Director

Actors
Scripted
Drama/Com-
mercials storyboard
Strong sense of outcome
Controlled environments
How & What to use Larger crew
CODEC Self Directing
Software process Transcoding/File re-wrapping Some Planning
Bullet proof workflow Live Events Very Little control of environment
This is huge... Unpredictable
Media management Multi Camera?
FCP Self Direct/or work with Director
Premiere Edit Platform Smaller crew
Post Production and Grading
Color Documentary Semi controlled
Magic Bullet Strong emphasis on editorial
Color Grading
Other platform/Davinci Quick response needed for unexpected opportunities

You Tube Self Directing

Considerations Genre
Vimeo High Pressure
Subject
Settings to reduce file size without No Retake Option
Output Matter
affecting perceived quality Weddings Very Limited Control
other formats Multi Camera options
Secondary to main event
Transcoding
Client Expectation very high
Codec
Director
Working within limitations
Bit Rate Actors/real people
Recording Format Scripted/story boarded
Choosing the right media Corporate
Media Think Drama on a reduced scale

Metadata and Workflow Planning Can also be similar to Documentary/live events

Media Management On going projects ie building a skyscraper

All of the Above

Gamma Landscape/montage
Personal Film making
Matrix Vacation/travel
Paint settings
Detail Family events
benefits Film festival submissions?
DSLR
Considerations
different genre's require different approaches
Benefits Choosing camera
traditional video? Locations/ ambient surroundings
Considerations
Mood and tone
choosing a tripod Tripod

important elements Camera settings and Exposure Why we light can affect with lights/in camera or both
Slider
Lighting Theory Contrast- the difference between light and shade
guiding principles crane/jib Camera Support
Intensity
techniques & Why Hand held Film Look DOP 3 Core Elements
Quality

Camera stabilization ie steadicam

Blueprint Color
Learning to work with what you have
Clip
Color Temperature
Latitude
soft light
Camera dynamic range Exposure control
Types of light hard light
Zone system
Intensity of light

Open Faced
Why vary?
Focal length Fresnel Lights
Understanding core Focal lengths
Fluorescent Lights
light control Types of Lighting
LED Lights
DOF control
HMI Lighting
f-stop Aperture/Iris
Flags/Nets
stopping down the lens Jargon explained
ND
Opening up the lens
Understanding lens functions
Lighting Gel Color Correction
setting focal point Focus Diffusion
Lenses and DOF
Controlling Light Stands & Clamps
Fixed Video Zoom lens
Prime still lenses Black Wrap
Lens types & Choice Reflectors
photographic zoom lenses
Dedicated cinema style lenses Silks

understanding this and the effect on focal length Light control Bounce

Using it to your advantage Focal length and Crop Factor Silk Diffuse
Single light, hard source Traditional Diffuse
Lens choice and subject distance
Framing SoftBox
Using 1 light
Position and angle of light

Why filters? Utilize ambient light mixing sources

Intensity
Bring in 2nd source, Fresnel/Dedo
Quality
Light control Using 2 lights 3/4 light, Back/rimlight
Color
3rd light smaller fresnel/Dedo
Using Matte Box to control Flare
Using 3 lights Lighting backgrounds
Know how and when to use filters Using Matte Box & Filters
4th light flexibility
Polarising Camera Filters Using 4 lights Adding dimension
Solid Neutral Density
ND Graduated Begin with empty location
ND Blender Daylight control
Color grads Filter types Emulating Daylight - maintaining location consistency
Contrast reduction Using Color Balance to affect Mood of Scene
Lighting an interior scene
Softening Filters Lighting for broad Scene coverage
Variable ND's Modifying Light for CU's
Lighting the Master shot

Placing Subject to take advantage of natural shade

Lens choice and implications for light
Contrast reduction Filters
Lighting exteriors
Light Control Reflectors
Light Control Silks

© Den Lennie/F-Stop Academy 2010