By Richard Harrington, James Ball, Robbie Carman, Matt Gottshalk
Book and accompanying DVD with over six hours of video training—all geared to educate you every thing approximately taking pictures video together with your DSLR
With the arriving of high-definition video-enabled DSLR cameras, photographers are confronted with a chance for creativity and a aggressive facet of their box not like something they’ve skilled prior to. upload to that the increasing calls for from a video-hungry viewers and it’s not a question of while you are going so as to add video for your repertoire of abilities, it’s when.
Here to steer you in a radical exploration of the video-making strategy — from preproduction to put up — and to ease your transition from nonetheless to movement are 4 veterans who converse the language of either images and video fluently. With their transparent, instructive method, they speedy get you on top of things on every thing from picking out your equipment, to correctly lights for movement, to utilizing professional-level audio, colour correction, and modifying ideas, to media administration and outputting, and masses extra. listed below are quite a few highlights from this richly illustrated, thoroughly interactive e-book and DVD:
* Explores the full spectrum of video for DSLR digicam proprietors, with tips about equipment, making plans, lighting fixtures, lenses, audio, modifying, colour correcting, exporting, media administration, and more.
* Covers a large choice of taking pictures kinds, together with indoor, open air, studio, portrait, occasion, and on hand light.
* Addresses technical demanding situations linked to DSLR video, equivalent to digicam stream, a number of digicam assurance, low-light videography, and synchronized sound.
* Explores extra inventive ideas equivalent to cease movement and timelapse images in depth.
* contains a real-world instance of a tune video and promo package deal in the course of the publication to illustrate recommendations in motion, with extra profiles of images specialists in nature, activities, advertisement, and weddings and events.
The accompanying DVD comprises over 6 hours of video education that delves deeper into every one subject, in addition to high-definition pictures, hands-on project documents, and templates to scan with and stick to along.
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Extra resources for From Still to Motion: A photographer's guide to creating video with your DSLR (Voices That Matter)
Example text
Does the physical space need altering, for example, painting, cleaning, aging, or general propping? Can you handle these modifications, or do you need to call a carpenter? Parking and load in: Getting the crew and gear into the workspace can be challenging. Once you get everyone in, decide where you will park your vehicles. Lighting sources: Are there any lighting challenges that need to be controlled? Windows can introduce variable light that needs to be managed or eliminated. Do you have fluorescent and incandescent lights in the same scene?
Jim was able to utilize the sun as a key source on location with Luke as the shot was scheduled for the right time of day. CHAPTER 3 : BEFORE YOU SHOOT : THE NEED FOR PREPRODUCTION 45 į Knowing the position of the sun can help you accurately plan for shots. com. į Don’t assume that every outlet is in working order. A circuit tester is easy to carry on a survey. hand out a “tech pack” to the crew. This typically includes location photos and set and location drawings. The items generate great questions from the newly informed crew that you might not have thought of.
The appropriate balance of elements placed in the frame is key to creating a harmony that, again, is hard to articulate, but we know how disconcerting a cluttered, disorderly frame can be. Ǡ This diagram shows the 180° rule. If the camera moves beyond a 180° arc, the characters will appear to switch places on the screen. From the Wikimedia Commons by grm_wnr with Inkscape. 0 License. 180° 30 PART I : A NEW WAY TO TELL STORIES COMPOSITION IS THE BASIC FOUNDATION FOR CREATIVE IMAGE GATHERING. THE MOVING SUBJECT MUST BE FRAMED IN A SATISFYING WAY THROUGHOUT THE DURATION OF THE SHOT.