DV Cinematography - Part 1

All material is copyrighted by Victor Khong (c) 1999. All the contents of this t torial is copyrighted nder Canadian !a" and may not be reprinted "itho t the a thor#s "ritten permission. $hen % oting this page(s)& please incl de the standard credits and citation references.

Contents My bias What is digital video (DV)? Why shoot DV instead of film? DV cameras (VX1000, !V"00, #$1, X$1, DV%00) &onsiderations in selecting a DV camera Web reso'rces for selected DV cameras (senet and ne)sgro'* reso'rces for DV *rod'ction and filmma+ing &amera ,ccessories for DV filmma+ing

'y bias $et me declare my bias that - *resent my o*inions as a b'dget.minded, g'erilla filmma+er )ho 'ses DV as a viable filmma+er/s format0 - shoot DV to yield as m'ch of a film loo+ as *ossible0 his can be 1'ite different if yo' are see+ing advice on shooting event videogra*hy or doc'mentary )or+s0 - firmly advocate DV (in any of its *resent formats), to be a viable format to b'dget filmma+ers (sho'ld )e say moviema+ers?) )ho have a story to tell b't don/t have the b'dget to shoot on cell'loid0 &ell'loid film and DV are different0 2eriod0 heir aesthetics are different0 -f one has money, one can shoot film0 3't if one doesn/t, - believe DV is a good alternative as it *rovides a cost.effective single *oint of ac1'isition for *ost.*rod'ction and distrib'tion0 DV filmma+ing is tr'ly revol'tionary and ideal for the emerging filmma+er0 While some may *erceive this to be a defence of the DV format, - rather see it as the democrati4ation of filmma+ing0 2revio'sly, filmma+ing )as relegated to an e5cl'sive fe) and it became a cl'b of the )ealthy or )ell.connected )ho )ere able to f'nd these e5ercises0 While it is tr'e, that many others started )ith nothing in the film )orld and became +no)n for their )or+, - believe that DV has lo)ered the entry barriers to filmma+ing0 $i+e many blessings, it brings )ith it a t)o.edged s)ord0 We )ill have a lot more good *ro6ects o't there and a lot of bad ones0 3't remember that 6'st beca'se a *erson has a )ord *rocessor on their com*'ter doesn/t ma+e them a 7ha+es*eare0 $i+e)ise, 6'st beca'se the technology to ma+e movies is migrating to the des+to* doesn/t ma+e someone the ne5t Mc&lean, 8'bric+, 7*ielberg, Welles, 3ertol'cci, Mallic+, 9ried+in, 3esson or $'cas0

$hat is Digital Video (DV) ( ,n e5cellent *rimer on DV can be fo'nd ,dam Wilt/s )eb site )hich describes the technical s*ecifications of vario's digital video (DV) formats0 7'ffice it to say that miniDV (or cons'mer DV as some *'t it) is a high 1'ality video format )hich is digital and can be s'itable for ma+ing movies0 ,dam/s site is *ossibly the most com*rehensive site for the disc'ssion of the DV formats and technical s*ecifications0 -t is a little heavy reading if yo' are not acc'stomed to it b't necessary if yo' *lan to ma5imi4e the DV format for moviema+ing0 a+e time to e5*lore ,dam/s site, it )ill serve yo' )ell0 , tab'lation of DV formats by ,dam Wilt , DV format 9,: by ,dam Wilt With the advent of DV, it is no) *ossible to shoot, edit, com*osite and o't*'t *rofessional.loo+ing, broadcastable finished *ro6ects ready for distrib'tion or film transfer0 $hy shoot DV instead of film( DV filmma+ing com*ared to traditional cell'loid filmma+ing is cheaper& faster& allo"s more creati)e options to the filmma+er )hile allo)ing the filmma+er to retain control over their )or+0 DV ta*e is chea*er than film, 3eta 72, DV&2ro, Digital.7 or Digital 3etacam0 ;ne <0 min'te DV ta*e costs abo't &anadian =1> vers's the cost of ?mm or 1<mm film to *'rchase and *rocess0 here is no need for film develo*ing, *rinting of dailies or )or+ *rint costs associated )ith DV0 , DV filmma+er may choose to d'b their in.camera original DV ta*e to a V@7 ta*e )ith visible time.code for vie)ing and ma+ing an edit decision list (AD$)0 7hooting DV allo)s a filmma+er to record both so'nd and image on the same device th's *otentially red'cing yo'r cre), *o)er re1'irements and si4e of yo'r e1'i*ment *ac+age0 7ince DV sam*les so'nd at '* to >? 8@4, its 1'ality e5ceeds that of the ty*ical &D so'nd )hich r'ns at >>01 8@40 hat/s one less *iece of gear to l'g aro'nd, one less set of batteries to b'y or recharge, one less *iece or recordable media to b'y, stoc+, archive and carry aro'nd0 7hooting DV allo)s a filmma+er to edit their *ro6ect 'sing non.linear video editing on *ersonal com*'ters )itho't the e5*ense of film to videota*e transfers and syncing so'nd to videota*e0 DV is ca*able of loo+ing very good )hen 'sed )ith in con6'nction )ith movie camera moves, dramatic lighting and vis'al design to ma5imi4e cinematic 1'alities0 2ost.*rod'ction *rocesses li+e &ineloo+B and 9ilmloo+B and 9ilm9X allo) a filmma+er to render their entire video *ro6ect to loo+ li+e film transfered to videota*e for broadcast0 his is *artic'lalrly 'sef'l if yo' intend to distrib'te via video, cable or V broadcast0 -f transferring to film, then yo' don/t need film.loo+ *rocess as the transfer from ta*e.to.film )ill give it a loo+ of its o)n0 7hooting DV allo)s a filmma+er to 'se a higher shooting ratio than shooting film0 his allo)s for more e5*erimentation and *ossibly creative o*tions )itho't inc'rring significantly higher *rod'ction costs0 DV allo)s a filmma+er to 'tili4e a single *oint of ac1'isition for a broad range of distrib'tion o*tions0 DV can be edited and distrib'ted in V@7, &D.!;M, V&D, DVD, streaming media, digital *ro6ected (enabling the filmma+er to sho) their o)n movie in a screening facility) and be transfered to film for theatrical release0 DV allo)s a filmma+er to *ro6ect andCor theatrically release their *ro6ect 'sing c'rrently available video *ro6ectors0 Within D years, e.cinema and the )ides*read 'se of high.end digital light *ro6ectors (D$2) )ill enable a filmma+erEmoviema+er to *ro6ect their )or+ )ith no com*romise0 Aven no), the 1'ality of a high.end *ro6ector is 1'ite good standard vie)ing0

 DV allo)s a filmma+er to com*lete their *ro6ect and sho* for a distrib'tor )ho is )illing to *ay for the b'm*.'* to F%mm for conventional theatrical release0 his lo)ers the financial b'rden of obtaining a F%mm *rint of the DV movie0

;ne of the most im*ortant reasons to shoot DV is that DV is generationally lossless (- )on/t debate this statement )ith lossless and lossy com*ression diehards)0 his means that yo' can ma+e co*ies of ta*es and edited *ro6ects )ith no discernible losses in 1'ality0 his is a far cry from film )here a final release *rint maybe > or % times generationally removed from the in.camera negative after *ost.*rod'ction0 DV Cameras DV !evie) (large ,dobe ,crobat file abo't <008, re1'ires ,dobe ,crobat !eader) has an inde*th disc'ssion on DV cameras *'blished in a do)nloadable 2D9 (re1'ires ,dobe ,crobat) format )hich disc'sses the *ros and cons of each camera0 he article rates the follo)ing camerasG VX1000, X$1, ;*t'ra, !V"00, !V", V$.2D1(, 2D100, #!.D$71, ,#.AHF0, Vist'ra0 hey rate the 2D100 first )ith the !V."00 second0 Do)nload the article for com*rehensive information0 Considerations in selecting a DV camera When selecting a camera, yo' sho'ld not overdose on some finer details (lines of resol'tion, si4e of the &&Ds . they ma+e a theoratical difference b't the camera image sho'ld be ta+en as a )hole . i0e0 #estalt, etc0) 'nless they are details that yo' cannot live )itho't d'e to the ty*e of )or+ yo' do0 ,ny of these cameras )ill *rod'ce o'tstanding images in the hands of a com*etent o*erator0 2robably the most im*ortant criteria for camera selection is thin+ thro'gh yo'r entire camera system and not 6'st the *rice of b'ying a bare.bones camera0 o *rod'ce great cinematogra*hy, yo' )ill need camera accessoriesI @ere are some considerationsG !CD screen0 Ma+es it easier to chec+ framing, for director to see the action )itho't the need for a monitor, able to shoot overhead shots, *ossibly chea*er steadicam device since yo' don/t need to b'y it )ith another $&D screen )hich )ill necessitate another set of batteries, e5tra )eight, 2,$CJ 7& com*atibility, etc0 D'e to s*ace contraints )hen shooting on locations and sets, the direction of +ey light and the casting of shado)s, having and $&D screen rotated to *oint do)n)ards is 'sef'l so that one may cro'ch do)n, frame the shot and *an the camera )itho't needing to 'se the vie)finder0 *orm factor. Do yo' *refer the ergonomics of an over the sho'lder style camera (X$1, DV%00() or one that yo' can easily hold )ith one hand ( !V"00, VX1000)? Do yo' need to im*ress yo'r clients )ith a cool loo+ing camera or sim*ly )ish to shoot )itho't dra)ing a lot of attention to yo'rself? - am first and foremost a filmma+er, this means - shoot )itho't needing ego stro+es abo't the si4e of my camera . )ant something that )ill get the 6ob done )ith minim'm f'ss0 What )or+s better in a confined s*ace? ,t lo) tem*erat'res? (sing a car mo'nt or )indo) *od for an interior car dialog'e? What/s easy to 'se handholding )aist high? &an - still see the vie)finder )hen my eye is a)ay from the vie)finder? -s there an $&D screen to com*ensate? What can - sto) in a bac+*ac+ comfortably? $eight0 he heavier the camera the more heavy.d'tyCbeefier the accessories yo'/ll need0 his corres*onds to more e5*ensive accessories0 9or e5am*le, the 7teadicam K! )ill not handle an X$1 or DV%00( necessitating that yo' b'y a 7teadicam DV to handle its )eight0 he K! )ill also only handle a stri**ed VX1000 . b't if yo' mo'nt the )ideangle and 3each e+ on the VX1000, yo' )ill have *roblems balancing and trimming the K! beca'se the e5tra )eight *'shes it right to the limits of its design envelo*e0 - *'rchased a 7teady rac+er for 'se )ith my !V"00 and have mo'nted the 7ony 0L5 )ide angle and the 3each e+ )ith no *roblems to date0 ,nother iss'e )eight affects is the *'rchase of a tri*od0 he heavier yo'r camera, the more e5*ensive a tri*od yo' )ill need0 9or my !V"00, - 'se a Manfrotto 0%% tri*od )ith a Manfrotto 1F< fl'id head )hich )or+s very )ell0 he famed 3ritish car

designer, &olin &ha*man )ho designed s'ch memorable cars as the $ot's Alan, As*rit and $ot's 7'*er L, e5*loited the *rinci*le that if yo' +ee* the )eight of the car lo), all other things being e1'al (even )ith a relatively small engine), yo' get o'tstanding *erformance as a res'lt of its corres*ondingly higher *o)er.to.)eight ratio0 his *rinci*le can also be a**lied here0 +atteries0 @o) easy and chea* is it to b'y e5tended life batteries for yo'r camera? 7ome re1'ire 'sing battery belts to get longer shooting times0 -n the case of my !V"00, - 'se 7ony/s J2.9"%0 )hich yields '* to FL% min'tes contin'o's recording time, D10 min'tes ty*ical recording time and >?% min'tes *laying time )ith $&D screen0 his is 'sing the $&D to frame and o*erate0 (sing the vie)finder . )hich cons'mes a little less *o)er, the J2.9"%0 )ill yield >?% min'tes of contin'o's recording and D%% ty*ical recording times (onCoff, 4ooming)0 he available of a long life *o)er so'rce is critical to DV filmma+ing0 *ire"ire,i!in-,./// 1091 in,o t0 his is an absol'te m'st if yo' )ant to +ee* yo'r video in first generation in.camera 1'alityI 9ire)ire allo)s yo' to transfer both a'dio and video into yo'r video ca*t're device )ith com*lete digital fidelity0 -f yo'r video ca*t're card and non.linear editing system s'**ort it, this means yo' shoot DV, edit in native DV (as o**osed to transcoding to M.K2A#, M2A#.D) and o't*'t yo'r edited master in DV )ith no transcoding losses in.bet)eenI Mo'r edited master incl'ding a'dio, video, transitions and gra*hics )ill all be first generation )itho't s'ffering the generational losses associated )ith analog *ost.*rod'ction0 2lo" sh tter speeds0 7h'tter s*eeds of 1E>th and 1E?th are im*ortant as they allo) the creation of in. camera effects0 !ead Digital &inematogra*hy . 2art D for more details0 With the e5ce*tion of the #$1, all the other cameras listed above have slo) sh'tter s*eeds0 his is )here electronic ne)s gathering (AJ#) cameras fall short0 his incl'des certain 3eta 72 and KV& cameras0 Many >GDGD AJ# cameras are designed for ne)s gathering and their sh'tter s*eeds start at 1E<0th and go to abo't 1ED000th ot 1E%000th or 1E10,000th0 hey also allo) yo' to vary the crystal fre1'ency of the sh'tter at 1E<0th do)n to maybe 1E%"055th in order that yo' can shoot com*'ter monitors )itho't scrolling scan lines d'e to the difference in monitor refresh rate0 9or filmma+ing see+ing to obtain a film.li+e image from video, it is im*ortant to be able to shoot at 1EF0th of second0 $eb reso rces for selected DV cameras A5*lore each )eb site thoro'ghly to get the most of online research0 My o*inions on the different cameras are biased to)ard dramatic DV filmma+ing0 ,dam Wilt has a marvello's com*arison of these cameras0 -t is the most fair and honest com*arison - have read for the VX.1000, !V."00, #$1 and X$10

2ony V3-1444 &om*rehensive site abo't the VX1000 and accessories0 ,lso contains DV and filmma+ing reso'rcesG htt*GEE)))0abr'*tedge0comEVX10000html 7ony/s VX1000 siteG htt*GEE)))0sel0sony0comE7A$Econs'merEss%EhomeEcamcorderEdvcamerasand*rod'ctsEdcr. v51000Ns*ecs0shtml 2ony V3-1444 for m and ser disc ssions (ser for'm, )eb.based disc'ssions )here yo' can *ost 1'estions and ans)ers htt*GEE)))0video'niversity0comEv510000htm Victor#s opinion on V3-1444 A5cellent camera for the money0 3est feat're is the &(7 ;M 2!;#!,M setting )here the 'ser can t'rn do)n the 7@,!2JA77 and t'rn '* the &;$;! $V to give the VX1000 a real film loo+0 -s not as shar* as the 7ony !V"00 . b't )e are *ic+ing at very small differences here0 Mo' can also calibrate the vie)finder (AV9 Mode) to set it to yo'r monitor0 7ony/s cameras tend to favor bl'es0 -ts )ea+ness is the

lac+ of fire)ire for digital transfer inCo't, lac+ of an $&D screen, limited battery o*tions and no *rogressive scan f'nctions available0 5he V31444 has no analog )ideo in6 5his is a big disad)antage in my opinion since yo cannot se the camera to record or con)ert any V72 footage into DV. .f yo se a DV-only 8!/ sol tion& then yo #re st c-. @as slo) sh'tter s*eeds do)n to 1E> of a second for in.camera effects shots0 7ome *eo*le consider the image shar*er than the X$.1 and so loo+s less li+e film0 -s relatively light)eight and )ell balanced0 -t is also small, light)eight and *rod'ces bea'tif'l images int the right hands0 &ent'ry ;*tics ma+es a fine line of accessory lenses for the VX10000 @ere are the c stom program settings for the VX1000 )hich - 'sed on a 2,$ VX1000 )hich t'rns do)n the internal shar*ness setting of the camera and b'm*s '* the color sat'ration of the camera0 -t also calibrated the vie)finder image to the 7ony st'dio monitor )hich - had access to0 Mo'r mileage may vary b't try it yo'rself0 Mo' can al)ays choose not to 'se the c stom program setting even tho'gh it is set this )ay0 7ee the camera man'al for more details0 V31444 C stom Program for film loo- 'nder the MAJ( settings0 Mo' have to o*en the door to the battery to access these f'nctions0 ,07h'tter O off (ta+es off a'tomatic sh'tter so yo' can man'ally set it at 1EF0th ot 1E<0th for normal shooting) D0Hoom O off ('ses o*tical 4oom only for o*tim'm image 1'ality) 1<G" )ide O off (so yo' don/t lose vertical resol'tion beca'se this is a fa+e 1<G" )hich 6'st cro*s the to* and bottom of the &&D and dis*lay) Hebra O on (- 'se this to determine vis'al overe5*ose) &ommander O V !> @ead*hone O lo) (medi'm or high de*ending on yo'r *reference) 3ee* O on AV9 Mode O &olor (D clic+s from left), 3right (F clic+s from left) . the AV9 settings )ere set to my 7ony monitor0 Mo'rs may differ0 9rame rec O off 7elf.time O 10 sec &'stom O on (off if yo' don/t )ant the c'stom settings to ta+e effect) .P 7et O on .P &olor $V O % clic+s from left .P 7har*ness O F clic+s from left (red'ce the clic+s even more for a softer setting . mine )as set for 'se in con6'nction )ith a diff'sion filter) .P W3 shift O middle (F clic+s from left) .P ,A shift O D clic+s from left .P #ain shift O 0db &loc+ set O on

2ony 59V944 he 'ltimate !V"00 site on earthI r'ly a )orthy )or+ by Kohn 20 3eale0 Kohn/s site is tr'ly one of the most com*rehensive DV camera sites and yo' )ill learn a lot abo't vario's as*ects of DV filmma+ing htt*GEE)))0bealecorner0comEtrv"00E 7ony/s site for the !V"00G htt*GEE)))0sel0sony0comE7A$Econs'merEss%EofficeEcamcorderEdvcamerasand*rod'ctsEdcr. trv"00Ns*ecs0shtml

:ser mailing lists ; for ms 7end email and follo)s the instr'ctions that arrive emailG trv"00.s'bscribeQonelist0com 0 7end email and follo) instr'ctions0 , )eb *age that deals )ith s'bscri*tion info0 to the !V"00 mailing list and also has other !V"00 info0 htt*GEE)))0telebyte0nlER*e1nibEtrv"00.list0html Victor#s opinion on the 59V944 2o'nd for *o'nd, *robably the best DV camera on the mar+et along )ith its sister model the 2D.100,0 @as the $&D screen )hich ma+es it easier for chec+ing framing . es*ecially )hen 'sing a steadytrac+erCsteadicamCglidecam device or )hen the director is not the D20 -mage is shar*er than the VX.1000 and favors bl'e0 3't the shar*ness is not necessarily a good thing0 Mo' )ill ta+e do)n the shar*ness )ith a diff'sion filter to be more a film loo+0 -t is small and loo+s li+e an ordinary cons'mer camcorder (read g'erilla filmma+ing )itho't *ermitsI)0 Most of the o*tions available for the VX1000 )ill fit the !V"000 his incl'des &ent'ry ;*tic/s )onderf'l 1<G" anamor*hic lens attachment0 3ear in mind that if yo' 'se the anamor*hic ada*tor, yo' )ill also need to 'se a 1<G" ca*able monitor for framing, lighting and com*osition0 &ent'ry ;*tics also ma+es other lens accessories for the 7ony !V"00, 7ony VX1000 and 2anasonic AH1EAHF0 line of cameras0 he !V"00 is )ell balanced, light and com*act0 With the beachte+ X$! ada*tor mo'nted, it ma+es a nice bottom gri* and still retains its com*act and balanced form factor0 -t has slo) sh'tter s*eeds do)n to 1E> of a second for in.camera effects shots0 his is im*ortant0 -t has *rogressive scan b't only '* to 1% f*s0 herefore its *rogressive scan is not 'sable for motion video b't is more a**ro*riate for high 1'ality video stills0 With the b'ilt.in *ict're effects, filters and *ost.*rod'ction *rocessing, one can even sim'late blac+ and )hite film )ith varying degrees of film grain0 -t is chea*er than the VX1000 and X$1 by far0 9or the *rice of KV&/s DV%00, yo' can b'y t)o !V"00/s and have money left overI ;ne !V"00 for shooting and another one as a *laybac+Crecording dec+ S bac+'* cameraI Mo' can also 'se the !V"00 as yo'r ac1'isition camera and b'y a less e5*ensive 7ony 2&1 as a *laybac+Cdec+ and bac+'* camera0 his allo)s yo' to ac1'ire )ith a F &&D camera and *laybac+ )ith a 1 &&D camera )hich ma+es no difference to yo'r non.linear editing system0 -t ta+es 7ony/s J2."%0 battery )hich )ill last an entire shooting day )itho't ever changing batteries ()hen not 'sing a'to.foc's and a'to gain control)0 Mo' also have lots of battery and accessory o*tions0 also bo'ght a 7ony ,&.V:?00 a ,& battery charger for series T$T and TMT batteries0 - needed this to recharge the second battery )hile still s'sing the camera to shoot since yo' cannot charge a battery and o*erate the camera at the same time0 With its com*act form factor even )ith accessories, the !V"00 is relatively easy to balance and trim on my 7teadytrac+er0 $arger cameras )ill be more challenging to balance and trim on handheld stabili4ation devices0 !easons )hy - chose the 7teadytrac+er over other brands maybe fo'nd here0 -ts )ea+ness is the lac+ of control over the internal shar*ness settings )hich are ad6'stable on the VX1000, #$1 and X$10 7hooting the camera )ith the right combination of diff'sion is tr'ly re)arding0 7ome 'sers have re*orted ta*es being che)ed on re)inding b't - have not had the same *roblem0 ,s yet, the *roblem does not a**ear to be )ides*read0 ,nother iss'e )ith the !V"00 is that the camera can and does e5hibit camera )hine and noise from time to time0 his noise seems *art of the camera/s design and ha**ens intermittent0 - solve this *roblem by sim*ly *lacing a to)el, 6ac+et, s)eater or any other noise dam*ening material - find handy as a barney (a camera cover to red'ce camera noise)0 Mo' can also b'y the tele*hoto lens attachments from the F%mm ;lym*'s -7.1, -7.D or -7.F cameras, attach a filter si4e conversion ring and 'se them on the !V"000 he conversion ring )ill be a %Dmm to >"mm si4e0

7ere#s a big pl s< 5he 59V944 has )ideo analog in6 5his means yo can se the 59V944 to record a DV )ersion of a V72 tape or anything else that can send o t a composite,9CA )ideo signal6 8either the 3!1 or the V31444 has analog )ideo in6 -f yo' 'se a DV.only non.linear video editing sol'tion, then getting the !V"00 means that yo' can 'se it to record from other forms of media into DV, then 'sing the !V"00, fire)ire the DV form of the footage into yo'r com*'ter0 Jo) try doing that )ith another cameraI

Canon 3!1 he best )eb site for X$1 by &hris @'rdG htt*GEE)))0mediadesign0netEcanondv0htm &anon/s site for X$1G htt*GEE)))0canondv0comE5l1Einde5D0html Victor#s opinion on the 3!1 2rod'ces the best *rogressive scan images at F0 f*s to date0 -ts image is generally considered less shar* than the VX.1000 or !V"00 and renders it more film.li+e than the others0 -t has interchangeable lens ability altho'gh that is a benefit more in theory than *ractice 'nless yo' )ant a very very long 4oomCtele*hoto effect )hen mo'nting F%mm &anon A;7 lenses to it0 his m'lti*lies the focal length of the ada*ted F%mm A;7 lenses by a factor of L times d'e to the differences in image area bet)een a F%mm film negative and the image area ca*t'red by a &&D0 , 100mm lens for a &anon A;7 F%mm camera )ill become an e1'ivalent L00mm lens for the X$1 after ada*tationI &anon has also released a very )ide, )ide angle lens for it so chec+ it o't for yo'rself0 he balance of the camera is 'nfort'nately front.heavy0 -ts camera ergonomics for man'al shooting mode is the best among *ros'mer cameras0 -t also has +no)n *roblems )ith bac+ foc's0 hat means that the camera does not retain foc's )hen 4ooming from one focal length to another0 here is a fi5 for it if yo' send it bac+ to the factory 'nder )arranty b't not all 'sers have fo'nd this fi5 to have been s'ccessf'l0 =pte> has released an e>pensi)e (:2 ?1@A4) all-man al lens for the 3!1 "hich promises to address many of the 3!-1 lens# shortcomings. 5he =pte> lens ho"e)er does not ha)e the proprietary electronic lens mo nt so the camera does not sense the presence of the =pte> lens and "ill -eep flashing Bno lensB in the )ie"finder e)en "hen yo ha)e it mo nted. has released an e5*ensive ((7 =1L%0) all. man'al lens for the X$1 )hich *romises to address many of the X$.1 lens/ shortcomings0 he ;*te5 lens ho)ever does not have the *ro*rietary electronic lens mo'nt so the camera does not sense the *resence of the ;*te5 lens and )ill +ee* flashing Tno lensT in the vie)finder even )hen yo' have it mo'nted0 &ent'ry ;*tics also ma+es fine lenses and accessories for the X$10

-t also has slo) sh'tter s*eeds do)n to 1E? of a second for in.camera effects0 -t is also slightly better in lo) light than either the VX.1000 or !V"00E2D100a0 -t is an e5*ensive camera com*ared to )hat else yo' can b'y0 -t also loo+s more T*rofessionalT and dra)s more attention to itself0 his can be good or bad de*ending on )hether yo' need to im*ress yo'r clients or yo' need ego stro+ed or )ant to get a)ay )ith shooting incognito0 he X$1 also has many com*any/s )hich ma+e accessories for it0 -t also has m'lti*le battery o*tions0 &olor rendition favors reds and yello)s0 -t is ho)ever considered large by miniDV standards and d'e to its inherent front.heaviness, ma+es it slightly more challenging to balance on handheld camera stabili4ation devices0 -t does not have an $&D screen )hich is a )ea+ness and its color vie)finder is notorio's for being diffic'lt to foc's0 &anon is said to be releasing a high.resol'tion blac+ and )hite vie)finder for the X$1 in the f't're0 -t/s heavier )eight means yo' have to b'y a more e5*ensive style of steadycam if yo' )ant to 'se s'ch camera movements0 5he 3!1 has no analog )ideo in6 5his is a big disad)antage in my opinion since yo cannot se the camera to record or con)ert any V72 footage into DV. .f yo se a DV-only 8!/ sol tion& then yo #re st c-. ,mong its o'tstanding feat'res ada*ted from &anon/s F%mm camera e5*erience is the X$1/s ability to *'shC*'ll e5*os're )hile in Programmed A tomatic mode0 his means yo' can 'se the *rogrammed settings as a starting *oint and overC'nder e5*ose the image from there )ith the flic+ of a dial0

Canon C!1 &anon/s o)n )eb site for the camera htt*GEE)))0canondv0comEgl1Einde50html ;ne revie) of the #$1 htt*GEE)))0bealecorner0comEtrv"00Egl1revie)0html &anon/s site for the #$1 htt*GEE)))0canondv0comEgl1E (ser/s site for #$1 htt*GEE)))0gl1.>110comE :ser mailing lists ; for ms 7end email and follo) instr'ctions to s'bscribe emailG #$1.XM1.s'bscribeQonelist0com , #$1 comm'nity on the Jet htt*GEE)))0egro'*s0comEgro'*Ecanon.gl1E Victor#s opinion on the C!1 oo ne) for m'ch real.)orld 'ser feedbac+ as of the time of this )riting (Jovember DL, 1""")0 -t does boast of &anon/s )onderf'l fl'orite lens technology b't is missing man'al a'dio controls0 -t 'ses ,#& (a'to gain control) and so far the initial re*orts is that its ,#& )or+ very )ell0 ,ccording to ,dam Wilt/s re*ort on it ho)ever, it does not have sh'tter s*eeds slo)er than 1E<0 of a second0 his ma+es it 'nattractive for in.camera effects )or+ that 'tili4e slo) sh'tter s*eeds0 -t has F0 f*s *rogressive scan mode 6'st li+e the X$10 his ma+es it attractive for either grabbing f'll frame stills off the ta*e or for s'*erior video *laybac+0 @o)ever, Kohn 20 3eale has a #$1 resol'tion test shot 'nder controlled conditions )hich sho)s that the #$1 is slightly less shar* (acco'nting for its more *leasing loo+ to the eye) than the !V"000 he res. test has also sho)ed that the #$1 e5hibits video field blending in its F0f*s *rogressive scan mode0 &anon definitely co*ied the form factor of the 7ony VX1000 b't also gave it the $&D screen of the 7ony !V"00 (albeit smaller at D0%T)0 he D0%T $&D screen is also not as shar* as the !V"00/s0 &anon *riced it chea* li+e the !V"00 in order to com*ete )ith the VX1000 and !V"000

-t loo+s li+e a good camera for the *rice and KV& flatters 7ony if imitation is indeed the sincerest form of flattery0

DVC DVA44: KV&/s site for the DV%00( htt*GEE)))06vc0comE*roEdvEhome0htm he DV%00( is a ne) hybrid camera0 2revio'sly, no ma6or man'fact'rer had officially considered miniDV a *rofessional format even tho'gh net)or+s and broadcast stations )ere 'sing miniDV0 KV& is the first ma6or man'fact'rer to deb't a *rofessionally s*ec/ed camera choc+f'l of *rofessional feat'res incl'ding 1EDT bayonet mo'nted lenses )hich means yo' can rent any *ro.lens of yo'r choice )ith f'll 7M2 A time code and direct X$!.ins0 he bea'ty of this is the DV%00( comes )ith fire)ire or -AAA1F"> or i$in+ and so can directly DV inCo't into yo'r non.linear editing (J$A) system0 Mo' can then o't*'t yo'r edited master bac+ into DV )itho't ever transcoding or losing a generationI What/s the big deal yo' may as+? 2revio'sly, *rofessional cameras only offered com*onent o't as a high 1'ality analog format to send signals o't0 7ome cameras had 7D- (serial digital interface) a digital transfer *rotocolCinterface that )as st'*endo'sly e5*ensive0 o have 7D- in yo'r J$A )as another s+y. high e5*ense since 7D- is considered a *rofessional s*ecification0 With fire)ire, yo' have the benefit of digital inCo't )itho't the e5*ense associated )ith 7D-0 (nfort'nately, as of the time of this )riting (December <, 1"""), the DV%00( is not shi**ing in Vanco'ver, &anada yet and no real)orld 'ser feedbac+ has been received from the Jet0 ,s a filmma+er, - *ersonally )o'ld not b'y a DV%00( since all the s'bse1'ent accessories - )o'ld have to b'y to fit it )o'ld ma+e it *rohibitively e5*ensive0 -t ta+es more e5*ensive batteries, 7teadicam devices, tri*od and is m'ch more cons*ic'o's and m'ch larger than my !V"000 - )o'ld not be able to travel innocently or shoot innocently )ith it0 -ronically, its greatest immediate rival may be &anon/s X$1 since both share the over the sho'lder form factor0 3oth have interchangeable lenses tho'gh the 1EDT mo'nt of the DV%00( gives it a lot of lens o*tions0 &anon/s ne)est man'al foc's lens along )ith ;*te5/s man'al lens sol'tion also gives the KV& a r'n for its money0

:senet and ne"sgro p reso rces for DV prod ction and filmma-ing o 'se these ne)sgro'*s, yo'r m'st selectCs'bscribe to them from either the ne)sgro'* reader b'ilt into yo'r )eb bro)ser or another ne)sgro'*C'senet reader *rogram0 -t is recommended that yo' l'r+ (read messages b't don/t *ost) in these ne)sgro'*s for a )hile to learn abo't the themes and to*ics in the gro'* before *osting a b'nch of ne)bie 1'estions0 Mo' )ill find more hel* in the video gro'*s for DV filmma+ing than in movies gro'*s0 hese still tend to be dominated by film snobs (Jovember DL, 1""")0 rec0video rec0video0des+to* rec0video0*rod'ction rec0video0*rofessional alt0movies0cinematogra*hy alt0movies0inde*endent rec0arts0movies0*rod'ction

rec0arts0movies0*rod'ction0so'nd rec0arts0movies0tech Camera Accessories for DV filmma-ing - ha**en to 'se the &o+in filter system si4e T,T )ith mod'lar lens shade0 , list of &o+in filters can be fo'nd here0 ;thers *refer scre).on %Dmm filters0 Met others *refer a tr'e matte bo5 filter system )hich 'ses glass filters0 Wide angle ada*tor . 7ony ma+es a 0L5 ada*tor )hile 8en+o ma+es one '* to 00%50 F f.sto* ne'tral density filter (ltra.violet ((V) filter 2olari4er Diff'sion filter . &o+in Warm 7'n U<">, iffen 2ro 3lac+ Mist, iffen 2ro White Mist, iffen @olly)ood 9EX filters Warming filters . ?1a, ?1b, ?% #rad'ated grey filter !ed filter X$! mic ada*tor . either 3eachte+ or 7t'dio 10 - 'se the 3each e+ DX,.>70 7hotg'n mic . 7ennheiser M8A F00, >1<, MA<< 3oom *ole, e5tendible *ainter/s rod or al'mini'm sho)er c'rtain #ood tri*od . - 'se a Manfrotto 0%% )ith the Manfrotto 1F< fl'id head &amera handheld stabili4er . 7teadytrac+er, #lidecam, 7teadicam @ead*hones )ith mini 6ac+ @ardcase for camera !eflectors . )hite foam core, metallic silverCgold reflectors 7)atch boo+ of $ee or !osco filters . for creative )hite balancing Microfibre lens cleaning cloth M'lti*le J2"%0 batteries for !V"00 !a*id battery charger

 V1, VD, VF close'* dio*ter filters for macro shots

DV Cinematography - Part E

All material is copyrighted by Victor Khong (c) 1999. All the contents of this t torial is copyrighted nder Canadian !a" and may not be reprinted "itho t the a thor#s "ritten permission. $hen % oting this page(s)& please incl de the standard credits and citation references.

Contents ,chieving a film loo+ )ith digital video 7im'lating ?mm or 1<mm blac+ and )hite film )ith film grain &amera movementsG o*tions for camera movements, start frame and end frames Why - chose the 7teadytrac+er !ecording location so'nd Why cons'mer miniDV cameras dro* time code @o) to avoid dro**ing time code @o) a shot log benefits yo'r batch digiti4ation

Achie)ing a film loo- "ith digital )ideo ( his article )hich - s'bmitted to Kohn 20 3eale has been *'blished on his siteG htt*GEE)))0bealecorner0comEtrv"00Efilmloo+0html)0 @ere are some ti*s to achieve a film loo+G :se a diff sion of some sort, (ta+e yo'r *ic+) i0e0 . flesh colo'red nylon stoc+ing over the front of the lens, &o+in Diff'sion 1 or D, iffen 2ro 3lac+ Mist, smear vaseline over clear filter, etc0 3asically if yo' shoot video )itho't diff'sion, it )ill loo+ li+e video0 -n my e5*erience, the iffen 3lac+ Mist )ill lo)er the contrast and diff'se a video image b't it )ill not give it the softer loo+ of a film image transfered to video0 - have chosen to 'se the &o+in system instead0 , list of &o+in filters )ith their s*ecific filter n'mbers may be fo'nd here0 - 'se &o+in/s 7'nsoft filter U<"> for diff'sion and )arming0 his has yield a nice diff'sed image )itho't the ty*ical video loo+ and ta+es a)ay the characteristic bl'e of 7ony cameras0 -f - )ant the diff'sion )itho't the filter color, - sim*ly )hite balance )ith the filter in *lace0 he diff'sion filter yo' 'se ma+es a FbigF difference to the res'lting image0 Don/t believe those )ho say yo' can t'ne do)n the shar*ness in *ost.*rod'ction0 -t )ill ta+e more time, is less ass'ring than getting it in.camera and the difference )ill vary from one J$A system to another0 (nless yo' are )or+ing )ith a realtime J$A, yo' )o'ldn/t )ant to render and re.render to vie) a slight change in diff'sion0

:se a slo" sh tter speed of 1G04th or 1GH4th(J 7&) . try never to 'se fast sh'tter s*eeds of 1D%th and above0 hese tend to ca'se strobing or a free4e frame effect0 o see an e5am*le of this, aim yo'r camcorder at a com*'ter

monitor screen )ith yo'r screen saver r'nning (if 'sing Windo)s, set screen saver to TMar1'eeT )ith scrolling )ords)0 When 'sing a slo) sh'tter s*eed of <0th second, the motion of the screen saver )ill be smooth0 When 'sing higher sh'tter s*eeds of 1D%th and above, the screen saver )ill a**ear to T6'm*T or strobe across the screen0 ,dd and remove light to )or+ )ithin this *arameter0 7lo) sh'tter s*eeds can be 'sed for in.camera effects0 -t loo+s a little li+e slo) motion as the image )ill trail or lag behind the a'dio being recorded0 he sh'tter s*eed threshold for recorded motion and li*. sync0 is 1EF0th0 7lo) sh'tter s*eeds enable the trailing red tail lights )ith a'tomobiles and dramatic slo) motion effect in camera0 -t is also a little less characteristically video.shar* )hich some cinematogra*hers li+e !ichard 7tringer have fo'nd 'sef'l0 1EF0th of a second sh'tter s*eed ca*t'res a certain amo'nt of motion bl'rring reminescent of film/s D>f*s ca*t're rate and *rod'ces motion images )hich are lyrical and fl'id . very 'nli+e broadcast ne)s video )hich is very Tshar*T since they are ca*t'red at 1E<0th of a second sh'tters s*eed and above0 ,t 1EF0th of a second sh'tter s*eed, there is *erce*tible motion bl'r d'ring camera *ans )hich is reminescent of film0 ,n e5tensive disc'ssion of film and video motion clarity signat'res can be read here0

:se a "ide open apert re (on !V"00 it/s called A5*os're in the man'al)0 his ranges from ;2AJ to abo't 9>0 ,nything higher than that ma+es a greater de*th of field and decreases yo'r differential foc's0 When 'sing a &o+in UD Diff'ser, anything a*ert're larger than 9> )ill sho) halation and the artifact from the diff'sing element in the filter0 his is also tr'e of some other diff'sers0 #reat for s*ecial effects (loo+s li+e )ater) b't not 's'ally desirable0 , )ide o*en a*ert're also yields shallo) de*th of field for nice se*aration of the foregro'nd and bac+gro'nd for the *ortrait shots0

:se ne tral density filters0 -n order to 'se a combination of slo) sh'tter s*eed and )ide o*en a*ert're in a bright e5terior shooting sit'ation, it is necessary to decrease the amo'nt of light entering the lens0 his can be achieved by t'rning on the !V"00/s b'ilt.in JD (ne'tral density filter) filter and adding '* to JD? (or a F f.sto*) filter )hich effectively removes the amo'nt of light entering the lens by F f.sto*s0 his )ill give yo' the combination of slo) sh'tter s*eed and )ide o*en a*ert're that yields nice differential foc's )hen shooting in bright e5teriors0 -n order to shoot )ithin the contrast range of video, once yo' have set yo'r desired shooting a*ert're and sh'tter, add and remove light to yo'r scene if feasible to achieve res'lts0 his incl'des flagging, scrimming, screening, netting, etc0 -t/s a lot of )or+ b't yo' did say yo' )anted film.loo+ right? W.)

!ight yo r set "ithin A f-stops. Video only has abo't a % f.sto* contrast range0 Ma+e s're yo' shoot )ithin this contrast ratio for best res'lts e5*osing for yo'r desired highlights0 he best )ay to ma+e s're yo' are )ithin the contrast limits is to meter the im*ortant areas of yo'r scene )ith either a s*otmeter or incident light meter to determine if yo'r highs and lo)s are )ithin the ratios0 $earning e5*os're and l'minance for DV is mandatory for achieving *hotogra*hic control over the video image0

(se a &o+in grad ated Crey filter )hich is grey on one half and grad'ally goes clear on the other half0 What does this do? -magine a scene )here a *erson is standing inside a ho'se beside )indo) and it is bright daylight o'tside0 -f yo' e5*ose *ro*erly for the *erson inside the ho'se, scene o'tside the )indo) )ill be too bright and any detail of the scene o'tside the )indo) )ill be lost in overe5*osed )hite highlights0 , grad'ated grey or grad'ated ne'tral density filter rotated to fit the scene, )ill red'ce the brightness of the )indo) scene )hile *reserving the e5*os're of the *erson standing inside the ho'se ne5t to the )indo)0 3y red'cing the contrast of the scene o'tside the )indo), yo' allo) video to ca*t're the scene both inside the ho'se and o'tside the )indo)0 $i+e)ise )ith a landsca*e com*osition )ith s+y0 , grad'ated grey or grad'ated ne'tral density )ill red'ce the contrast bet)een the high/s and lo)/s of the scene and allo) yo' to ca*t're the scene )ith less blo)o'ts0

!earn to light li-e shooting film0 $ighting for the film.loo+ is absol'tely critical0 his means lots of modeling, shado)s instead of the flat blast of video light li+e )hat yo' see in ne)s reel footage0 Many V sho)s and ne)s room lighting strive for no.shado)s lighting0 While this may be fine for st'dio )or+, yo' )ill )ish to *'rs'e lighting as *art of yo'r vis'al design for the *iece yo' are shooting0 -f yo' don/t see shado)s, the lighting is flat0 ry to never shoot against a )hite or beige bac+gro'nd 'nless it it either o't of yo'r control or *art of yo'r *rod'ction design0 here are many good boo+s on three dimensional lighting for film and video0 -f yo' light video )ith the same care li+e feat're films, it )ill

immediately increase the *rod'ction val'e of yo'r )or+ by several magnit'des0 he )ay to learn ho) to light is to read, read, read and )atch lots of movies and videos0

Create light and shado"s in yo r light. his means creating shado)s, *atterns, sha*es 'sing flags, nets, scrims, gobos, coo+ies, c'coloris, etc0

!ayer yo r light and practicals to create depth. his means that in addition to yo'r +ey light (the main light )hich ill'minates yo'r talent or scene, have additional lights in the bac+gro'nd to create se*aration, de*th and a *erce*tion of *ers*ective )ithin the camera frame0 Most everything yo' see in a F%mm film )ill do this to give a F.dimensional loo+ to a D.dimensional film frame0

Control the prod ction color palette. Many ne) filmma+ers fail to do this0 &ontrolling yo'r color *alette means that yo' are involved in selecting the colors of the sets/s )alls, location settings, )ardrobe choices and set decoration0 ,llo)ing a ca'casion blonde lead actress to )ear beige to be filmed against a )hite )all is a s'refire )ay to vis'al disaster 'nless that is yo'r intention0 @aving oversight over )ardrobe also means yo' *rovide g'idelines abo't the selection of fabric, colors and *atterns0 9or e5am*le, thin.stri*ed *atterns do not ca*t're )ell as they tend to ring on *laybac+0 ,l)ays, al)ays, as+ to go thro'gh )ardrobe choices es*ecially for yo'r lead actors or yo' may find yo'rself in a corner not being to ma+e yo'r stars loo+ good d'e to lac+ of control over the color *alette0 XDo notX ass'me the )ardrobe de*artment +no)s )hat colors loo+ best for the *rod'ction/s color *alette0 9irst, - as+ myself or the director )hat the scene is meant to convey and )hat the *rime emotion )e are trying to comm'nicate0 $ighting and com*osition need to com*lement the storytelling0 -f the mood ha**y, )e may )ish a nice F. light set'* )ith nice glamo'r light (+ey, fill, hairlight)0 -f the mood is tense or dar+, - light to create menacing shado)s or light it from 'nderneath0 - may even light it directly overhead so that it casts shado)s '*on the face0 -f the time of day is s'**osed to be night, - may 'se minimal +ey light and )hite balance to create a bl'e tinge in the image0 -f the mood is romantic and intimate, - may 'se *ractical lighting and either )hite balance for a )armer tone or )hite balance for )hite and 'se an ?13 )arming filter instead0 8ino.9los are also )onderf'l if the b'dget is thereI ,nother great techni1'e is to 'se chinese lanterns *laced as a fill light or 6'st 'nder the lens connected to dimmers for )onderf'l fill and eye.light0 ,nother sol'tion is to b'y a boo+ on glamo'r *ortrait *hotogra*hy )hich has diagrams of lighting set'*s and their res'lting image on F%mm film0 he lighting is almost al)ays dramatic or flattering (glamo'r)0 Mo' )ill learn more abo't *ainting )ith light 'sing coo+ies, scrims, s*ots, c'to'ts and other devices than from the standard video lighting boo+0 , good one isG 8/$ C!A'=:9 , #'ide to 2rofessional $ighting echni1'es (2ro $ighting series) by ,le5 $arg and Kane Wood -73J D.??0><.FDD.X Designed and 2rod'ced byG :'intet 2'blishing $td0 < 3l'ndell 7treet $ondon JL "3@

his is by far the best boo+ - have seen on glamo'r *hotogra*hy0 ,ltho'gh the boo+ is )ritten for F%mm still *hotogra*hy, the lighting set'* diagrams, 'se of filters and the res'lting images can be 'sed for video lighting conce*t'ally are )ell )orth the *rice0 (sing this boo+ as a starting *oint, one can easily then im*rovise the set'*s needed for shooting a video

version of this0 -f yo' follo), the techni1'es o'tlined in the boo+, - have no do'bt that yo'r video footage )ill stand o't from the cro)d0 here are essentially three differences bet)een amate'r and *ro )or+G 10 &om*osition (this incl'des camera movement) D0 $ighting F0 (se of filtration

2im lating Imm or 1Hmm blac- and "hite film "ith film grain -f yo' )ish to sim'late ?mm or 1<mm blac+ and )hite loo+ and film grain )ith yo'r !V"00, yo' can try this0 2lease ada*t the *rinci*les to yo'r *artic'lar camera0 read the instr'ction man'al that came )ith yo'r camera if in do'bt )hether s'ch feat'res e5ist on yo'rs0 he *rinci*les are still the same if yo' are shooting in man'al mode0 Mo'nt a red filter on yo'r camera0 - 'sed a F f.sto* &o+in U00F &;A9VF !ed (, si4e)0 3y 'sing a F f.sto* filter, yo' have red'ced the amo'nt of light entering the lens0 his is good beca'se this )ill ca'se the camera to 'se slo)er sh'tters s*eeds or 'se digital gain to ma+e the necessary e5*os're0 he red filter also enhances certain colors in blac+ and )hite0 !emember to )hite balance the camera W- @;( the red filter or the effect of the red filter )ill be lost0 Je5t, set yo'r camera/s 2-& (!A A99A& (that/s the b'tton on the side behind the $&D screen) to T3SWT for blac+ and )hite0 -f yo'r camera does not have this feta're, shoot )ith a V monitor and t'rn the color com*letely off so yo' can light for 6'st blac+ and )hite contrast0 Je5t, if yo' are 'sing 2!;#!,M modes, select the 72;! mode (that/s the one )ith the icon of a g'y s)inging a golf cl'b)0 his forces the camera to 'se a faster sh'tter s*eed to a*ert're fast motion0 &orres*ondingly, the ,2A! (!A of the camera )ill go into digital gain in order to ca*t're the image0 his ca'ses the camera to record the image )ith video noise . sim'lating blac+ and )hite film grain0 -f yo' are 'sing M,J(,$ e5*os're mode, then fi5 yo'r sh'tter s*eed at as high a sh'tter s*eed as yo' can )hile maintaining eno'gh digital gain to create visible noise in the image0 his is 's'ally achieved )hen gain (the e5*os're beyond ;2AJ) is cran+ed above < db gain to 1? db gain0 he fine.ness of the visible grain )ill de*end on ho) m'ch digital gain yo' trigger in the AX2;7(!A of the camera0 -n this instance, - find it generally easier to 'se the 72;! 7 *rogram mode )ith the red filter to achieve this effect0 -f yo' are trying to sim'late a flashbac+ scene in blac+ and )hite )here a *erson gets shot or +illed and yo' )ant to see in in grainy blac+ and )hite in slo) motion )itho't li* syncing dialog'e, then select the W-$-#@ 2!;#!,M mode (loo+s li+e a candle)0 his )ill ma+e the camera 'se a slo) sh'tter s*eed abo't 1E? or 1E> of a second0 his )ill res'lt in a slo).sh'tter strobe )hich loo+s li+e bl'rry slo) motion0 Mo' can of co'rse slo) it f'rther in editing0 -f 'sing M,J(,$ e5*os're mode, then set for a slo) sh'tter s*eed li+e 1E> or 1E? of a second )ith the e5*os're set bet)een < db to 1? db gain0 o red'ce eno'gh light to ma+e these settings *ossible )hen shooting in daylight, yo' may have to add a ne'tral density filter and also trigger the !V"00/s internal ne'tral density filter0 -f shooting at night, then this sho'ld not be a *roblem0 -n *ost.*rod'ction editing, increase the C=859A25 settings of the video cli* to obtain a dee*, rich blac+ in yo'r blac+s and to overe5*ose yo'r )hites0 his combined )ith the heightened grain )ill give an image that is artistic li+e the loo+ of *'shed *rocessed high contrast blac+ and )hite film0

=ptions for camera mo)ements& start frame and end frames 7tart )ith s'b6ect 7tart a)ay from s'b6ect and *anCtilt into s'b6ect DollyCslo) 4oom into s'b6ect DollyCslo) 4oom o't from s'b6ect 9ade into scene from blac+ 9ade o't from scene to blac+ 9ade into scene from )hite 9ade o't from scene into )hite by riding the iris or e5*os're $ong shot Wide shot Medi'm shot &( . close '* A&( . e5treme close '* rac+ing shot ilt '* ilt do)n

9i5 tri*od on a )ide shot and let actors *erform li+e a stage in theatre (the o*ening of 7tanley 'cci/s T he -m*ostersT began li+e this) 9rom lo) 2;V ('se bean bag . mine is filled )ith dried beans and lentils, or go to &ine+inetic for their &ine 7addle sol'tion0 9rom high 2;V (climb on a ladder, high vantage *oint) (se a steadicam device s'ch as 7teadicam, 7teadytrac+er or #lidecam0 !otate camera on its H a5is 3egin dialog'e from from blac+

 Dolly and *an Dolly and tilt '*Cdo)n Macro shot Jormal to *osteri4ed shot $ong, long 4oom com*ressed shot Dolly bac+ to reveal for end frame Hoom o't to reveal for end frame Dolly in to heighten tension for end frame Hoom in to heigthen tension for end frame Dolly and reverse *an 1?0 degrees Hoom o't and reverse *an 1?0 degrees 3egin shot overhead 'sing something li+e a 7teadytrac+er 2edestal do)n 2edestal '* Dolly aro'nd sho'lders for a moving over the sho'lder shot $o) trac+ing 'sing something li+e a lo) mo'nt cage for 7teadytrac+er !ac+ foc's bet)een foregro'nd and bac+gro'nd elements ry to com*ose )ith foregro'nd and bac+gro'nd elements to lend de*th to the shot

9rom in.foc's to o't.of.foc's 9rom o't.of.foc's to in.foc's

$hy . chose 2teadytrac-er - have received several en1'iries )hy - favored the 7teadytrac+er over other ma+es0 he 7teadycam DV and K! are far too e5*ensive to 6'stify )hat they can do )hen there are better s'bstit'tes in my o*inion0 he #lidecam 'ses a floating gimbal )hich ma+es it similar in design *hiloso*hy to the 7teadicam K! and 7teadicam DVEDV70 his means the gimbal floats from the vertical rod that holds the stage (the *latform *late that the camera is mo'nted to)0

he floating gimbal design, )hile more stable if yo' can balance it, means it is also )ay more sensitive to imbalance and trimming and fine.balancing0 he 7teadycam K! is so sensitive that as yo'r <F min'te ta*e moves from one reel to another thro'gh the co'rse of recording, it )ill affect the floater/s balanceI his e5*lains )hy the more e5*ensive models 'tili4e a body harness and arm brace of some sort to com*ensate for )hat - consider hy*er.sensitivity0 ,nother reason for body brace is also to allo) for a heavier camera

he 7teadytrac+er/s gimbal design sim*le and doesn/t float0 -t 'ses the h'man )rist for micro.movement ad6'stments0 -f yo' st'dy the *ict'res from the 7teadytrac+er/s )eb site, it means that micro.m'scle movement from a trained arm *rovides the balancing and fine.t'ning that yo' need to 'se it0 7o its design made sense to me after 'sing the K! and not li+ing it it/s hy*er.sensitivity0 (Mes, - )atched the K!/s training video and )ent thro'gh the man'alC)orboo+, line by line, item by item and s*ent F ho'rs on trying to get it to )or+ )ith a VX1000)0 he 7teadytrac+er )as 1'ic+ to balance and fine.t'ne and trim0 oo+ me 'mm, all of D min'tes to balance my !V"00 )ith 3each e+ mo'nted and $&D screen fli**ed o't0 ,ll too often, o*erators are loathe to mo'nt and dismo'nt a camera from a 7teadicam K! since the *rocess of setting it '* again is time cons'ming and a**ro5imates blac+ magic in trying get it to balance and trimmed )hile trying the different combinations of stage mo'nt holes, the grey rotating +nob directly 'nder the stage, mo'nting e5tra )eight, trimming the leftCright mo'nt of the stage )ith the stage ad6'stment +nobs, etc0 With the 7teadytrac+er, these com*le5ities do not a**ly0 7ince the 7teadytrac+er design does XnotX 'se a floating gimbal, - am able to shoot over the sho'lders by raising the 7teadytrac+er far above my head, or begin )ith an over the head crane shot before transitioning do)n)ards0 -t means can fli* the 'nit )ith both hands at abo't < o/cloc+ and t'rn it '*right bac+ to 1D o/cloc+ in one move0 he others 6'st can/t move )ith s'ch fle5ibility since they 'se a floating gimbal design0 With the o*tional lo).mo'nt cage (*ict're above . the girl in the centre is holding a 7teadytrac+er A5treme )ith the o*tional lo) mo'nt brac+er), - can invert the 7teadytrac+er and 'se it abo't D.F inches above gro'nd and ca*t're great r'nning footage0 - can dangle the 'nit o'tside a car )indo) and ca*t're great side shots of the car )ith the sid eof the car and front tires framed0 - can do the same loo+ing to)ards the rear of the car and still ca*t're great footage 6'st inches above the gro'nd0 ;ther designs cannot go so lo) to the gro'nd for dramatic shots )ith either a )ide angle or fisheye0 he design of the steadytrac+er means - can easily add more )eight to com*ensate for adding more accessories0 Mo' can also add more eight to the bottom of other designs b't yo' have to re.balance and re.trim everything all over again as a small change in other designs translate into h'ge o'tcomes (+inda li+e the &@,;7 theory in systems if yo' are familiar )ith it . a b'tterly fl'tters its )ings in the ,ma4on and glaciers melt in the Jorth 2ole000)0 he fore.aft, left.right balancing of the camera on the stage is very very 1'ic+ and sim*le com*ared to setting '* the *re.drilled holes and getting it TrightT for the K!,DV or #lidecam0 Very small changes ma+e a Xh'geX difference in floating gimbal designs0 - didn/t )ish for s'ch sensitivity and time.cons'ming balancing 'nder real *rod'ction conditions0 he b'ild 1'ality is e5cellent and st'rdy altho'gh the *rettiest design and *aint finish is the #lidecam 2ro0 here is nothing to brea+ on the 7teadytrac+er . 6'st maybe a fe) scre)s yo' can lose and easily re*lace0 r'thf'lly, any of these devices )ill give yo' great footage once yo' become an accom*lished 'ser0 - 6'st believe in 8-77 . 8ee* -t 7im*le 7t'*id0 ,ll other things being e1'al, - li+e sim*ler designs )hich if all other alternatives *rod'ce similar res'lts0

7a)ing said all this& yo can b ild yo r o"n stabiliJation de)ice )ery ine>pensi)ely by b ying a 'anfrotto monopod from a camera store. 5hen b y a bag of beans or lentils that is appro>imately the same "eight as yo r camera in shooting mode. #affer ta*e the bean bag to the bottom of the mono*od0 Mo'nt yo'r camera to the mono*od0

Jo) shorten the mono*od to abo't F feet and vary the height yo' hold the mono*od till yo' find a good balance0 . . -f yo' are 'sing the !V"00, yo' already have a the $&D screen to monitor yo'r shots0 2ractice hold the mono*od )ith one or t)o hands0

&ongrat'lationsI Mo' +no) have a sim*le, ine5*ensive camera stabili4ation deviceI -n addition, the bean bag )ill be a great asset for lo).angle shots or any *lace )here yo' can/t set'* a tri*od easilyI -f the tho'ght of this intimidates yo', then b'y the #lidecam 10000 -t/s a great val'e at (7D =1L%0

9ecording location so nd DateG Wed, 1> K'l 1""" 1LG%1G%% .0L00 7'b6ectG DV a'dio for shooting moviesG mics and mi5ers #ary #rady )roteG @o) do yo' connect the 92FF mi5er to the !V"00? Does the 92FF have a mic level o't*'t, and if not is it s'fficient 6'st to 'se a !adio 7hac+ ada*terEatten'ator? ,lso, ho) do yo' set the level on the !V"00 if yo'/re going to be riding level )ith the field mi5er? Mo' 'se a *rofessional X$! (refers to the connector) mic li+e the MA<< and line into the 7h're 92FF0 he 92FF )ill ta+e '* to fo'r mics (if memory serves me right)0 Aach mic channel has its o)n vol'me level and a Master level for the entire o't*'t going o't of the 92FF0 he so'nd recorder o*erating the 92FF )ears hi.1'ality head*hones to monitor the signal going into the mi5er0 he 92FF needs to line into a 3each e+ (or e1'ivalent X$! ada*tor bo5) in order to convert the line level into the mini. 6ac+ mic format for a'dio in0 7et the !V"00 vol'me to a fi5ed in*'t level . 's'ally something reasonable at abo't % o't of 100 Je5t the levels on the 92FF are set and yo'r location so'nd recorder )ill dynamically ad6'st the levels of the so'nd (if and )hen re1'ired) of the 92FF/s signal going o't to the !V"000 When shooting a DV movie . de*ending on the ty*e of movie yo' )ant to shoot and directorialCartistic style, yo' 'se yo'r rehearsal *rior to rolling video to s*ot a'dio hots*ots and +no) beforehand )hich a'dio s*i+es (if any) )hich )ill be *erformed d'ring the shot0 he rehearsal is also 'sed to establish boom lines by yo'r boom o*erator and yo'r camera o*erator0 ;nce the level on the !V"00 has been set, yo' don/t to'ch it and 'se the 92FF to ad6'st the signal strength going into the camera0 his ma+es it m'ch easier for feat're film shooting0 -f yo' are an event videogra*her, this of co'rse is m'ch less feasible0 $astly, the camera o*erator m'st also )ear hi.1'ality ()al+man head*hones )ill do also) head*hones to monitor the a'dio signal going into the camera0 3eca'se a'dio recordings on video ta*e are synched together on the videota*e, 'nli+e conventional film camera a'dio recordings )here the a'dio and *ict're are se*arate, the cam.o*0 m'st verify the a'dio signal going into the camera0 his is 'ltimately the signal that )ill be recorded to ta*e0 his is beca'se the little connectors sometimes come loose d'ring *rod'ction, changing set'*s, etc0 -f cam.o*0 does not )ear head*hones, the a'dio going into the camera may be com*romised even tho'gh the signal going to the field mi5er is fine0 -n DV filmma+ing, some filmma+ers have o*ted to se*arate the video and a'dio recording0 7ome 'se D, (digital a'dio ta*e) or Jagra or 7ony/s Minidisc to record so'nd0 -n my e5*erience so far, - have not fo'nd it to be necessary as DV so'nd 1'ality is either 1D.bit or 1<.bit and can record '* to >?+h4 )hich is greater than &D so'nd at >>+h40 he )ea+ness of cons'mer DV is the !& code it 'ses instead of 7M2 A time code0 -f yo' need e5tensive *ost. *rod'ction a'dio s)eetening, yo' )ill be better off laying yo'r final c't a'dio to a 3eta72 or Digital 3etacam )ith 7M2 A so the sync0 bet)een yo'r a'dio and video )ill be fla)less0 -f yo' are 'sing a !V"00, there are methods to avoid dro**ing timecode at all0 7ee belo) for a f'rther e5*lanation ho) yo' can avoid dro**ing timecode0

7ome 'sers have o*ted to 'se a high 1'ality boom mic mo'nted to the video camera itself0 he most im*ortant thing to *ractice yo'r e1'i*ment set'* and o*erators0 Jot everyone is s'ited to be a so'nd recorder or boom o*erator0 7o find the *eo*le yo' )ill )or+ )ith and *ractice and listenCvie) yo'r )or+ before act'al *rod'ction0 -t )ill save yo' m'ch grief and heartache0 JoteG he 7h're 92FF, is a *rofessional.grade, *ortable field mi5er0

$hy cons mer miniDV cameras drop time code &ons'mer miniDV timecode is called !& & or !e)ritable &ons'mer ime &ode0 ime code is laid to ta*e the first time the ta*e is 'sed to record0 his timecode is )ritten on a s*ecific *lace on the ta*e as s*ecified by the format0 he *rofessional cameras 'sing miniDV 'se either dro*.frame or non.dro* frame 7M2 A timecode0 he timecode is dis*layed on yo'r camera this )ayG ho r < min tes < seconds < frames K 44<44<44<44 -f yo'r miniDV ta*e is for)arded beyond the last recorded frame (there are F0 frames in 1 second of video), the time code )ill reset to 00G00G00G00 no matter )hat its *revio's setting )as0 Do not ma-e this part of yo r "or-flo" habit6

7o" to a)oid dropping time code With analog, filmma+ers )ere relying on vis'al slating to identify scenes and ta+es0 Digital technology re1'ires that )e learn some ne) s+ills to ta+e advantage of the efficiencies of the technology0 @ere are different methods to avoid dro**ing timecode0 a+e yo'r *ic+0 he least recommended )ay to avoid dro**ing timecode is to stri*e each blan+ ta*e )ith timecode before 'sing them to record images0 his means yo' *'t a ne) ta*e in the camera, +ee* the lens ca* on and record blac+ onto the entire ta*e to )rite timecode on it0 When re'sing the ta*e in the f't're, yo' )ill not dro* any timecode since it has already been )ritten once0 he disadvantage of this method is that it is time cons'ming (each <F min'te ta*e?) and do'bles the )ear and tear on yo'r recording heads0 10 ,nother )ay to avoid dro**ing timecode is to *'rchase a camera )ith 7M2 A timecode0 ,t the moment, these are the KV& DV%00( and 7ony/s 2D100a0 here are other cameras in the >G1G1 gam't that also 'se 7M2 A b't these are the e5*ensive cameras and don/t all come )ith fire)ire b'ilt.in and are designed for electronic ne)s gathering0 When re)inding in.camera for *laybac+, 'se the /8D /D.5 2/A9C7 f'nction on yo'r !V"00 (this f'nction is not available on all DV cameras) to a'tomatically for)ard yo'r ta*e in.camera to its last recorded frame0 his is the most acc'rate )ay if yo' choose to re)ind yo'r ta*e in.camera after recording for *laybac+ before contin'ing to record0 his only )or+s if yo' have not removed the ta*e from the camera bet)een recording and *laybac+0 -f 'sing a 7ony camera, b'y the more e5*ensive 7ony ta*es )ith the -& chi*, these )ill contin'e to retain timecode even if yo' remove the ta*e from the camera bet)een recordings and *laybac+s0 While this may be )ay more e5*ensive than b'ying reg'lar ta*es, there co'ld be an advantage0 -f yo' re)ind the ta*e for *laybac+ bet)een recordings, man'ally for)ard the ta*e to the last fe) seconds of the last shot0 7tart recording again before the last second of the *revio's ta+e0 he timecode )ill contin'e from its last )ritten *oint chronologically0 (se a shot log.

D0

F0 >0 %0

7o" a shot log benefits yo r batch digitiJation When yo' have finished shooting yo'r *ro6ect, yo' sho'ld have a ta*e(s) of yo'r ra) footage all labelled consistently )ith yo'r shot log. &onnect yo'r camera or DV dec+ to yo'r com*'ter video ca*t're board0 -nsert ta*e lablled TMy movie U1T into the camera or dec+0 Jo) go to yo'r video ca*t're soft)are and start it '*0 FDependingF on yo'r video ca*t're board and video ca*t're soft)are, yo' may or may not have a f'nctionCfeat're called batch capt re or batch digitiJation. My &ano*'s DV!a*tor 'sing !a*tor Video certainly s'**orts it0 With this feat're, - can man'ally in*'t the 5ime .n and 5ime = t of only the good ta+es from my shot log0 he end res'lts may differ in a**earance b't )ill have this essential information0 he follo)ing e5am*le 'ses the good ta+es from the e5am*le above and ass'mes yo'r are 'sing a long filename ca*able naming convention and 'sing the ,V- video file format0 ime -n 00G0FGD1G00 00G0>G>"G00 00G0"G0>G00 ime ;'t 00G0>G>?G00 00G0<G1<G00 00G11G0FG00 &li* Jame eGCdataC*ro6ectC6ac+.6illC6ac+NfallsNdo)n0avi eGCdataC*ro6ectC6ac+.6illC6ac+NfallsNdo)nN0D0avi eGCdataC*ro6ectC6ac+.6illC6illNt'mblingNafter0avi

;nce yo' have entered the ime -n/s and ime ;'t/s for all the good ta+es on for yo'r ta*e called TMy movie U1T yo' hit the b'tton to start batch video ca*t're and go for some recreation, coffee, a )al+, a sho)er or s)im or r'n, etc0 When yo' come bac+, all the good ta+es from yo'r <F min'te ta*e )ill be logged into the folderCdirectory called eGCdataC*ro6ectC6ac+.6illC and )aiting for yo' to insert into the timeline of yo'r favorite non.linear editing soft)are0 his ass'mes that yo'r video ca*t're soft)are and hard)are has the ability to control yo'r camera via a control *rotocol0 his *roced're )hich - have o'tlined is a great time saver and comes )ith cinematogra*hic disci*line0 ;nce this method of +ee*ing a shot log is 'tili4ed it affords yo' the efficiency of shooting DV and selecting an editing system that com*lements it0 7lating and sh'ttling the ta*e bac+ and forth in search of good ta+es is time cons'ming and )ears do)n the mechanicals of yo'r *layerCcamera0