1. Mak i ng a Editi nd ng th Amy e f ilm Hake sley

2. Typ e s of c am era len s esZoom most lenses Pros commo (or var com umer ca n type oied foca e lense with it mcorde f lensesl length butto s you c right frors and p known lenses) is ca n. Its a an go te m the b rofessio to the a - are by v lled l n o a zoo o-brain ephoto o x. This inal vide erage cofar the Prim m le er; if y r wid s so b o cam n ns. ou ca e-an ecau eras sumer. zoome lenses n zoo gle at se wi often tight out. Th (or fixe th th m in er on erefo d foc or zo e push ozoom came his c re, ev al len om o f o e g one ra clos ut, th a with er tompositiory time th lense e len tele the a lo s) n, his s com photo le nger fo subjecthe can e filmmak cant zo from position ns. Acco cal leng or (2) c ither (1) er want om in o shor the sub , he can rdingly, th and n hange th physicas to get r lens. ter foca ject or ( either ( if the fil arrower e came lly mov l len 1 2 m gth a ) chang ) physic maker field of ra lens fe the Tele or vie a ll d nd w e the ider camey moveecides fo w the to nophoto le field th r on th rmal lennses - a of vi ra lens fo e came a wider ew e sub ses o re lon r one ra aw ima the w je r a g w ide-a ith a y that ge is opt ct. It cor the hum er than t is far an ey he a ically relat ngle away enla es to a e, tele verage wide . rged p . -ang lense to shzoom in hoto canIn comp le le ow fi with a swee s have nses zoomget real rison ne d are t ping a bro ly etail came he ad p s fro lenses. T tight mas is ide ra jigglanorama er field opposit of e ubjehe e s al f o ct r han is negli of moun view, anof teleph Norm tains d the dhel gible oto. W al le ,o d wo lens w r ns rk. ith wide ceans, aefore theide-ang neithes. Norm - are ha le n y -ang le, th d forests can sho com er getti al lenselfway be w is c h pres n oice. Since sing g too cl s mimic tween te of le s wh the d ose t leph ns o istan o the at the ce am subj h to a n ect, n uman e d wideong the p or dis ye see angle tortin s, wit lains h . g i t, nor out 3. F-sto ps , a pe rt an d u res d ept h of f ie ldF-stop The size of the aperture is measured in f-stops. In technical terms, the f-number is the focal length divided by the diameter of the aperture. The figure to the right shows the same lens open to two different fstops. In the top picture, the f-stop is 2.8. In the bottom picture, the fstop is 16. Ergo, the greater the f-stop number, smaller the aperture is, is, resulting in less light entering the lens and the production of dark images. Conversely, the smaller the f-stop number, bigger the aperture is, meaning more light admitted through the lens and the is, production of bright images. 4. Aperture and Depth of Field The aperture has a major role in determining not focus per se, but depth of field. The greater the f-stop number, the deeper the depth of the field is, meaning that more objects are likely to be sharp in frame. Likewise, the smaller the f-stop number, the shallower the depth of field is. 5. Cam era a ng el sEyel evel Ang An e le yele vel a subj e to lo cts heig ngle is th ok u h t, s o e on p they e are n or down if the ac in whic they h th e eutra t o r is . Eye are i deal l. They o level sh looking camera Low o f or r Angl oma ften have ts are in at the le is placed e n ti c c Low com no dram redibly ns, he wo at the angl ed i e eyes e s and atic pow common uldnt ha , look s are ca ve er be news aggr p casti whatsoe cause essiv ing up a tured fr ver, ng. om t e, or thus High o m i n th e m . L o a c a m e A ng l w an ou s . e gles ra place In a h d m ak e ch below t posi igh ang arac t l t e r s h e a c to r are a ion make e, the ca s look m lso g s do m ood charact era is ab inan D u tc POV t, h Ti l s of aers look ove the t sub j weak n ad Also ec u l t lo , okin submiss t, lookin side called ca g at g w a chi ive, or fr i down. T horiz ays, tran nted ang l d: g h te ne d . hi s dyna ontal an sformin le, a Dut They d g with mic com vertica the hor ch tilt ha l s p i grea t arti osition. lines intozon into the cam Poin T ho u s ti c e era l diag a slop t- o f ea g ffect e o View to di h rare, ca nals and . A Dutc ning As th (POV h s o r ie n ) nt an ted ang creates a tilt chan came e name le ges d di s s turb s can be more by a ra incor uggests , po i pora t he v close emp nt iewe loye - u p o te s a d r. char -of-view f the acte shots char rs ey acte are a es rs ey es. . POVs a ngles in w re us ually hich the prec eded 6. Cam era m ovesPan Duri n came g a pan eithe ra itsel , the ca r left f is no mera or r i i t A sm ght. moving s aimed . It is s f ast pooth pa oftenideways etiqu an will n with b fixed along on t r a that ette de create b e slow e ipod straight may man noug lur, i , with lin ds p be c n wh h to an Tilt aptu the o e. Note i red o ning froch case allow th pera th e au it w n cam m le tor tu at the Tilts r ning era, ft to ri ill be ca dience ref er like ght, t not m it head as to lled a Swo obser ove. to the up pers ve lines a i on. Tilts ar or do or mllow the sh pan. N the sce e oft n v arqu Dolly en ewn move ises. iewer toewsgath ery. A mplo m read er ing yed ent of th any t Whe to re ext veal e camer the c n the en verti a wh ame tire c cal o ile th reco ra is am bjec e ts lik camera wou rding a on trip era is m eab an o ld proba subject od, the oved f o uildiitself doe p ng o actua timal d bly be kthat movtripod w rward o ra s f orw l dolly, olly, the eeping es away ill also r backw ard i b o a s cal r a shopcamera the subjeor towar e movedrd, this sh Trac l ed d m p d c . k olly ing cart ould be t at the s the cam Dollies ove is c in . M , dep are o alled m ou ame era, Trac ovin e n i d king g the nding o ted on adistancen whichften used olly. If is mo n the cam from case whe wh e n ved is simila era b move el th b t ackwudget. Med-platfhe came e goal d sidtoward or to doll in or r ard i eway r aw o Pede s cal ving the m, sucha. For s, pa ay frog. The m stal led d as an ralle ain d m th cam olly e l to a i In a p out. era n ob subject ff erence edes , whe ject. diff e b ta reas eing tha bein rence b l move, in a the c g aim etwe trackt in dolli move shot, es the d. ed up oen tilts aamera bo t he c c r dow nd p d Zoom ame amera n, wh edest y will ph ra is erea als is ysica s in t t With he lahat in th lly be low dolli e cam tter, es, the c f ormer, ered or the sera rema the cam e t ame ubje ra is he came levated. ct. ins at a cera is be r bein T Zo o onsta ing m g ve a lens is he nt po oved rtica the sms happ lly just sitio n, bu in a phy dist ubject, en at the sical t t he ancin thus m push s lens g th a Doll mag pace. Wi e subking it l of a butt y Co nify ject, ook b on. Zo un t e or mth zooms thus i o A do r Zoo inim , mak gger in t m in ref lly c ize ththe m ing i e the c h e siz t loo e frame rs to see ame ounter z e of adju k sm . m sted ra must oom is a aller Zoom ou ingly so th dolly . rare t refe appr e sub t c rs to oachi jectsloser orype of sh seem ng furth ot of size ingly rema er aw grea ins ay fr t styl istic om t he su ef f ec t bjec t whi. To acco m l e th e zoo plish it m is , 7. C am e ra s ho tsEWS (Extreme Wide Shot) The view is so far from the subject that he isn't even visible. Often used as an establishing shot.VWS (Very Wide Shot) The subject is visible (barely), but the emphasis is still on placing him in his environment.WS (Wide Shot) The subject takes up the full frame, or at least as much as comfortably possible. AKA: long shot, full shot 8. MS (Mid Shot) Shows some part of the subject in more detail while still giving an impression of the whole subject.MCU (Medium Close Up) Half way between a MS and a CUCU (Close Up) A certain feature or part of the subject takes up the whole frame. 9. ECU (Extreme Close Up) Up) The ECU gets right in and shows extreme detail.OSS (Over-the-Shoulder Shot) Looking from behind a person at the subjectPoint-of-View Shot (POV) Shows a view from the subject's perspective. 10. Ord e r of cred it sA Re al M ovie One thing they th blac have a vat you m k ba espe ckg ery sta ay have appr cially o round h ndardize identif n and oach, em the si as beco d way oied in p most exposito ployinlver scre me syno f showi rof essio g n n en r n of th is hisy styles compute . Today ymous fg creditsal lookin Ope g tory. of the r gra many or the . The ning w films ph film. o o Eithe ics and pening pening hite lettegrowing In a t a cr r v r wa u com raditio y, theisual ele edits ta nd closins scrollinp is tha g on t orde ment ke a m g of f that pany ornal sense e a r of c s tha o Com did not f main stu the ord redit t reflere creat ature film s has ct th ive s, com pany Pr inance y dio bac er of th staye e aes p d the thetic you a any wi esents, our film ker. Sin e openin same Prod pply to ll most f ollowe it will ce this w g cred f or this, uction C yoursellikely be d by theappear o ill mostits starts labe with om p f t o a estab nam n its likel ling e Cast it A any Namfull fledglished b of the own. It uy be an the distr in prod s and i Dire e Pro y ed p Title uc ually i depe bution ctors ro you, d After Nam uction. duction and can tion com s listed ndent di a T s e Fil p h cele this we m. he direc ouse. Trange fro any. Th s Distri tributor his w butio acto brity na get the tors m be e pro il d cred n i apprrs, but tr mes, this primary it tenl then apng just auction opr i y to is wh , or m ds to pear nam may ate t keep os er e be e com a ven o show it to le e they w t promin e rig s A havi t he t ss th Cast ould ent, ht af ng it it a c ter Con appele in a d n five. F go. Eithe ast mem tinue After r ar ou iff ere inally d b , you way, you ers. If y nt f o t of t part this yo o n he t i r me s t or f ormeach theshould l u have la smal in the scu give th i ync ler, b e res r ipt listin that at than t title of yst all therge bu ut s to th e r he re our f main John g their n howcast is not thf the pr i est d s il m Doe e id. t of the c m. It is o as Came and d, role te main f o ary cast f redit All O h hara c s, ten ther cter the nam en you mus of th, essentia e of X. Abov e plo lly ev After the c ay wan e Th hara t to fi t. If you h erybod e Lin score this you cter nish y t ha e Po they o ave a t sitio regu , and w should play ff the pr well kn has a se ns lar a ho t h mak . This edito imar ow r nd e e cas e sur may y cas n actorious semi r, which xecutiv ting d e to li appe t list in a st the -reca e, as irect brin ar as by who , An wrot p, by lis gs to an well as ors wer directo the e e. F et d th ro tin en as su nd. You he scree g any pr d that le produc ollow th f photog is by tion ch in finish nplay imar ist of raph de no ys y, w stead lis . Th a Leap of ju ll of the o is is a v ource thrmal prisigner. Fting all o ho did of Fa st a the p peni ery im e film mary inally f the ith film n This by c g credi portan concepposition you willproducer imary may r aud redit ts by t cred t was s. No be w come s, bot . listin it t a leviences h a small g the, but it a aken fro you hav to the h ave. el of thing direc lways m, as e a prof e Often f we c tor a ssion time or some gain omes clo ll as s if th , but alism , but in yo ey see it is a c listinse to u r fil g the tradi omm m an o m d fortional cren expec give tatio dits n t ha some they of its will a t film u g do it yo tomaticaoing urse lf ellly assum em e nt s. e 11. T yp e s of t ran s itio n sCut The m happ ost basi c e wide ns when and com mon ly us o ed th ne shot t insta ype of tr at f e Fade ansit ntly r ature in/ou io e movi t es no places th n is the c Fade u e rm al trans ins and f ly co other. C t. A cut ad e uts a unt t ition ou hous r . by b ands e so lack Fade out ts are th s hap e sec of th scree have em. pe on n b solid een use or any o n when d most c ther d to the p omm c co so ic o begi olour gr adua nclude m lid colou ture is g n type o nnin g of radu f lly g r. Tra ovies movi ives al D is s o d it io . Fad es. way nally ly replac lve e in to pi cture s are the , fade ou ed Also , com ts o k mon pposite: grad nown as ly us u o ed in a appe ally repla verlappi the ng, d ars. F ces b is Co m o y mon r a few s the nex solves h ly us a ed to econds, t t. One di ppen wh Wipe sa p p hey o en on signi ea v fy t h e pas erlap, an rs as the e shot Wipe d sage f s of tim both are ollowing off fr are dyn am i c ame. v is ib e. . The le. y h ap Iris pen when An o one shot ld - f a p us h shion when es th ed tr a circ e oth a n s it u la r s er io n h mask ardly ing c emp loses the p loyed n o ictur e to a wadays i s blac k scr the iris, een. 12. co m p os it i onLead Room If a character is looking frame left, then he should be placed frame right. This makes the framing comfortable because the subject is looking at the open space in front of him. This open space is called lead room or lead space. 13. Rule of Thirds Another basic composition principle is called Rule of Thirds. To follow it, one must imagine the frame with two vertical lines and two horizontal lines, as to create three vertical sections of the same dimensions and three vertical sections also of the same size. 14. Static Composition Compositions with the majority of lines being horizontal or vertical are called Static Composition. 15. Dynamic Composition When a composition has many diagonal lines it is called Dynamic Composition.