We think of exposure as simply opening and closing the aperture, but it's really the balance of five settings, each of which alter the look of the shot.
Today's filmmakers almost always shoot on a digital format, and that makes digital media the new film negative. Learn how to properly manage your on-set media.
Production monitors are used on practically every set. In this module you will learn how to properly calibrate a production monitor to ensure that the image you see on screen is what is actually being recorded.
Learn compositional techniques including the rule of thirds, how the great painters used mathematical principals like the golden ratio to create the perfectly composed images, how to balance line, color, and shape, and then how to break these rules.
Learn techniques for crafting foreground, midground, and background elements, how to manage depth or flatness as a narrative tool, techniques used in network television shows to cheat depth, and the ways the camera lens can affect depth.
Learn how to choose the best eye line, directing techniques for ideal camera placement, how to overcome challenges when working with visual effects, and how to fine tune actor’s eyelines within mere inches to achieve the desired emotional impact.
Learn techniques for framing people from lead room to headroom, how networks and major studios influence framing choices of their programs, how to use single and dirty shots to convey connection or distance between characters, and how directors and cinematographers decide on common guidelines for each production.
Learn the intricacies of framing, the basic shot types, advanced variations on these shot types, how to quickly communicate your vision to the cinematographer, and the emotional responsive invoked by various shot types.
Identify and work with different aspect ratios, manage conversions from film to HD, NTSC to HD, title safe requirements, and how various aspect ratios are adjusted for different exhibition and broadcast formats.
Learn the core fundamentals of screen direction, how to establish the line of action, the rule of 180, exceptions to the rule of 180, instances where the line of action doesn’t apply, how to shoot multiple character with an ever-moving line of action, and how to prepare your shot lists to avoid catastrophic editing problems.