a mottled shadow pattern on the background by shining a hard light through a cookaloris (a random pattern cut into wood, foamcore, or black foil).


Softening by Reflecting


Lighting with Background Windows

• Shooting pictures indoors with external windows is a common issue for photographers and video makers.

• The large difference in light levels between the room and the outside view make finding the correct exposure a challenge.

• Video is particularly susceptible to this problem due to its relatively low contrast ratio.

• There are two things you can do to help even out the lighting:

Add more light to the room Reduce the light from the window


Lighting with Background Windows (Add more Light)

Increase the Lighting in the Room:• Any extra light we can shine on the

subject will decrease the contrast ratio between them and the window.

• In some cases switching on the standard room lighting can help, although this often introduces new problems such as clashing colour temperatures and harsh downward shadows.

• It is possible that a reflector board could be useful.


Lighting with Background Windows (Reduce Light)

Reduce the Light from the Window:• We can reduce the amount of light coming through the

window by placing some sort of filter over it.• For example, black scrim (a fine mesh material) can be

taped to the window – become much more manageable.• However, Filters can cause unwanted side effects such as

ripple effect. Being further away from the window helps.


General Lighting TipsCamera-Mounted Lights:• The camera-mounted light is an easy, versatile solution

used by amateurs and professionals alike. • This type of lighting does not create pleasing effects. it is

a "blunt instrument" approach which is really only designed to illuminate the scene enough to allow normal camera operations. However it is a simple, practical solution.


Tips for Lighting People

• Avoid strong nose shadows or any strong contrast on the face. Place the key light on the same side as the camera and fill the shadows.

• Avoid reflections from glasses. You may need to adjust the position of the subject and/or lights to do this.

• Beware bald heads - they can reflect a lot of light and appear over-exposed. Try weakening or softening the light with a diffusion gel.

• Soft light and diffusion helps reduce the appearance of wrinkles.


Lighting Effects

Cold / Warm:• We can add to the feeling of coldness or warmth by using

additional filters or doubling up on gels. Very blue means very cold, very red/orange means very hot.

Firelight:• To light a person's face as if they were looking at a fire, try this:

Point a redhead with orange gel away from the subject at a large reflector which reflects the light back at the subject. Shake the reflector to simulate firelight (remember to add sound effects as well).

Watching TV:• To light a person's face as if they were watching TV, shine a blue

light at the subject and wave a piece of cloth or paper in front of the light to simulate flickering.


Budget Lighting• Halogen work lamps are designed for workplaces and similar

situations where a flexible means of providing strong lighting is required, e.g. builders, mechanics, etc. Work lamps come in various sizes and configurations, from portable units with handles to stand-mounted multi-head versions. Power rating is generally 150w to 500w.

• Work lamps can be a cheap option for video lighting. They are useful as a key flood light for lighting fairly large areas


Reflectors:• Professional reflector boards are used to add or control light in a

scene. You can make your own from just about any large reflective object, although the exact colour and reflectivity will obviously affect your lighting. Common suggestions for an improvised reflector include:

Windshield sunshade Sheet of foamcore Polystyrene sheet Stiff cardboard Tin foil on cardboard Whiteboard Survival blanket

Budget Lighting Equipments


Film & Video Lighting for low-budgets

If you have no budget at all, then do the following:• Put as many existing lights and lamps on in

the room to increase the room's overall light level. (Techie Tip! Lights that are in the scene anyway are called “practicals”)

• Replace existing lightbulbs with more powerful lightbulbs.

• Use a reflector to bounce an existing light source onto your subject.


References

• Ross Lowell, Matters of Light and Depth (Lowell Light, 1999).

• John Jackman, Lighting for Digital Video & Television, (CMP Books, 2002)

• http://www.videomaker.com/article/10297/


Common Lighting Terminology

• Ambient Light : The light already present in a scene, before any additional lighting is added.• Incident Light : Light seen directly from a light source (lamp, sun, etc). • Reflected Light: Light seen after having bounced off a surface. • Colour Temperature: A standard of measuring the characteristics of light, measured in kelvins.• Contrast Ratio : The difference in brightness between the brightest white and the darkest black

within an image.• Key Light: The main light on the subject, providing most of the illumination and contrast.• Fill Light: A light placed to the side of the subject to fill out shadows and balance the key light.• Back Light: A light placed at the rear of a subject to light from behind.• Hard Light: Light directly from a source such as the sun, traveling undisturbed onto the

subject being lit. • Soft Light: Light which appears to "wrap around" the subject to some degree. Produces less

shadows or softer shadows. • Flood: A broad beam of light, less directional and intense than a spot. • Halogen: Type of lamp in which a tungsten filament is sealed in a clear capsule filled with a

halogen gas. • Fresnel: A light which has a lens with raised circular ridges on its outer surface. The fresnel

lens is used to focus the light beam.


Q & A

c4-Angles and shots.ppt

Documents

Transcript of c4-Angles and shots.ppt