-Might need a new picture for the opening pic "Middle of campus"
-Curtis Hall- Good picture
-Cooper Hall- Good picture
-Cooper/Dixie- Need a new picture, without myself under the camera, seen in shot
-Hamerick- iffy, lighting seems to be off and place of camera is not right
-Hamerick Lab- Fine
-Hamerick Computer lab- Fine
-Carrol Music Hall- Good picture
-Montgomery- Fine
-Winnie Davis- Fine
-Auditorium- Good picture
-Field Trip- Good picture
Wednesday, March 15, 2017
Tuesday, March 14, 2017
Class Notes
The rule of thirds
Horizontally and vertically
Eyes on lines if shooting person
180 rule
Either side of the line but not both
Make imaginary line
Keeps the audience from being orientated
Lighting
three point interview lighting set up
Key light- brightest
Fill light-helps
Back light- separates the subject from the background
Staging
Sheet can soften light, cheap.
Keeno light- soft light for interviews very expensive
nose room- more space in front of nose
head room- subject should need no space above head, compose shot that eyes are 2/3rd up the frame
compose that your subject is not breaking frame and watch hands
background of interviews are important
Mise-en-scene- the arrangement of scenery and stage properties in a play.
Horizontally and vertically
Eyes on lines if shooting person
180 rule
Either side of the line but not both
Make imaginary line
Keeps the audience from being orientated
Lighting
three point interview lighting set up
Key light- brightest
Fill light-helps
Back light- separates the subject from the background
Staging
Sheet can soften light, cheap.
Keeno light- soft light for interviews very expensive
nose room- more space in front of nose
head room- subject should need no space above head, compose shot that eyes are 2/3rd up the frame
compose that your subject is not breaking frame and watch hands
background of interviews are important
Mise-en-scene- the arrangement of scenery and stage properties in a play.
Tuesday, February 28, 2017
Seventeen Chapters Assignment
Chapter 1-The first step to preventing bad video is accepting this truth.
Chapter 2-Once you commit to an intent, your work will instantly be more focused.
Chapter 3-Video shines at communicating motion and emotion.
Chapter 4-Brainstorming is a business buzzword that people often use to mean “we’ll just come up with some ideas,” but it was actually created by an adman named Alex Osborn in the 1950s, with a set of simple rules that still work today.
Chapter 5-Even if you think your video will be great for everyone, there has to be a subset of “everyone” who will especially like it.
Chapter 6-Before you shoot your next video, no matter what it is, write out some notes on the four story building blocks. Who is your hero? What happens at the beginning, middle, and end of your story?
Chapter 7-Tell your video in shots. Either shoot it that way, or edit it when you’re done. Less is most definitely more.
Chapter 8-The small parts of a story add up to larger parts, which also tell a complete story. Those larger parts combine to make the whole video, which also tells a complete story.
Chapter 9-apply the Rubbermaid Rule. Cut your first guess by two thirds. Your video will be tighter and more entertaining. And if you get really lucky and shoot a lot of great stuff? You can always move the video to a bigger container.
Chapter 10-To create mystery and intrigue, make your shots raise questions instead of answering them.
Chapter 11-Another great way to build a non-story video is to hang it on another structure. The easiest one, and one that almost always works, is music. You can set any video to music, letting the music guide the shots and cuts. If the shots are well done and all on one theme, the right music will make them funny, moving, or exciting and hold the video together.
Chapter 12-The advantage to knowing our genre is that we can help interested people find our work quickly, and vice versa.
Chapter 13-Start by brainstorming a list of possible “elements”—the building blocks of your video.
Chapter 14-A successful video needs a story. If your story has more dialogue and detail than you can easily hold in your head, it needs a script.
Chapter 15-“Less is more” applies to every single facet of video—including the words people in your video say. After all, they call it a “video,” not an “audio.”
Chapter 16-Thinking about the “script” ahead of time is planning.
Chapter 17-A shot list is exactly what it sounds like: a list of all the shots you might want in your video. To make a shot list for a piece of sketch comedy, noun-verb your way through the script.
Source
(Stockman, Steve. How to Shoot Video That Doesn't Suck: Advice to Make Any Amateur Look Like a Pro ,Workman Publishing Company. Kindle Edition.)
Chapter 2-Once you commit to an intent, your work will instantly be more focused.
Chapter 3-Video shines at communicating motion and emotion.
Chapter 4-Brainstorming is a business buzzword that people often use to mean “we’ll just come up with some ideas,” but it was actually created by an adman named Alex Osborn in the 1950s, with a set of simple rules that still work today.
Chapter 5-Even if you think your video will be great for everyone, there has to be a subset of “everyone” who will especially like it.
Chapter 6-Before you shoot your next video, no matter what it is, write out some notes on the four story building blocks. Who is your hero? What happens at the beginning, middle, and end of your story?
Chapter 7-Tell your video in shots. Either shoot it that way, or edit it when you’re done. Less is most definitely more.
Chapter 8-The small parts of a story add up to larger parts, which also tell a complete story. Those larger parts combine to make the whole video, which also tells a complete story.
Chapter 9-apply the Rubbermaid Rule. Cut your first guess by two thirds. Your video will be tighter and more entertaining. And if you get really lucky and shoot a lot of great stuff? You can always move the video to a bigger container.
Chapter 10-To create mystery and intrigue, make your shots raise questions instead of answering them.
Chapter 11-Another great way to build a non-story video is to hang it on another structure. The easiest one, and one that almost always works, is music. You can set any video to music, letting the music guide the shots and cuts. If the shots are well done and all on one theme, the right music will make them funny, moving, or exciting and hold the video together.
Chapter 12-The advantage to knowing our genre is that we can help interested people find our work quickly, and vice versa.
Chapter 13-Start by brainstorming a list of possible “elements”—the building blocks of your video.
Chapter 14-A successful video needs a story. If your story has more dialogue and detail than you can easily hold in your head, it needs a script.
Chapter 15-“Less is more” applies to every single facet of video—including the words people in your video say. After all, they call it a “video,” not an “audio.”
Chapter 16-Thinking about the “script” ahead of time is planning.
Chapter 17-A shot list is exactly what it sounds like: a list of all the shots you might want in your video. To make a shot list for a piece of sketch comedy, noun-verb your way through the script.
Source
(Stockman, Steve. How to Shoot Video That Doesn't Suck: Advice to Make Any Amateur Look Like a Pro ,Workman Publishing Company. Kindle Edition.)
Thursday, February 23, 2017
Monday, February 13, 2017
Thursday, February 9, 2017
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