1. How do we see film motion? (2 marks)
We see film and video motion from a series of still images because of a biological process called "Persistence of Vision." Before the first image (frame) you see fades away from the optical network in your brain, it is replaced by the second superimposed over the first so we see the two images as continuous action rather than as separate pictures.
2. How do wide angle lenses differ from telephoto lenses? (4 marks)
Wide Angle:
Broad view
Smaller image
Good for close shooting
Deep depth of field
Increase object speed towards camera
Minimizes camera shake
Telephoto:
Narrow view
Larger image
Good for distant shooting
Shallow depth of field
Decrease object speed to camera
Maximizes camera shake
3. What is depth of field? (2 marks)
Depth of field (DOF) is the distance in front and behind your subject that is in sharp focus. There is always less DOF in front of your subject than behind it.
4. What is the rule of thirds? Provide a diagram to illustrate the answer. (3 marks)
In the early days of painting, an unknown artist stumbled upon an exciting principle of good composition. The rule he developed will make your pictures more attractive and alluring to your viewers. Mentally superimpose a tic-tac-toe box over the image in the viewfinder. Move the camera until one of the image's important parts line up at one of the four points where the lines cross. For example, if the subject's eyes subject are the most important part of your picture, zoom in and focus to insure sharpness. Then, no matter whether you choose a wide angle or telephoto view, tilt up or down until the eyes are even with the top one-third horizontal line. This gives a more pleasing, inviting composition within the frame. The Rule of Thirds avoids compositions where all the elements are perfectly balanced (symmetrical balance). Unbalanced asymmetrical balance) composition creates a visual sense of visual motion; an effect that makes the most ordinary object such as a chair or soda visually exciting.
E.g.
5. What is “nose/walking room”? (4 marks)
A video portrait can be ruined by not leaving enough room between the person's face and the edge of the frame when she looks to one side or the other. Psychologically, viewers are more relaxed when there is empty space (nose room) between your subject's face and the frame. By framing either right or left, depending on the subject's position, your final picture will be more visually pleasing. The "nose room" concept also applies to objects. If you are shooting a car, truck or anything that has a definable front and back, make sure its "nose" is not slammed tight against the frame. Leaving space between the object and the frame is especially important when the subject is moving across the your field of view at a right angle. For example, if a person/object moves frame left to right, it looks better to leave space in front of the movement, on the right side of the frame, to give the person/object a visual destination. "Nose room" is not a problem when the person or object is facing directly towards or away from the camera.
A video portrait can be ruined by not leaving enough room between the person's face and the edge of the frame when she looks to one side or the other. Psychologically, viewers are more relaxed when there is empty space (nose room) between your subject's face and the frame. By framing either right or left, depending on the subject's position, your final picture will be more visually pleasing. The "nose room" concept also applies to objects. If you are shooting a car, truck or anything that has a definable front and back, make sure its "nose" is not slammed tight against the frame. Leaving space between the object and the frame is especially important when the subject is moving across the your field of view at a right angle. For example, if a person/object moves frame left to right, it looks better to leave space in front of the movement, on the right side of the frame, to give the person/object a visual destination. "Nose room" is not a problem when the person or object is facing directly towards or away from the camera.
6. How do we create the illusion of depth? Provide an example. (3 marks)
We see the world in three dimensions -- height, width and depth. However film and video can only record and and reproduce height and width. Therefore you must use some specific visual techniques to fool your viewer into thinking the flat image they are seeing has depth -- that it resembles three dimensional reality. When shooting objects or people, place your camera at an angle so you see at least two sides in your viewfinder. For example, if you shoot a person head-on so you see only her front, the result is a perfect driver's license portrait. However, turn the person turn 45 degrees to the right or left, so you see both the front and side of the body, and you create an illusion of anatomical depth which has far greater visual impact. The same technique works for objects. Shoot a building head-on and its a flat rectangle. However, move the camera so you see the front and a side, or the front and the top, and you create an illusion of depth for your viewers. 7. Define “the Shot”. Discuss three examples. (4 marks)
The Shot is the basic unit of film and video visual language. It is the amount of film/tape shot from when the camera is turned on till it is turned off. A shot is like a letter in writing. We choose different letters to form a word. For example, if we take the letters G-R-E-F-N-I and put them in the right order we have the word FINGER. Each shot you record is like research information you gather at the library when you have to write an essay. The facts you find out are only important as they connect with other data which come before and after each item as you write your paper. Editing video is the same process. You gather your visual facts during shooting and then organize them in a structured presentation by editing. Depending on the action, the average shot is usually seven to 10 seconds long. The guiding rule is simple. It is easier to make a shot shorter during editing; you can't make it longer. If you must make a mistake, error on the side of length rather than brevity. When deciding when to start and stop shooting, remember you can only edit what you have recorded. While shooting, start and stop each shot a few seconds before and after the action to make sure you have enough footage to edit the complete sequence.
The Shot is the basic unit of film and video visual language. It is the amount of film/tape shot from when the camera is turned on till it is turned off. A shot is like a letter in writing. We choose different letters to form a word. For example, if we take the letters G-R-E-F-N-I and put them in the right order we have the word FINGER. Each shot you record is like research information you gather at the library when you have to write an essay. The facts you find out are only important as they connect with other data which come before and after each item as you write your paper. Editing video is the same process. You gather your visual facts during shooting and then organize them in a structured presentation by editing. Depending on the action, the average shot is usually seven to 10 seconds long. The guiding rule is simple. It is easier to make a shot shorter during editing; you can't make it longer. If you must make a mistake, error on the side of length rather than brevity. When deciding when to start and stop shooting, remember you can only edit what you have recorded. While shooting, start and stop each shot a few seconds before and after the action to make sure you have enough footage to edit the complete sequence.
Long Shot (LS):
Gives a full picture of the subject showing what it is and where it is located. When shooting people, the LS is a head-to-toe view.
Medium Shot (MS):
Brings the subject closer to the viewer isolating it from the surroundings. While a LS shows an entire building, the MS may concentrate on the main entrance, or a suite of office windows. When shooting a person, the MS is a head-to-waist view. The MS is a compromise between the general view of a LS and the impact of a close-up.
Close-up (CU):
The most powerful shot in photography. It establishes an intimacy between subject and audience. It isolates the subject from its environment. When shooting people, a CU is a head-to-chest view. The CU is especially important in videography because the TV picture is small. If you want your footage to have power you must give your audience visual details only CU's can capture.
*The extreme LS (XLS), medium CU (MCU) and extreme CU (XCU) are obvious variations on the three basic shot types.
8. What are the five basic camera movements? Describe each one. (10 marks)
Zoom In/Out:
Not a true camera move, but a lens change from wide angle (LS) to telephoto (CU) or the reverse. There is no change in perspective. All objects change size at the same time. Do not play with the zoom control just because you're bored. You will confuse and frustrate your audience. A zoom in is your way of telling your viewer a visual detail is important. A zoom out (from CU to LS) reveals new information or locates your subject in its environment. Whenever you choose a zoom shot, you will have to use the entire move during editing to avoid a jump cut. This can eat up program time. It is faster to cut from a LS to a CU or vice versa. Only use the zoom when you want the move in your edited sequence. Shooting zoom properly will guarantee you editing choices.
Pan and Tilt:
In a pan the camera moves horizontally (side to side). In a tilt the camera moves vertically (up and down). Both call attention to themselves when there is nothing in the scene which seems to call for a pan or tilt. You can avoid boring pans/tilts by following a subject or person as they move across the field of view you are recording. The audience will accept the camera move as a reasonable visual response to action and your pan will enhance not detract from the scene. When you follow a moving object, start recording before the subject enters your viewfinder. Move slowly with the action leaving adequate "nose room" or “walking/talking room”.When you reach a predetermined point in your scene, stop the camera moving and let the subject leave the frame. Keep shooting for three to five more seconds.
Track:
A pan or tilt rotates the camera to the side or up and down in one position. In a tracking shot you move the entire camera to follow a traveling subject. This camera move creates a strong subjective POV. It will put your viewer directly into the action. Use it only when you want this effect.
Truck:
The subject is stationary, the camera moves around it. For example, if you are shooting a grove of trees with a hand-held camera, you can give the viewer a visual sense of moving through the copse by walking in and around the trees with the camera.
Dolly:
The camera moves towards (dolly in) or away (dolly out) from the subject. While this sounds like a zoom shot, the visual results are radically different. A dolly shot changes visual perspective because the camera is moving through the scene.A zoom shot only enlarges or reduces all the objects in the frame at the same rate. There is no perspective change, everything gets bigger or smaller at the same visual speed. All camera moves can be hand-held if you use the wide angle lens setting to smooth out the bumps and jiggles. Use a smooth rolling support like a tripod with wheels. Many camcorders have motion-stabilizer circuits. Some work quite well to get rid of camera bounce. However, the effect is annoying during camera moves. Experiment with your camcorder to see if the results are acceptable.
9. What are the non technical lighting objectives? (4 marks)
Nontechnical, or aesthetic, lighting objectives are:
Since video screens have only two dimensions, height and width, the third dimension , depth, must be created by illusion. A proper control of light and shadow is essential for the clear revelation of the actual shape and form of three-dimensional objects, their position in space and time, and their relation to one another and to their environment. In fact, it is often the shadows that indicate the form and dimension of an object rather than the light. Therefore, the purpose of lighting is more frequently the control of the placement and the relative density of the shadow than the creation of bright picture areas.
Reality and Non reality:
Lighting helps to achieve an illusion of reality or non reality. It aids in setting a specific time and place. For example, long shadows suggest late afternoon or early morning; harsh, bright light helps to establish a sun-flooded outdoor scene.
*Illogical or special effect lighting can create the illusion of non-reality.
Mood:
Next to sound, lighting is one of the chief means of creating a desired mood. Various psychological effects, such as gaiety, mystery, or gloom, can be achieved through lighting techniques.
10. What is the photographic principle for lighting? (5 marks)
As one of the photographic arts, video is subject to photographic lighting principles.The most basic photographic lighting principle - or, as it is frequently called, basic triangle lighting - consists of three main light sources:
Key light:
As the principal source of illumination, the major function of the key light is to reveal the basic shape of the object. In order to reveal the basic shape, the key light must produce distinct shadows. Fresnel spotlights, medium spread, are normally used for key illumination. In order to reveal as much of the object as possible, and to conform with our expectancy for the principal light source to come from above, the key light is placed above and to the right or left front side of the object, from the camera’s point of view.
Back light:
The back light has several important functions. It helps to distinguish between the shadow of the object and the background; it emphasizes the outline, the contour of the object, separating it from its background. We can now perceive not only what the object itself looks like but also where it is situated in relation to its environment, at least relative to its background. The back light has added a new spatial dimension. It also adds life and sparkle to the scene.Generally , try to position the back light as directly behind the object (opposite the camera) as possible. In general, lighting angles of 45 degrees are considered ideal for normal lighting situations.
Fill light:
With only a key light and back light in place, the fall off from light to dark is extremely fast, and the shadow side of the object would be so dense the the camera would see no detail. The colour would be either lost entirely in the dense shadow area or grossly distorted. This fall off must be slowed down and the dark side of the object must be lightened up without erasing the shadow effect altogether, which would eliminate the modeling effect of the key light.Some of the shadows can be filled in by placing a floodlight, generally a scoop, in front and a little to the side of the object, on the opposite side of the camera from the key light. Since you simply meant to lighten up a shadow area rather than produce new, harsh shadows on the other side of the object, the fill light should be reasonably diffused.
The Photographic Principle and continuous Action:
One added problem in video lighting is movement - movement of the performer or performers, and movement of the camera or cameras. Fortunately, the basic photographic principle of key, back, and fill lights can be multiplied and used for each performing or set area. Even if you have only two people sitting at a table you will have to use a multiple application of the photographic principle. In order to compensate for the movement of the performers, you should illuminate all adjacent performance areas in such a way that the basic triangle-lighted areas overlap. The basic purpose of overlapping is to give the performer continuos lighting as they move from one area to another.
*Each of the three main instruments is positioned in such a way that it can optimally fulfill its assigned function. this arrangement is the lighting triangle.
11. What is DOF, POV, and CU stand for? (3 marks)
DOF: Depth of Field
POV: Point of View
CU: Close-Up
12. Discuss the importance of pre-planning/preparation in the development of effective video. (6 marks)
12. Discuss the importance of pre-planning/preparation in the development of effective video. (6 marks)
Planning is very important when making a video because it can make it more effective. If you aren't prepared for everything, it can ruin the quality and effectiveness of your video.
