Film making

Cinematograhy - 180 Degree
What is The 180 degree rule?

You'll hear people talk about the 180 degree rule and not crossing the line when filming coverage. What is the line they're referring to?

If you can imagine an actor walking or running in a direction then you can picture the path they are following as a line. If two actors are talking to each other then draw a line to connect the two places where they are standing and extend the line in each direction to the edges of the set. Even if there are many actors in the scene you can still draw a line connecting the two opposing sides of the action.

180 degree line

All coverage should be shot from one side or the other of this imaginary line. The audience subconsciously forms a mental map of where the actors are located in the scene and from the first master shot will be thinking that "Mary is on the left and John is on the right".

Download Free Seminar

If you go to a close-up of Mary filmed from the other side of the line it will suddenly appear that Mary has jumped to right side of the set. This kind of change is very disconcerting to an audience and, at least momentarily, takes them out of the story as they attempt to reestablish their understanding of where everyone is located. You want to avoid anything that takes your audience out of the emotion of the scene.

In the simple case of one actor walking down the street, if the first setup shows them walking from the right to the left, then all the other coverage should show them walking from the right to the left. If you jump to the other side of the the line it looks like the character has suddenly decided to return to where they came from.

The difficulty comes when you have a circle of actors in a room or seated around a table. The "line" will change position as the dynamics of the conversation change. Then the director needs to carefully plan where the coverage is shot so the edit can gently take the audience to a new understanding of the layout of the scene as the position of the line changes.
Product Reviews
Must Have! The Five C's of Cinematography: Motion Picture Filming Techniques The Bible of Cinematography - The five C's: camera angles, continuity, cutting, close-ups, and composition. This book takes the filmmaker through understanding exactly what goes into getting the best image imaginable onto film. The reason this book stands the test of time is for the same reason classic movies do. This book reaches back to a time when techniques that are now standard and routine were invented and created and will give you a better understanding of the vision of what film makers back in the day were trying to create and communicate. Decades after its first printing, this classic is still a rock-solid primer for understanding the basics of cinematography.
Recommended Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Writer Should Know Dialog is one of the best known and obvious elements in a film. But the language of cinema is more subtle and sophisticated than dialog alone. From Metropolis to Kill Bill, this remarkable reference guide reveals 100 of the most powerful visual storytelling tools of the film medium. It demonstrates how master filmmakers use cinematic devices to pump up action, create characater and energize a motion picture's plot. Conceived as a way for writers to learn the visual language of film this book excels as a reference for all filmmakers trying to find the best way to tell a story in images.
Recommended Digital Video Production Cookbook Have you ever watched a big-budget Hollywood movie and wondered "How did they do that?" or, perhaps, "How can I do that?" While digital technology greatly simplifies the filmmaking process, there are many tried-and-true production tricks that only those lucky enough to work in the world of high-budget professional film production get to know. The truth is that setting up a car chase, making a realistic-looking alien, staging a fistfight, creating atmospheric lighting, and using special effects are often not as difficult to master as you might think.

Digital Video Production Cookbook will show you how to create sophisticated-looking visual effects, dramatic shots, and powerful sequences using low-cost methods adapted from high-end professional techniques. Author and award-winning filmmaker Chris Kenworthy explains how you can use a digital video camera and basic editing software, to create high-end production values with household equipment and a little imagination.

The book includes easy-to-follow recipes for:

* Creating bluescreen effects
* Simulating rain, snow, and other natural phenomena
* Working with backlighting, simulated candlelight, and special lighting effects
* Shooting day for night
* Staging safe stunts, chase scenes, and fistfights
* Makeup techniques for aging, bruises, and serious injuries
* Shooting at night
* Working with camera movement
* Adding special effects such as laser bolts, holograms, and explosions and much more.

Packed with full-color, step-by-step instructions, inspirational examples, and authoritative information and advice, this book is the ultimate, no-nonsense cookbook for every aspiring digital filmmaker.

The Filmmaker's Basic Library has all the top-rated filmmaking resources.
Product Reviews
Must Have!



Hollywood Camera Work is advertised as a master course in high-end blocking and staging. If you've never heard of blocking and staging that may explain why you find your attempts at filmmaking look amateurish next to what you see on the screen at the multiplex. Along with bad sound, lighting, and acting, poor placement of the actors and camera are the biggest mistakes for beginning filmmakers. It's the difference between films that look like bad home movies and films that tell an exciting, emotional story.

Per Holmes, the creator of the Hollywood Camera Work DVDs, was a both a successful music producer and music video director. He was puzzled that there wasn't a comprehensive reference on blocking and staging techniques and spent five years creating one of his own. Luckily he decided to share his work and HCW is the result of that effort.

Hollywood Camera Work The set consists of six DVDs comprising nine hours of instruction. The images are almost entirely of simple 3D models of actors and cameras illustrating the concepts. First with an overview shot of the set to show the staging followed by a view through the camera to see the effect. Excellent narration and titles accompany the images so everything is clearly explained. See the web site for some example lessons. Nine hours sounds like a long time but there's a lot covered in this set and the pace is actually pretty fast so be prepared to pause and review often.

Hollywood Camera Work The first two DVDs start with the basic fixed camera setups. The next two DVDs get into advanced setups using dollies and cranes. Finally the last two DVDs put it all together and show how to stage complete scenes starting with the script, followed by staging diagrams, then a look at each setup, and finally showing the entire scene as it looks when cut together. Fortunately HCW assumes you know almost nothing about blocking, composition and how cameras work so the lessons are just as useful for a serious beginner as for an experienced filmmaker.

My criticisms? There's a lot to cover so be prepared to spend a day or two on each DVD or you may feel overwhelmed. At $399 the set is not cheap (about the cost of one class at a film school). I would like to see a printed manual included with some explanation and copies of the scripts and diagrams, but they can be downloaded from the web site. It would also be nice if the set got more into color and lighting and how they play into composition but that would probably require six more DVDs and those subjects are already well covered in other references.

My few quibbles aside Hollywood Camera Work is simply one of the finest learning resources available for the serious filmmaker. It does a superb job of covering one thing very completely. It really is a master class on an important aspect of filmmaking that isn't well covered anywhere else.

SET

On the Set
A final filmmaking checklist

Your first job as the filmmaker is to make sure you take care of your people.

During preproduction you been putting all the parts together. Now if everything is well planned your production will go smoothly. Any shortcuts you took during preproduction will now come back to haunt you.

You can still change your mind and delay longer until you are ready. Once production starts the money starts flowing and you'll be too exhausted to deal with new problems effectively.

* All equipment is rented and picked up.
* The camera is tested and the film or video stock is waiting.
* Rented props and costumes are picked up.
* The first set is ready.
* All the cast and crew are aware of their call time and what part of the script will be shot.
* Everyone knows how to get to the set.
* The schedule is done and at least the first day's shot list is ready. Plan for a light day the first day to give people time to get in rhythm.
* Now get a good night's sleep.

Download Free Seminar

First day on the filmmaking set

Once the cast and crew are gathered and everyone has had their morning coffee and donut it's time for the welcome speeches. Typically the director welcomes everyone, thanks them for their participation and says a few words about the film production with the goal of getting everyone to feel they are part of the creative, filmmaking team.
Product Reviews
Must Have! The Filmmaker's Handbook If you could only own one comprehensive book on the techniques of filmmaking this is the one it should be. Universally considered the "bible" of film production, adopted for use in film courses around the world, The Filmmaker's Handbook is the indispensable source of practical information and sound advice on the techniques and technologies needed to make movies.

If film has a language, The Filmmaker's Handbook is your translation guide, dictionary, and phrase book. In over 600 pages, 18 chapters, and nine appendices, the authors detail virtually everything you need to know about filmmaking. There is probably more information here than anyone needs to know, from which lens to choose all the way through final editing and sound mixing. But too much information is not a bad thing. This is the kind of book that a blossoming filmmaker will grow into for many years to come.

The Filmmaker's Basic Library has all the top-rated filmmaking resources.

This is especially important on small independent films where this may be the first time many of the crew have worked on a film production. During the days of production the director may need to use every means of persuasion to keep the often tired, under-paid and bored crew members feeling some sense of excitement and involvement.
4Filmmaking.com

After the director's speech the assistant director should give a little reminder speech about the schedule, behavior and procedures on the set. It is especially important to talk about safety. Filmmaking sets are generally an accident waiting to happen with cables running everywhere, red-hot lights toppling over, actors performing stunts and everyone so tired they are falling asleep on their feet.

The assistant director's speech should stress the importance of keeping the set neat, using leather gloves to handle hot lights and for everyone to keep their eyes open and try to prevent accidents.

The director now calls everyone to get into their places, has a last minute discussion with the actors and after an on-set rehearsal does the first take of the film. Experienced directors start with a scene involving a little action and no emotions so the actors have a chance to calm down and get into the rhythm of the set.
A day on the filmmaking set

Every filmmaking production is different but a typical day might be something like the following.

5:45 a.m. Wake-up, shower and get to the set.
6:45 a.m. Your key crew shows up and reviews the days shooting schedule.
7:00 a.m. First call. Breakfast needs to be ready. No one works before coffee. Crew starts setting up and actors start getting made up and dressed.
8:00 a.m. Light for the first shot using stand-ins, usually crew members who aren't otherwise busy.
8:30 a.m. On set rehearsals for the actors. Start with individual shots of actors as they finish their makeup and dressing.
9:00 a.m. First shot of the day. Continue shooting takes of each setup until you are satisfied.
1:00 p.m. Break for lunch.
1:30 p.m. Back to work.
7:30 p.m. Wrap for the day. If you will be continuing into the evening then provide a hot dinner and get back to work at 8:00 PM. Otherwise:
8:00 p.m. Everyone finishes their notes for the day and settles on a schedule for tomorrow.
8:30 p.m. Everything is secured and put away for the night.
9:00 p.m. Return home and review the day's video before falling into bed.

Film making

Cinematograhy - Continuity
The Necessity of Continuity

On the set it is the responsibility of the script supervisor to see that continuity is maintained between takes and between the setups. This means that the actors must be wearing the same clothes, the same jewelry, the same hair style. If a candle or cigarette is half burned down in one take then it must be the same in all takes.

Without visual continuity a movie becomes a series of unnatural jarring moments that take the audience out of the illusion that your movie is a depiction of real life. Carefully planned lack of continuity can be an effective technique to create tension and confusion in a scene but shouldn't be overdone.

Careful notes need to be maintained. A digital camera can be a big help in maintaining continuity. Take a shot of the actors after each setup or at least at the end of the day and do a quick printout of the picture.

The script supervisor should also be marking the script with any changes in dialog that occur during filming.

The script supervisor needs to be ready to remind actors of their lines when they forget.
Focus

All cameras used in filmmaking have a lens that focuses light onto a light sensitive material. One of the most powerful techniques of cinematography involves the carefully planned use of focus.

Netflix, Inc.

The lens can only bring objects at one distance from the camera into focus at a time as illustrated here:

Lens demonstration

Objects closer or farther from this point will be progressively more out of focus.

Lens demonstration

There are several variables that can be adjusted to control exactly how this looks.
4Filmmaking.com

Lenses have a focal length that determines how much the image seems to be magnified. Wide angle lenses seem to make objects look smaller and farther away. Telephoto lenses seem to make objects look larger and closer. Zoom lenses have a range of focal lengths.

Because a telephoto lens magnifies the image it will make objects that are not at the focus point seem more out of focus. Wide angle lenses make it look like everything is in focus. Changes of focal length also change the perspective as you can see in these illustrations.

Lens demonstration Lens demonstration

Lenses also have a control called the aperture that controls how much light gets through the lens. The size of the opening is measured in f-stops which measure a ratio of the focal length of the lens to the size of the opening. Opening the aperture of the lens by selecting a smaller f-stop makes objects that are not at the focal plane seem more out of focus.

Lens demonstration

Closing the aperture of the lens makes all objects appear to be more in focus.

Lens demonstration

Using a telephoto lens and a large aperture gives the effect of throwing everything out of focus except for the subject the lens is focused on. This is very desirable when filming a character delivering dialog and you don't want the audience distracted by the background. Since you want the audience to pay attention to the character it is good to be able to make everything else be a bit out of focus. Compare these two images.

Lens demonstration Lens demonstration

See how the out of focus background makes the hero seem much clearer.

Filmmakers shooting on video will need to work extra hard to get this effect because the small size of the video image sensors and lens apertures compared to the large 35mm film cameras tend to make everything appear to be in focus.

Changing the size of the aperture also controls how much light gets to the light sensitive material in the camera and therefore how bright the image looks. Opening the aperture makes the image brighter and closing it make the image darker.

This is a problem if we are trying to create a purposefully out of focus background. The effect can be offset by changing the shutter speed, which is how long the light sensitive material will be exposed to light.

When the location is dark it may not be possible to change the shutter speed enough to close the lens aperture, and in bright daylight it may not be possible to open the aperture without overexposing the image. A way to get larger apertures in bright light is to use neutral density filters which are pieces of flat glass that has been dyed to be a dark gray and therefore only lets through a small amount of light.
Product Reviews

film making

Product Reviews

Hollywood Camera Work is advertised as a master course in high-end blocking and staging. If you've never heard of blocking and staging that may explain why you find your attempts at filmmaking look amateurish next to what you see on the screen at the multiplex. Along with bad sound, lighting, and acting, poor placement of the actors and camera are the biggest mistakes for beginning filmmakers. It's the difference between films that look like bad home movies and films that tell an exciting, emotional story. Per Holmes, the creator of the Hollywood Camera Work DVDs, was a both a successful music producer and music video director. He was puzzled that there wasn't a comprehensive reference on blocking and staging techniques and spent five years creating one of his own. Luckily he decided to share his work and HCW is the result of that effort. The set consists of six DVDs comprising nine hours of instruction. The images are almost entirely of simple 3D models of actors and cameras illustrating the concepts. First with an overview shot of the set to show the staging followed by a view through the camera to see the effect. Excellent narration and titles accompany the images so everything is clearly explained. See the web site for some example lessons. Nine hours sounds like a long time but there's a lot covered in this set and the pace is actually pretty fast so be prepared to pause and review often. The first two DVDs start with the basic fixed camera setups. The next two DVDs get into advanced setups using dollies and cranes. Finally the last two DVDs put it all together and show how to stage complete scenes starting with the script, followed by staging diagrams, then a look at each setup, and finally showing the entire scene as it looks when cut together. Fortunately HCW assumes you know almost nothing about blocking, composition and how cameras work so the lessons are just as useful for a serious beginner as for an experienced filmmaker. My criticisms? There's a lot to cover so be prepared to spend a day or two on each DVD or you may feel overwhelmed. At $399 the set is not cheap (about the cost of one class at a film school). I would like to see a printed manual included with some explanation and copies of the scripts and diagrams, but they can be downloaded from the web site. It would also be nice if the set got more into color and lighting and how they play into composition but that would probably require six more DVDs and those subjects are already well covered in other references. My few quibbles aside Hollywood Camera Work is simply one of the finest learning resources available for the serious filmmaker. It does a superb job of covering one thing very completely. It really is a master class on an important aspect of filmmaking that isn't well covered anywhere else. Highly recommended if you can squeeze it into your budg

Film making

Cinematograhy - Camera Movement

The camera moves and angles

Movies should move. Even when the actors aren't moving the camera should keep moving to keep the audience interested. The easiest way to "move" the camera is by cutting back and forth between the various coverage angles. There are a number of other ways of actually moving the camera to keep a sense of movement in the film.

All of the following should be used sparingly. The moving camera can be disconcerting to the audience, even inducing nausea, and is most effective in small quantities or it begins to feel like a gimmick.

Pan - Turning the camera around the vertical axis to the left or right. A slow pan across a landscape can be a good establishing shot. A quick pan from the hero to the villain sneaking up behind can startle the audience.

Tilt - Turning the camera on the horizontal axis to point up or down. Tilt down to show how deep a canyon is, or tilt up to show the height of a cliff the hero must climb.

Dolly Shot - Any shot where the camera is mounted on a Dolly: a moving platform. The dolly may be on free moving wheels or on a track to ensure the shot can be repeated in each take. This shot may be to follow some action such as two people walking and talking. Often it is just to move the audience through a set so they can understand the layout of the scene.

Tracking Shot - Moving the camera on a dolly to closely follow walking or running characters. A Tracking Shot is one form of a Dolly Shot.

Crane Shot - The camera is mounted on a crane allowing the camera to move very high and then swoop back down to the ground. Sometimes the crane is mounted on a dolly so the camera can move along the ground and at the same time move up into the air. Crane shots are often difficult to pull off but can be highly effective establishing shots.

One of the most famous crane shots is in the movie Gone With The Wind where Scarlet has gone to the Atlanta railroad yards to get a doctor. As she walks onto the yards the camera cranes up to slowly reveal an almost endless expanse of wounded and dying soldiers eventually framed by a Confederate flag.

Zoom - Using a variable focal length lens to bring the audience closer or farther away from the scene. Zoom shots were popular in the 70s but because they are unnatural for the human eye, and are therefore often a bit disconcerting to the audience, they are rarely used today in films.

Alfred Hitchcock made effective use of a combination of a zoom and a "dolly" in the movie Vertigo to show the hero's fear of heights. As Jimmy Stewart climbs to the top of a bell tower he looks down. Hitchcock had the camera pulled up quickly at the same time the lens was zoomed from wide angle to telephoto. The effect was that near objects seemed to stay the same size but the bottom of the tower in the distance seemed rush up toward the audience. This created a disconcerting feeling of vertigo.

Low angle - Shooting with the camera very close to the ground. This can emphasize the size and power of the character, or make the character appear to be staring off into space depending on how it is used.

High Angle - Shooting with the camera held above the actors heads. This can make the actor appear small and helpless.

Dutch Angle - A shot where the camera is tilted and turned at a disconcerting angle. Used to show that the situation is "out of balance".

Hand-Held - The camera operator carries the camera as s/he moves around the set. Often used to give a sense of reality but can quickly become nauseating to the audience.

Steadicam - is the trade name of a company that produces a special harness and rig that allows a highly trained camera operator to walk or even run through a set but the camera stays steady and even seems to float through the air. A number of companies manufacture similar devices but they are all often referred to as a steadicam. Used in situations where a dolly would be too cumbersome or impractical.

film making

The assistant director is next in command and handles most of the on-set logistics so the director can concentrate on working with the actors and cinematographer, and the artistic aspects of the production.

On the set a scene each take follows the same general pattern.

1. The director confers with the actors about how to do the next take.
2. The assistant director call for "Quiet on the set!".
3. The assistant director calls "Roll sound". (Historically sound and image were recorded on separate devices and sound tape is cheaper than film so you start the sound recording first.)
4. The sound recordist responds "Sound rolling".
5. The assistant director calls "Roll camera".
6. The camera operator responds "Camera rolling".
7. The assistant camera operator "slates" the take.
8. The director shouts "Action!".
9. When the director feels the take is finished or even that the take is going badly and wants to stop it he shouts "Cut!".
10. The sound recorder and camera operator stop their devices and the actors stop acting.
11. Everyone checks their equipment in preparation for another take while the director confers with the actors.

There are any number of variations on this basic procedure. If you have a very small crew and/or the director is running the camera then s/he only needs to call "Action!" to the actors once the camera is rolling.

Clint Eastwood is famous in the film world for disliking having any shouting on the set. He uses silent signals or just quietly tells the actor they can start "When you're ready." I feel that the emotional state on the set helps the actors get into character for the scene. If the scene calls for quiet reflection then having a quiet set completes the mood, but if you are doing an action scene then pumping music and an active set gets the actors up.

Communication is key

The director is always the final authority on the set but everyone needs to be talking and feel they are part of the process. The director's ability to communicate is the key. Actors in particular need to feel they can trust the director to help them get the best possible performance.

Method actors try to "become" their character which can put them in a state of extreme emotional vulnerability. The director needs to be the trusted father and mediator to everyone on the set. S/he needs to stay positive and encouraging and gently guide the performances rather than being harshly critical. Never lose your cool!

Of course all actors are different and vary from those who want constant pampering and ego strokes to the quiet actors who stay to themselves and just do their job. All in all most actors are insecure and want to be directed.

Film making

Directing

Educate yourself

Filmmaker's Video The balance between art and commerce. (Video courtesy American Express Open Forum.)

The first step to becoming a great director is getting yourself educated.

• Watch as many movies as you can, especially the highly rated, classic films by the great directors.
• Take acting classes and read about acting theory.
• Take film history, theory and appreciation classes and read all you can about filmmaking and great directors.
• Educate yourself about all aspect of the entertainment and industry and related artistic endeavors--theater, music, literature, history, photography, art, etc.
• Take advantage of any opportunities to work with actors. Volunteer with local theater groups.
• Volunteer to work on other filmmaker's productions. Observe what they do wrong and learn.

The filming process

Although a producer many have set the movie production into motion once production begins the director is the general who directs the activities of everyone else. That doesn't mean everyone else just follows directions. On a well-functioning set everyone is making contributions, offering ideas, pointing out errors.