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Cinematography

Common Terminologies In Video Production

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Every profession has words or terminologies used to name or to explain mode of works in all field, this words or terminology is well spoken and well comprehend by the experts in those field. Video Production, film works and its related  has taken its place as a profession  which some terms can only be understood by those that knows how or has undergone one form of training or the other.

It’s time to learn some common terminology, words and meaning use in video production and largely as related to film, cinematography and all category of video works.

Ambient Light:

General, non – directional, room light. (Lighting)

Aperture:

A variable opening inside a lens that regulates the amount of light reaching the image plane. Also known as an iris. (Camera/Lighting)

A/B Rolls:

Two or more rolls of film having alternate scenes intercut with opaque leaders in such a way that the ‘A’ roll presents its picture at the same time that the ‘B’ roll presents opaque leader, and vice versa. (Film Editing)

Aerial Shot:

An extremely high angle view of a subject usually taken from a crane or a high stationary camera position, but may also refer to a shot taken from an actual airplane or helicopter. (Production).

Aspect Ratio:

The proportion of picture width to height (1.33:1, 1.66:1, 1.85:1 or 2.35:1).

Backlight:

A light which is generally mounted behind a subject to light the subject’s hair and shoulders without illuminating a subject’s front. (Lighting)

Barndoors:

Folding doors which are mounted on to the front of a light unit in order to control illumination. (Lighting)

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Camera Angle:

The view point chosen from which to photograph a subject. (Cinematography)

CC Filters:

Color compensating filters made in precise density values of the primary and secondary colors. (Cinematography)



Condenser Microphone:

The simplest type of microphone in which the capacitance (electrical charge) is varied by sound, causing movement in one plate (diaphragm) in relation to a fixed back plate Coverage:

An indeterminate number of more detailed shots which are intended to be intercut with a master shot or scene. (Production)

Crossfade:

The gradual mix of sound sources accomplished by the simultaneous manipulation of two or more mix console faders. (Post Production)

Cutaway:

A single shot inserted into a sequence of shots that momentarily interrupts the flow of action, usually introducing a pertinent detail. (Production/Editing)

DAT (Digital Audio Tape):

Two-channel digital audio has become increasingly common as a professional master reference and for use in field recording. (Sound)

DAW (Digital Audio Workstation):

A computer-based recording and editing machine used for manipulating sounds. (Sound)

Depth of Field:

The amount of space within lens view which will maintain acceptable focus at given settings (i.e. camera speed, film speed, lens aperture). (Cinematography)

Dolly Shot:

Any shot made from a moving dolly. These may also be called tracking or traveling shots. (Production)

Dub:

To make a taped copy of any progam source record, CD, tape. Also, the copy itself. Sometimes used to refer to the ADR process. (Audio/Video)

Edge track:

A standard position for the placement of the audio on a single perforation magnetic film.

Edit Master:

Video industry term for the tape containing the finished (edited) program.

Establishing Shot:

Usually a long shot at the beginning of a scene which is intended to inform the audience about a changed locale or time for the scene which follows. (Production)

Exciter Lamp:

Filter:

A transparent material having the ability to absorb certain wavelengths of light and transmit others.

Flicker:

The alternation of light and dark which can be visually perceived.

Frame:

The individual picture image on a strip of motion picture film. Also, one complete screen on videotape.

Gaffer:

The chief lighting technician for a production who is in charge of the electrical department.

Grading:

The process of selecting the printing values for color and density fo successive scenes in a complete film to produce the desire visual effects. (Laboratory)

Hard Disk:

A data storage and retrieval device consisting of a disk drive and one or more permanently installed disks. Increasingly common for storing sound effects and archiving for future use.

Hollywood Box:

A stage plug-type box without fuses. (Lighting)

Insert Editing:

Used in videotape or digital audio editing to describe the process of replacing a segment located between two specific and previously dubbed segments.

Iris:

A variable aperture that controls exposure or the amount of light which is released from a lighting unit. (Camera/Lighting)

Jib Arm:

A mechanical are which is supported on a dolly, tripod, or other device, which is counterweighted to hold a camera for an increased range of motion. (Production)

Key Light:

The main light on a subject. (Lighting)

Kiss:

A light that gently brushes a subject. (Lighting)

Library Shot:

Stock footage shot or other footage which is germane to a given visual presentation but which was not generated for that specific film or television presentation. (Film Editing)

Looping:

A continuous sound track that runs repeatedly in playback as a guide for re recording. (Post Production)

Lowkey:

A high contrast lighting style with lost of shadows and large areas of darkness. (Lighting)

Montage:

The assembly of shots and the portrayal of action or ideas through the use of many short shots. (Film Editing)

Multitrack:

An audio tape recorder capable of handling more than two tracks of information separately.

Noise:

In audio systems, noise is the electrical interference or other unwanted sound introduced into the system (i.e. hiss, hum, rumble, crosstalk, etc). (Sound)

NTSC:

National Television Standards Committee. The organization that sets the American broadcast and videotape format standards for the FCC. Color television is currently set at 525 lines per frame, 29.97 frames per second.

Opacity:

The ratio of the amount of light falling on a surface to the amount of light which is transmitted. (Lighting)

Out-Take:

A take of a scene which is not used for printing or for the final assembly of a film.

PAL (Phase Alternating Line):

The European color television standard that specifies a 25Hz frame rate and 625 lines per frame.

Pan:

A horizontal movement of a camera on a fixed axis.

Playback:

A technique of filming music action first, the playing the music through loudspeakers while performers dance, sing, etc.

Post-Production:

The period in a project’s development that takes place after the picture is delivered, or “after the production.” This term might also be applied to video/film editing or refer to audio post-production.

Redhead:

An open faced 1K lighting unit. Also known as a ‘Mickey’. (Lighting)

Re-recording:

The process of mixing all edited music, effects and dialog tracks of a film or video production to mono, stereo, multichannel or whatever audio format is desired for the final print master.

Reverse Angle:

A shot that is turned approximately 180 degrees in relation to the preceding shot. (Cinematography)

Rough cut:

A preliminary trial stage in the process of editing a film. Shots are laid out in approximate relationship to an end product without detailed attention to the individual cutting points. (Film Editing)

Shotgun Mic:

A highly directional microphone, usually with a long, tubular body; used by the production sound mixer on location or on the set for film and television productions.

Soundtrack:

Generically refers to the music contained in a film, though it literally means the entire audio portion of a film, video or television production, including effects and dialog.

Voice-over:

Narration or non-synchronous dialog taking place over the action onscreen.

Zoom:

An optical effect in which the image rapidly grows larger or smaller as though the camera is moving closer or away from its subject.

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Cinematography

How To Create A Video Studio From Low To High Budget

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Creating a professional Video studio might cost thousands to millions of dollars investment depend on how professional you want to go in setting up and not every one could afford investing so huge especially for startups creative mind. But the truth remains that you can make your dream of creating your own video studio becomes a reality with little bucks of dollar investment and still work like a pro.
In this article, we are going to learn from Ashley Hockney is the Content Marketer & Writer at Teachable as she discuss the two options of creating your own video studio from a low budget as well as upgrading your budget. (more…)

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Cinematography

How to shoot a film look video with smoke or fog machine

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Utilizing smoke or fog machine can be to a great degree gainful in circumstances where you tend to utilize different light sources that will be obvious in your shots, yet there are numerous different occasions where this method may likewise prove to be useful.

One of the essential takeaways worth saying here is the way that you would prefer not to exaggerate with the mist, as this is one of the simplest approaches to destroy your shot. You additionally need to spread the dimness uniformly all through the room, utilizing some kind of fan, and make it undetectable in camera and to your crowd.

Notwithstanding including a touch of haze can definitely enhance the vibe of your shot, particularly in low light circumstances where utilizing just several light sources will be all that could possibly be needed to create a staggering Spielberg-style symbolism.

The uplifting news is that haze machines are a to a great degree moderate bit of gear and an awesome beginning stage. You can undoubtedly get one for around 50-100 dollars or somewhere in the vicinity, contingent upon the fluid that you will utilize.

In the event that you need to plunge your toes in the water and spend some additional money for a more expert instrument you can get a hazer, that disperses a more slender more imperceptible murkiness contrasted with a customary passage level haze machine.

Hazers are intended to run consistently and are generally constantly prepared go while a mist machine discharges blasts of haze and afterward for the most part need to stop to warm

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At last, there are such a variety of looks that you can accomplish using either a haze machine or hazer that I urge you to get one and do some test all alone. I’m almost certain that you will be more than astounded by the plenty of elaborate, specialized, and tasteful outcomes you can get, regardless of on the off chance that you will shoot a sunshine inside or some dreadful low-light scene.

Atmosphere Aerosol enables photographers and filmmakers to quickly, easily, and safely create fog or haze for photos and film.

How To Use Atmosphere Aerosol
– Shake can well before using.
– Spray in room or still area for 20 seconds or more.
– Atmosphere Aerosol will linger in the air for minutes for photos and films.
VERY IMPORTANT! Back lighting is required to see haze or fog. Position and amount of light will determine the look of the fog or haze.
– Re-spray as needed.

Tips for Shooting Outdoors

Spray Atmosphere Aerosol in the air behind the subject, so it will spread out evenly throughout the scene. If there is a breeze, spray Atmosphere into the wind in order to disperse the haze as it travels downwind.

Tips for Shooting Indoors Using Natural Light

The shooting indoors with natural light coming through the windows. The air was still, the windows should be closed, Do not put on fans or air conditioning vents. Something to look for when using Atmosphere Aerosol indoors with natural light is direct light hitting the wall or floor.

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Position your subject or subjects and spray Atmosphere Aerosol into the light. The position of the light and the amount of Atmosphere Aerosol used will determine the look of the haze.

Tips for Shooting With Artificial Light

You can create the illusion of the sun with a light source (i.e., speed light, strobe, or video light).

Color gels can also add creativity to your photos
You can improvised lightning into the barn wall in order to cut and shape the light into rays.

How Atmosphere aerosol works and tips as advised by Aerosol. Find more answers to possible question about atmosphere aerosol here

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Cinematography

How to create a dynamic cinematography depth

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How would you make profundity when you’re working with a two-dimensional medium?

One of the principal things you find out about when examining cinematography is organization, and one of the primary things you find out about creation is essential stylish hypothesis: symmetry versus asymmetry, vitality, shading, weight, vertices, and so forth. At that point, some place close to the end of the class, the back of your course book, the last two minutes of the workshop, you catch wind of profundity – not on the grounds that it’s insignificant, but rather on the grounds that making it takes somewhat more artfulness than focusing your subject in the edge.

The best cinematographers are known for (in addition to other things) making the deception of profundity by utilizing various astute procedures and here to separate five of them in this 3-minute video is honor winning business cinematographer Matthew Rosen.

Here are the methods Rosen clarifies in his video:

High Differentiation Lighting

Great lighting can not just add measurement and profundity to your arrangements, however it can make your film resemble a million bucks. As Rosen says in the video, delicate, notwithstanding lighting has a tendency to straighten pictures, while lighting with harsher shadows with quick falloff tends to give the figment of profundity. For cases of this sort of lighting, you can’t get any more exceptional and obvious than film noir, who made chiaroscuro lighting one of its numerous trademarks.

Center

We’re talking shallow profundity of field here – a similar impact that happens when your eyes concentrate on something near you. Normally, when we see this on-screen, our brains decipher it as profundity. (Be that as it may, profound profundity of field doesn’t, by complexity, recommend absence of profundity. Gregg Toland, for instance, expertly plays with profound concentration in the notorious shot in Resident Kane.)

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Point of view

In case you’re a professional and have any sort of experience, you realize that utilizing shallow profundity of field is somewhat – well – we should simply say it’s the thing you do the most when you first get your hands on a camera with a decent focal point. When you develop as a movie producer/cinematographer, you understand that you must get your hands grimy, get somewhat innovative, move around – um – change your point of view. The colossal thing about this procedure, is that it makes profundity, as well as it raises the tasteful vitality of a piece. Utilizing a wide range of vertices makes the shot a great deal more dynamic.

Parallax

Like point of view (a high differentiation lighting, as well), the parallax impact serves to make profundity, and in addition to make the shot more dynamic. It does this by including “dynamic vitality” – tasteful vitality made by moving the camera. A static shot includes close to nothing (assuming any) tasteful vitality to a shot, yet a moving camera can transform what was at one time a drilling still shot into a scene that pulls your gathering of people in. Actually, it’s frequently said that including a moving camera and moving subjects (e.g. individuals, autos, and so forth.) is the condition for high dynamic – and in this manner tasteful – vitality. At the end of the day, on the off chance that you move your camera around individuals and things that are likewise moving, your shot will presumably look wonderful.

Impediment

A similar thing that happens in the characteristic world – things that are nearer to our eyes shut out things that are further when they go before them. Basic as pie – however the possibility of utilizing this impact may not be as evident when arranging your shots in pre-creation.

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There are numerous more strategies you can use to make profundity, yet ideally these five will at any rate kick you off making more dynamic shots.

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