Author: Lorraine Singletary

Principals of graphics

Aspect Ratio

Aspect Ratio describes the basic shape of the television screen.

4×3 SD

16×9 HD

Regardless of the Aspect Ratio all the important information needs to be in the action safe area or title safe area.

Action Safe / Title Safe Area

Is centered within the TV screen.

All important information must be contained in the action safe area.

Graphics must have readability

Must make sure the lettering is readable.

• Use fonts that are big and bold.
• Arrange area in blocks.
• Use bright colors against subtle and desaturated backgrounds.

Animated Graphics

To capture the viewer’s attention animate titles. Example, make the title zoom in or out, or crawl sideways across the screen etc. 

Title Sequences

Standard Video Effects

• Superimposition – Overlay of two images at the same time.
• Wipes – One image replaces the other, there are many styles such as a vertical or horizontal wipe.
• Chroma Key or Green-Screen Technique

Visual effects vs. Special effects.

Special effects and visual effects are often conflated, but they are different. While there are further subcategories, special effects are often practical, meaning that they are artificially created on set (for example, a controlled explosion in an action scene). Visual effects, on the other hand, are created in post-production or the editing bay.

Special effects often require specialized equipment, trained professionals, and careful choreography, which can be challenging for many new filmmakers. Visual effects, on the other hand, open boundless visual possibilities to a filmmaker, the only limit being technical competence and creative vision.

Green Screen

This word technically refers to the colorful backdrop you desire to make translucent and eliminate from an image. This is often a single-colored backdrop, which can be any hue but is commonly bright green because it is the color most contrasting to human skin tones. (Blue screens were widely employed in the early days of film and may still be utilized in some cases.) 

Chroma Key

This widely recognized phrase is synonymous with green screen. It is the process of layering or composing multiple images depending on color hues. Green or Blue backgrounds are replaced by the keyed background image.

Chroma Keys are often used to simulate backgrounds. Additionally, users may utilize the tool to eliminate a certain color from a picture or video, allowing the clip’s erased segment to be replaced with an alternative visual.

Computer-generated imagery or CGI 

Is a large portion of what we perceive as the 3D computer graphics of video games, movies, and TV shows. CGI can create characters, scenes, backgrounds, special effects, and entire animated films. In a film project, computer-generated images are part of the visual effects or VFX department.

Virtual Production / Unreal Engine

Virtual production blends real and virtual filming techniques to generate cutting-edge media. Teams employ real-time 3D engines (game engines) to create photorealistic sets, which are then shown on giant LED walls behind actual sets utilizing the game engines’ real-time rendering capabilities. The cameras are synchronized with the game engines to improve realism and depth of view. Virtual production teams can create virtual worlds and characters to be displayed on large LED screens.

Virtual cameras and green screen live compositing give contributors a window into virtual environments, allowing them to see precisely what they are capturing. LED walls show directors and performers what the set looks like, both visually and in-camera. (There are two key advantages to having images projected on LED displays behind the actors: the lighting it casts on the front set and actors is more realistic, and the actors can respond to the scene more genuinely.)

See how a short film called Evenveil utilizes VFX.

Basic Filmmaking Terms and Rules

Terms

The Scene : A part of the story in a single location, taking place in uninterrupted time. A scene is created (usually) by cutting several shots together.

The shot: An angle on a scene.

The take: One version of a specific shot.

The cut: In editing, the change of angle.

The sequence: Α series of scenes which form a distinct narrative unit, usually connected either by unity of location or unity of time.

Continuity and the 180 degree rule:

THE CONTINUITY SYSTEM:
A highly standardized system of editing, now virtually universal in commercial film and television but originally associated with Hollywood cinema, that matches spatial and temporal relations from shot to shot in order to maintain continuous and clear narrative action.

Generally speaking, the continuity system aims to present a scene so that the editing is “invisible” (not consciously noticed by the viewer) and the viewer is never distracted by awkward jumps between shots or by any confusion about the spatial lay-out of the scene. Classical editing achieves a “smooth” and “seamless” style of NARRATION, both because of its conventionality (it is “invisible” in part because we are so used to it) and because it employs a number of powerful techniques designed to maximize a sense of spatial and temporal continuity. A key element of the continuity system is the 180 DEGREE RULE.

From “Film Lexicon” by Peter Donaldson

180 Degree Rule:

This rule states the camera must stay on only one side of the actions and objects in a scene. An invisible line, known as the 180 DEGREE LINE or AXIS OF ACTION, runs through the space of the scene. The camera can shoot from any position within one side of that line, but it may never cross it. This convention ensures that the shot will have consistent spatial relations and screen directions. In other words, characters and objects never “flip flop:” if they are on the right side of the screen, they will remain on the right from shot to shot; those on the left will always be on the left.

For example, an actor walking from the left side of the screen to the right will not suddenly, in the next shot, appear to be walking in the opposite direction — a reversal that would strike the viewer, if only fleetingly, as confusing or jarring. With the 180 DEGREE RULE, the viewer rarely experiences even a momentary sense of spatial disorientation. In theory, the camera may move anywhere on one side of the axis of action.

From “Film Lexicon” by Peter Donaldson

Jump cuts or breaking the 30 degree rule:

Hollywood editing typically adheres to the 30 DEGREE RULE, which holds that the camera must move at least 30 degrees between shots. In other words, it is taboo to show one shot and then cut to another shot that is almost the same as the first. If the angle of framing of two adjacent shots is too similar, it creates the appearance that an object is jumping in a staccato burst from one position to another. Although a number of modernist directors take advantage of this effect, called the JUMP CUT, to draw attention to editing, Hollywood editing avoids it for precisely the same reason.

From “Film Lexicon” by Peter Donaldson

What is a shot list?

A shot list is a document that maps out everything that will happen in a scene of a film, or video, by describing each shot within that film or video. It serves as a kind of checklist, providing the project with a sense of direction and preparedness for the film crew. It is typically made in collaboration with the director, cinematographer, and even first assistant director. Shot lists are especially critical in managing and preparing for film scenes. Making a movie demands knowledge of shot type, camera movement, lighting, actor staging, and much more. Putting this information down in a shot list helps the filmmakers remember what it is they wanted, and how to execute.

Example of a simple shot list

1. ES of students taking final with Professor walking back and forth.
2. MCU of bad student with headphones on bobbing her head back and forth.
3. WS of Professor telling bad student to take headphones off.
4. MCU bad student tries to cheat on phone, Professor takes phone away.
5. 2 Shot bad student tries to cheat off good student who refuses.
6. WS Professor yells at them for talking.

Example of Low Key Lighting

Example of High Key Lighting

Three Point Lighting

In essence, three-point lighting is a technique or lighting setup where a subject in a scene is illuminated from three different points by three light sources. It is more of a guidance for positioning your light sources to illuminate your subject and scene than a formula or predetermined standard. This lighting setup can help create a particular mood.

In this setup you have three distinct lights or light positions;

1. The Key Light
2. The Fill Light
3. The Backlight

Key Light

The key light is the brightest light in your scene and your major source of illumination. The key light light will influence how well your scene and subject are exposed overall. It is often placed in front of the subject and off to one side (45-degree angle) to add depth and dimension. The shadows cast create depth and dimension when the object is off-center in relation to your subject. The placement of your key light is essential since it determines the tone of your scene.

Fill Light

The fill light fills in the shadows that the key light leaves on a subject, bringing out details in the shadows. The fill light is opposite the key light at a 45-degree angle. Cinematographers can influence the overall mood of their shots by adjusting how much fill light to use. The fill light is often less bright than the key light. However, the fill light doesn’t have to be a light source; it can also be a wall, a bounce card, a reflector, or anything else that reflects light back onto the subject to reduce the shadows. The fill light creates the ambiance of a scene along with the key light.

Backlight

The backlight, the third source in triangular lighting, shines on a subject from behind and completes the setup. It is also referred to as the “rim light” or the “hair light.” This separates the subject from the background and gives them depth by creating a rim of light or outline around their head. The backlight is typically set up behind the subject and high enough to be out of the frame, opposite the key light, and aimed at the subject’s  head.

Working With Minimal Lights

Work with the available light. Depending on you shooting atmosphere use the sun, a reflector, or whatever lights you have.

Use of a Reflector
The reflector acts like a fill light: it bounces some light back toward the dense shadow areas and slows down falloff.

Use the Sun
You can use the window light as a back light or even a key. For example, when using the window as a back light, you need to position the subject in such a way that the light strikes from the side and back; then position the key light and the camera.

There wouldn’t be film without film lighting. Lighting is as crucial to cinematic storytelling as a script and a subject, and filmmakers have experimented with different lumination techniques for as long as the medium has existed.

If you want to produce professional-looking video you need to know at least the basic principles of lighting.

Good lighting calls for intentional illumination.

Color Temperature

• When all three primary colors overlap Red Green Blue (RGB) you get white.
• The standard by which we measure the relative reddishness or bluishness of white light is called color temperature.
• Color temperature is measured in Kelvin (K) scale.
• The more bluish the white light looks the higher the color temperature. (Daylight)
• The more reddish, the lower the color temperature. (Indoor)

Color Temperature Standard

5,600K Daylight – outdoors, bluish light

3,200K Indoor – warmer more reddish light

White Balance – You need to white balance a camera because not all light sources produce light of the same degree of whiteness.

A candle produces a more reddish light.

Midday sun gives off more of a bluish light

Types of Light

Directional Light: Precise beam that causes shadows.

Diffused Light: Soft light, its beam spreads out quickly and illuminates a large area.

Quality of Light – How it affects your subject, how the light behaves.

The distance of the light from the subject can create soft or hard shadows.

Diffusion of light can soften it.

Soft light is light that is diffused before hitting the subject. Soft light tends to “wrap” around objects, creating diffused shadows with soft edges.

Hard light hits the subject directly from the source. Hard light is more focused and produces harsher shadows.

For example: An overcast day produces soft light (clouds act as diffusion). A sunny day produces harsh shadows.

Light Intensity

A light meter is used to measure light intensity or how much light falls onto an object. It measures the contrast between light and dark areas.

Contrast: The difference between the brightest and darkest spots in a video.

Baselight: Available light in the room.

Shadows:  Shadow control is an important part of lighting. Shadows can influence our perception. There are two main types of shadows attached and cast.

Attached shadows – Attached to the subject.

Cast shadows – Can be seen independent of the object causing them.

High Key Lighting – is a lighting style that results in a brightly lit frame with even lighting, minimal shadows, and low contrast.

Low Key Lighting – accentuates shadows, high contrast, and dark tones. The visual aesthetic of low-key lighting is usually achieved by using hard sources or key lights with minimal to no fill light.

Gels
Thin, plastic, colored sheets placed in front of a light source to manipulate the color temperature.

Reflector
Any material used to “bounce” light from the source onto the subject.

Quiz 1 Review

Production Cycle

1. What are the 3 phases of the production cycle?

Pre Production, Production, Post Production

2. What happens during the Pre-Production Phase?

Planning, Budgeting, Location Scouting, Hiring

3. What are some key crew positions?

Director, Director of Photographer (DP)/Cinematographer, Writer, Producer, Location Scout, Gaffer(Electric Dept), Grips (move equipment), Wardrobe Dept, Hair, Makeup, Props, etc.

4. Who is responsible for the look of the film?

Director of Photography (DP) / Cinematographer

Image Formation

1. Who invented the first movie cameras?

Thomas Edison and William Kennedy Dickson invented the first early motion picture camera.

2. How are images formed?

Light that bounces off an  object passes through the lens, that light is turned into an electrical charge that hits the camera’s video sensor. This results in the camera’s video image.

3. What are the two scanning cycles that form an image?

The scanning cycle is either “progressive or interlaced.

4. What is Progressive scanning?

Pixels are scanned from left to right from the top to the bottom completing a video image.

5. What is Interlaced scanning?

Pixels are scanned by every other line (skips a line), reading only the odd numbers. The next scan reads the even numbers and a complete picture is produced.

SD VS HD

In video or digital photography, the resolution is the ability of a video or digital camera to record details, such as the number of pixels and their size.

SD is 480 or below.

HD is 720 and above.

Camera Lens

1. What are the 3 types of lens (focal lengths)?

Wide (wide angle of view, landscapes), Normal (see how the eye see), Telephoto (objects appear closer than they are, zoom in).

2. What is “Focal Length?”

The distance from the lens to the image plane.

3. What is a “Zoom” lens?

Lens that can change the focal length (zoom

in or out).

4. What is a “Prime” lens?

Fixed focal length, does not zoom in or out.

5. What is Depth of Field?

The distance between the closest and farthest objects in a photo that is in focus.

6. What affects the Depth of Field?

The focal length, f-stop, and the distance from the camera to the subject.

7. What is the Aperture and f-stop?

The opening of a lens. The smaller the ƒ-stop number, the larger the aperture allowing more light into the camera.

8. What are some benefits of a Tripod?

A tripod is a three-legged stand designed to support a camera. A major benefit is stabilized footage (no shaky footage). Additionally the tripod also allows the camera to pan left and right or tilt up and down.

A quick-release plate allows the camera to be mounted on and off the tripod quickly.

The level bubble in the back ensures the camera is leveled.

Analog vs Digital

1. What is an Analog?

An electrical copy of the original  stimulus. The signal is continuous. Ex, film cameras, old televisions, audio cassette tapes, vhs tapes, old land-line telephones, your voice.

2. What is Digital?

Digital is a series of 1’s and 0’s. A digital signal is discontinuous. Digital signals can be compressed, and analog signals cannot. Ex, digital cameras, computers, digital phones,.

Camera Shots

The most common shot sizes in filmmaking

1. Extreme close-up (ECU)
2. Close-up (CU)
3. Medium close-up shot (MCU)
4. Medium shot (MS)
5. Medium wide shot (MWS)
6. Cowboy shot
7. Wide shot (WS) or Full shot (FS)
8. Extreme wide shot (EWS)
9. Establishing shot (ES)
10. Over the shoulder (OTS)
11. 2 Shot (Two subjects in the frame)
12. Low Angle
13. High Angle