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16 Tips To Make Your Video Look Like Film

By Author: Deepak Chhetri
Total Articles: 1

Within my young career, I've received some brilliant agency storyboards from my Executive Producer. Whenever this happens, I hunker down at my desk at the office and also emphasize a treatment. This is the fun part. That is when I make my money. I spend hours trying to come up with suggestions that will produce the ad better than it's on paper. When I've come up with striking visuals and a narrative arc I would be pleased with, I ask her what format we are shooting in. I can't count how many times my fantasies and dreams are crushed when she states,"HD."
Arggghhhh! There goes the gorgeous vignettes. Gone will be the gorgeous colors and textures.
Dealing with increasingly low budgets on commercials and music videos, I've found myself forced to use movie many times. Throughout the last couple of years, my cinematographer buddies and I have almost perfected the craft of earning video look like film. Depth of field is the space in front of and behind the subject that seems to maintain focus. The shallower the depth of field, the more concentrated the items around your subject will be. DoF enables you to form the makeup of your frames by choosing what areas will be in focus. Plus it just looks better. There are cases though that you would want deep attention like for really wide shots.
DoF is usually the very first dead giveaway that you're shooting video. That's video's weakness. Everything is in focus. But how can you get shallow depth of field?
The following are techniques we've used and I swear by them.
CAMERA SET UP The aperture size is defined from the f-stop. The more complicated the f-stop, the smaller the aperture and the bigger the depth of field (Recall that reverse relationship!) . Consider your eyes (which are basically nature's most advanced pair of lenses), if you squint to check out a remote object (reduces aperture), you can see that it's sharper. When your pupils dilate (aperture open), things get fuzzy.
Alright, enough of the technical discussion. Just Don't Forget the inverse relationship: High F-Stop, Little Aperture, Big Depth of Field.
Utilize the Extended End of this Lens - Zoom as far as you can go and move the camera back. Although you won't quite get the same composition because you're altering the focal length of this lens, it will be a lot easier to defocus the desktop. But, using a longer lens does not absolutely mean you will get a shallower depth of field.
24P - In this day and age, I would never take anything interlaced again. 24P cameras mimic the way images are recorded on film. I won't go too much more into this. This subject has been beaten to death since the Panasonic DVX100 arrived on the scene.
Diffusion Filter - Throw a piece of glass within the lens. No, not any glass. More especially a diffusion filter. You can use Promist or Black Diffusion from Tiffen. These filters soften up the picture somewhat and saves you from the harshness of video. As a side benefit, your celebrities will adore you. :-RRB-
Correct Shutter Speed - Video is usually place at 1/60 camera speed. Film records in 1/48. Therefore, in the event that you would like to emulate movie, obviously shoot 1/48. Doing so adds a bit of motion blur into the images, which is a great thing since video is inherently very sharp.
Gamma - A camera sensitivity into the dark and bright areas of a scene is known as gamma. Film provides a much broader latitude between the bright and dark places. Video does not. That's why movie's bright places blow out fast and the dark regions lose detail quickly. More advanced video cameras permit you to modify the gamma up to a certain extent. Stretch it a little bit to get closer to film.
Film Lens Adapter - As far as you can, I don't shoot video with no picture lens adapter. I only recently switched loyalties from P+S Technik around to Letus. The excellent thing about the Letus is that it's not quite as light hungry as the P+S. And if you are shooting video, you most likely do not have the budget for too much lighting gear. In any case, the Letus is much cheaper than the P+S. If you are able to manage to lease Zeiss Ultra Primes, proceed ahead. I use either Ultra Primes or the Zeiss ZF place I own. But a pair of Nikon lenses should suffice.
CINEMATOGRAPHY
Use Proper Composition - Understand the methods of proper composition. Just pick up any photography book and you'll discover how easy it is to create a picture much more powerful and dramatic by just composing it slightly different. Maintain the"Rule of Thirds" in mind each time you write.
Utilize a Dolly, Crane, or Jib Arm - Fine, renting a crane is expensive. Well, at least use a dolly. Dollies can be rented cheaply. I've completed the wheelchair thing but honestly it's just not as smooth as a well-oiled dolly on paths. A dolly movement adds a bit of production value, something that you will not see in a home video. If you're able to get a boom, so much the better. Any kind of"professional" camera goes you'll be able to add gives your work a sense it is grander than just a guy running around with a handheld camera.
Use Proper Lighting - A favorite myth in shooting movie is you don't need as many lights like in shooting movie. The cinematographers I have worked with have always used"film lighting" practices when video. Utilize the"Three Stage Lighting" method. If you've got more lights, go with four things by light the background. Video has very shallow contrast variety (blows out easily). You need to light correctly to balance the contrast. Due to video's crappy comparison range, avoid shooting against bright backgrounds. You may lose detail quite fast.
POST PRODUCTION
Professional Sound - Folks forget that pictures only constitute half of the film. Another half is noise. Well-recorded and blended audio creates a huge difference on how watchable your substance is.
Utilize Magic Bullet - Several decades back, Red Giant Software came out with this remarkable software. This is almost a must have. It permits you to control your images in to just about any look you desire. Try out their presets. These are often good enough with just a little tweaking.
Use Letterbox - This way is somewhat of a cheat. If it doesn't, then framework for 16x9 on your shoot and throw on a letterbox in post. Use masking tape on your monitor and LCD display to give you the appropriate dimensions. This can be crucial otherwise you might wind up with some shots styled for 4x3 and some for 16x9.
Shade Grade - Regardless of how good your cinematographer is, his work will still need to get rated. I've discovered that crushing the elephants gives video a more lively feel. The picture becomes much more aesthetically pleasing. Including a bit of heat and diffusion also helps. Do not go overboard though as you can easily create the grading look apparently"touched ".
PRODUCTION DESIGN
Position foreground and background images - Part of art direction is shaping what moves into the frame. Every frame consists of 3 components: the foreground, the midground, along with the background. Many newcomer filmmakers concentrate just on the midground (where your celebrities are) and the background. This frequently leads to horizontal graphics. What if you throw down a potted plant in front of the camera? What if you are shooting through a window or steel bars? Be certain that the foreground is out-of-focus enough so that it doesn't distract from the primary scene (the midground). That's, of course, unless your primary scene is going on in the foreground.
DIRECTION
Blocking - Proceed your actors away in the background if possible. Doing so will let you defocus the background. If you're doing an over the shoulder shot, you may even cheat it by moving the actors away from each other. The further items are from one another, the easier it's going to be to get a shallow depth of field. BUT DON'T FORGET!
It is still all about content and story. If you can't hook your audience to the story, they won't care that you shot a gorgeous piece of artwork. That is why a few of the best reality shows are still better than a number of the very best shot films.
I hope you have learned and enjoyed from these snippets of advice I've given. Believe me, it completely sucks when you contact the editing package and you also find the grid lines of the diffusion filter on the screen. :-RRB- As with anything, practice makes perfect.
Visit my site for more knowledge: http://photovideographytips.com/2018/10/04/10-amazing-cinematography-tips-and-tricks-to-shoot-like-a-pro/

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