No Comment from Ghetiu on Vimeo.
Georgiana Ghetiu Zureil Honeyghan Leah Crepaz Ash TehraniFriday, 21 November 2014
Tuesday, 18 November 2014
Tuesday, 11 November 2014
Group 2 Sound task
RYAN FRANCIS
I will fuck you up from Tahla Krosschell on Vimeo.
Tahla KrosschellSoundadd from Geootza on Vimeo.
Georgiana Ghetiu zuriel honeyghan Shahin Rekabi danielle harrison becca nolanHalloween from Kelly Hughes on Vimeo.
kellyhughes Leah CrepazWednesday, 5 November 2014
Light: Hard and Soft light : Basic Set-ups
Light 'Em Up: Basic Lights
Light. What is it? Nobody knows for sure. It's a mystery that has plagued our world for ages. What we do know however, is that we can do really cool things with it, like make our videos look a lot better. You can also make it look a lot worse if you do it wrong, so try not to do that, okay? Let's break down some commonly used types of lighting that are available, and how you can use them to your advantage.
Tungsten (Incandescent)
Power: Up to about 20K Watts
Color Temp: Around 3200K. The color balance of tungsten lights are orange/yellow. Check out this lesson if you need a refresher on color temperature.
Best Use: These are ideal for indoor locations where ordinary household lights can be seen. (You will need a blue gel over a tungsten light to simulate daylight.)
Power: Up to about 20K Watts
Color Temp: Around 3200K. The color balance of tungsten lights are orange/yellow. Check out this lesson if you need a refresher on color temperature.
Best Use: These are ideal for indoor locations where ordinary household lights can be seen. (You will need a blue gel over a tungsten light to simulate daylight.)
Tungsten lights are simply larger versions of the everyday lighting found in your home, using a filament of tungsten wire. They come in a wide variety of shapes and sizes which make them handy as they’re often more portable than other types. Also, dimmers work great with these things! Fun fact: These lights originated in Tungsteny, Italy which is a place I just made up.
HMI (Hydrargyrum Medium-arc Iodide)
Power: They can produce 3x the amount of a tungsten halogen light and consume up to 75% less energy for the same output. Wowza!
Color Temp: Around 5600K. The colour balance of HMIs are blue-ish and are a bit closer to daylight than tungsten.
Best Use: Ideal for imitating daylight. Daylight would call HMIs a total copycat - HMIs prefer to think they're an homage to daylight. Who ever's side you're on, HMIs are great in situations when you need more light output for the power you have available. Plus, they are much safer than other lights because they keep a lot cooler.
Power: They can produce 3x the amount of a tungsten halogen light and consume up to 75% less energy for the same output. Wowza!
Color Temp: Around 5600K. The colour balance of HMIs are blue-ish and are a bit closer to daylight than tungsten.
Best Use: Ideal for imitating daylight. Daylight would call HMIs a total copycat - HMIs prefer to think they're an homage to daylight. Who ever's side you're on, HMIs are great in situations when you need more light output for the power you have available. Plus, they are much safer than other lights because they keep a lot cooler.
Simply put, these lights are super efficient. The disadvantage of HMIs is that they're more expensive due to the technology needed to make these work. Although they are worth mentioning, they are likely to be out of the question for low budget filmmakers.
Fluorescents
Power: They can produce 3x the amount of a light of a tungsten halogen and consume up to 75% less energy for the same output. That's what's up!
Color Temp: Can be completely colour corrected in post production to match either daylight or tungsten.
Best Use: They produce a soft even light which can be handy in situations where you don’t have enough room to bounce or diffuse other types of lights. On top of that, these run even cooler than HMIs or Tungsten lights.
Power: They can produce 3x the amount of a light of a tungsten halogen and consume up to 75% less energy for the same output. That's what's up!
Color Temp: Can be completely colour corrected in post production to match either daylight or tungsten.
Best Use: They produce a soft even light which can be handy in situations where you don’t have enough room to bounce or diffuse other types of lights. On top of that, these run even cooler than HMIs or Tungsten lights.
Colour-corrected fluorescent tubes are becoming widely used as a lighting method because of their portability and compact nature. Fluorescent lights naturally flicker but ones made for video production blink at such a high frequency that it won’t show up in standard frame rates. So don't worry, unless you're shooting 1,000 fps it won't be an issue. Plus, depending on where you live, that may be breaking local frames per second laws. You think you can film that fast and get away with it? Think again.
Specialty Lights
Fresnels
A fresnel is a type of lens placed in front of lamps such as tungsten sources in order to focus the light given off into a controllable beam. That's right - making the light work for you. This is very useful in creating a spotlight effect, as well as being able to cover a relatively small portion of a scene. A fresnel light is simply a light in any category which utilises the fresnel lens in front of the bulb, but most frequently it's a tungsten light. Tungsten lights and Fresnels are like BFFs or whatever.
A fresnel is a type of lens placed in front of lamps such as tungsten sources in order to focus the light given off into a controllable beam. That's right - making the light work for you. This is very useful in creating a spotlight effect, as well as being able to cover a relatively small portion of a scene. A fresnel light is simply a light in any category which utilises the fresnel lens in front of the bulb, but most frequently it's a tungsten light. Tungsten lights and Fresnels are like BFFs or whatever.
Practicals
Practical lighting refers to any light source that is part of the scene itself and does not need to be hidden from the camera. They often provide motivation for larger (hidden from screen) film lights used in a scene, providing a logical reason why, say, the side of a character’s face is lit up. These can be anything from a household lamp to a flashlight, candle or lightsaber. Often, household bulbs are replaced with more powerful ones to add more light into a scene without being too noticeable.
Practical lighting refers to any light source that is part of the scene itself and does not need to be hidden from the camera. They often provide motivation for larger (hidden from screen) film lights used in a scene, providing a logical reason why, say, the side of a character’s face is lit up. These can be anything from a household lamp to a flashlight, candle or lightsaber. Often, household bulbs are replaced with more powerful ones to add more light into a scene without being too noticeable.
There are many lighting tools available. Which ones you'll buy or rent will depend on your needs. When deciding on a light, take into consideration cost, colour temperature, portability, and power consumption.
PPro tip:If you’re trying to get a basic kit, you’ll want to assemble a set that has at least three lights. That being said, you don't need three lights to get started. You can create a chill setup with a single light source and a bounce!
A Great Lighting Tip
Paper Lantern Lighting
Good lighting doesn't have to cost a lot of money or be overly complicated. You can use inexpensive items just laying around the house to improve how your scene and subjects are lit. Anything from a floor-lamp, a reading light, or a paper lantern.
A key element of good lighting is soft light. Too strong or too harsh lighting creates shine and harsh shadows that generally don't flatter most settings. It's great to have a nice strong light source but you need to temper those photons with something to soften up their punch. Luckily there are common everyday objects that provide excellent soft lighting like a paper lantern, sometimes known as a China lantern. As you may have guessed, paper lanterns are made of paper, held together by a metal wire structure, with a light bulb hanging in the middle. You can find paper lanterns for cheap at many retail outlets, attics, and college dorm rooms near you.
Behold, a plethora of paper lanterns! For most shooting situations just one will do just fine. (Image Courtesy of Shutterstock)
The magic behind the paper lantern is how it diffuses and creates a soft light for your subject. A paper lantern can also act as a great fill light in your three-point lighting setup or if properly positioned can act as your sole light source. For a detailed explanation check out this video byFramelines TV explaining how to mount and use one-
An important consideration to keep in mind is bulb wattage, be careful not to exceed about 200 watts (or the manufacturer's suggested limit) with a standard incandescent bulb or it's compact fluorescent or LED equivalent. Most importantly make sure the bulb is in no way touching any of the paper as that it may begin to combust.
Take the time to try different lantern positions by both increasing and decreasing the distance from your subject. It might take a bit of playing around to get just the right amount of light from the right angle, but it'll be worth it for the higher quality image you'll be capturing. Most importantly experiment. You never know what you might capture with a little time and curiosity.
Lighting For Film & Television: The basics to consider.
Light Sources :
Whether it be natural light (from the sun) or artificial lights you need to consider the implications for the look, feel and tone of your production. The aim of lighting design is to choose the best source(s) to achieve your goals. You need enough light.
You must ensure that your camera is able to record an acceptable picture in the conditions. With modern cameras this is seldom a problem except in very low light or strong contrast.
Assuming you have enough light, you must then consider the quality of the light and how the various light sources combine to produce the image.
If you have clashing light sources (e.g. artificial interior lights with sunlight coming through the windows), you may find the colours in your image appear unnatural.
Colour temperatures:
It's best to control the light sources yourself if possible (e.g. turn off the lights or close the curtains). When moving between locations, think about what light source you are using. If you move from an outside setting to an inside one with artificial lights, the amount of light may seem the same but the colour temperature will change according to the type of lights.
In this case you need to white balance your camera for the new light source.
Contrast Ratio :
Contrast ratio is the difference in brightness between the brightest and darkest parts of the picture. HD does not cope with extreme contrast quite as well as film, and nowhere near as well as the human eye. The result of over-contrast is that some parts of the picture will be too bright or too dark to see any detail. For this reason you need to ensure that there is not too much contrast in your shot..
Direction of the light:
When shooting a subject think about what the light source is reflecting off. For example, may of you initially framed shots with a window in the background. The natural light from the sun shining through the window created silhouetted out figures. This may be fine in certain circumstances, but in most cases, the assumption is that you will want your character/subjects well lit. There fore, you should check the position of the sun and aim to have the sun behind the camera and not the subject. Position yourself in relation to the light source to achieve the effect that you desire.
Check out this cheeky chappy who explains it pretty effectively
Discuss these lighting basics with your group and reflect on these discussions to achieve a fit- for- purpose lighting plan.
Light Sources :
Whether it be natural light (from the sun) or artificial lights you need to consider the implications for the look, feel and tone of your production. The aim of lighting design is to choose the best source(s) to achieve your goals. You need enough light.
You must ensure that your camera is able to record an acceptable picture in the conditions. With modern cameras this is seldom a problem except in very low light or strong contrast.
Assuming you have enough light, you must then consider the quality of the light and how the various light sources combine to produce the image.
If you have clashing light sources (e.g. artificial interior lights with sunlight coming through the windows), you may find the colours in your image appear unnatural.
Colour temperatures:
It's best to control the light sources yourself if possible (e.g. turn off the lights or close the curtains). When moving between locations, think about what light source you are using. If you move from an outside setting to an inside one with artificial lights, the amount of light may seem the same but the colour temperature will change according to the type of lights.
In this case you need to white balance your camera for the new light source.
Contrast Ratio :
Contrast ratio is the difference in brightness between the brightest and darkest parts of the picture. HD does not cope with extreme contrast quite as well as film, and nowhere near as well as the human eye. The result of over-contrast is that some parts of the picture will be too bright or too dark to see any detail. For this reason you need to ensure that there is not too much contrast in your shot..
Direction of the light:
When shooting a subject think about what the light source is reflecting off. For example, may of you initially framed shots with a window in the background. The natural light from the sun shining through the window created silhouetted out figures. This may be fine in certain circumstances, but in most cases, the assumption is that you will want your character/subjects well lit. There fore, you should check the position of the sun and aim to have the sun behind the camera and not the subject. Position yourself in relation to the light source to achieve the effect that you desire.
Check out this cheeky chappy who explains it pretty effectively
Discuss these lighting basics with your group and reflect on these discussions to achieve a fit- for- purpose lighting plan.
Tuesday, 28 October 2014
Lighting Tutorial
Light is the single most essential component of photography. Unfortunately, controlling light is complicated and not completely intuitive. The following tutorial will introduce you to some basic lighting techniques that can be used on a variety of subjects and locations to achieve professional results.
It's important to note that the samples below were produced in a controlled environment. When shooting on location or outdoors, you will have many more factors to deal with: lights bouncing off of ceilings and walls, direct sunlight, varying light colours, etc. Knowing the basics will help you in those situations as well, so we'll start at the beginning.
The Key Light
The most important light in your setup is the key light. It's the first light you setup and will control exposure for your image. In this example, the key light has been positioned left of the camera and about two feet higher than the subject, pointing down slightly.
The most important light in your setup is the key light. It's the first light you setup and will control exposure for your image. In this example, the key light has been positioned left of the camera and about two feet higher than the subject, pointing down slightly.
The position of the key light will have a huge effect on the overall feel of your image. Sometimes moving the light a mere 12 inches will change the style of your image completely.
In the example above, having the key light very close to the camera (and a little bit higher than the camera) bathes the subject in direct light. We can see detail across the entire face. Shadows are mostly eliminated, which causes the image to appear somewhat flat. This is a standard light position for news reports and documentary videography, where it's more important to see the entire subject than it is to create a dramatic atmosphere.
The key light has been moved slightly to the left, and the result is clearly noticeable. The left side of the face is brighter, leaving the right side in shadows. The subject appears more three-dimensional.
Imagine a large clock overlaying the studio area if you were to look down on it from above. In the example above, the key light has been moved to 9 o'clock, which is directly to the side of our subject. This is one of the most dramatic positions for the key light, mostly because it produces a very high level of lighting contrast.
Lighting contrast is an important concept to understand. It refers to the difference in brightness between the light and dark sides of the subject. Having extreme contrast like we have in the example above is referred to as low-key lighting. The opposite, where the entire subject is bathed in even light (having a low lighting contrast), is referred to as high-key lighting. Good luck remembering the terms - I have yet to come up with a convention that helps me remember that "low" key has a "high" contrast.
Here the key light has been moved to about 8 o'clock. It's positioned so that some light falls over the bridge of our subject's nose and creates a triangle of light on the shadowed side of her face. This triangle is what I usually aim for when setting up the key light.
Being happy with the position of the key light, let's turn our attention to the shadows that it creates. The nose, chin and eyebrow leave sharp and harsh shadows on the subject. While it's sometimes an intentional choice to have harsh shadows, softening the light typically creates much more artistically appealing images (and can help skin appear very smooth).
So how do we soften the shadows? Easy - enlarge your light source. The larger the light source, the softer the shadows.
Well ok, you can't make your light bigger. One solution is to put a photographic umbrella in front of your light. Umbrellas are cheap and very easy to work with. The umbrella will effectively enlarge the light source, diffusing the light.
In the above photo, an umbrella has been added to the key light to soften the shadows. Notice how much softer the shadows on the face have become. If a soft box light is available, the light source would be larger, producing even softer shadows.
One thing to note is that in the process of diffusing the key light, the umbrella causes a lot of light to scatter, resulting in less light hitting your subject. You will have to adjust your camera's exposure to compensate for the lost light.
The Fill Light
One problem with using only a key light is that the shadowed side of a person's face is very dark, sometimes completely black. It's usually desirable to fill in the shadows a little bit so that you can see the whole face. Hence the name of our next light: the fill light.
One problem with using only a key light is that the shadowed side of a person's face is very dark, sometimes completely black. It's usually desirable to fill in the shadows a little bit so that you can see the whole face. Hence the name of our next light: the fill light.
In the photo above, a fill light has been placed on the opposite side of the camera as the key light. As expected, both sides of the face are now evenly lit.
But we're not done yet. Having the whole face lit with perfect symmetry negates the dramatic feel of our setup when there was just the key light. Even though we can see the whole face, it's just not as appealing.
Ah, that's better! The change here is subtle but very important. The fill light has been moved farther away. When you move a light back, it casts much less light on your subject. Many times you only need to move a light 5-10 feet away to make a large difference.
In my example above, I have actually used a fill light that is much less bright than the key light. This enables me to have the key and fill light fairly close to the subject, which is essential when working in small locations.
The Back Light
Finally we meet the third and last light in a three-point light setup: the back light (sometimes called the hair or rim light). As you can see above, this light has added a rim of light on the head and shoulders of our subject. Although it's a very subtle change, it dramatically helps visually separate the subject from the background. Instead of the top of her head fading into the black background, now there's a pleasing highlight on her hair and shoulders.
Finally we meet the third and last light in a three-point light setup: the back light (sometimes called the hair or rim light). As you can see above, this light has added a rim of light on the head and shoulders of our subject. Although it's a very subtle change, it dramatically helps visually separate the subject from the background. Instead of the top of her head fading into the black background, now there's a pleasing highlight on her hair and shoulders.
Even though the back light produces little change to the overall image, it's a minor touch that will usually make photos and videos appear to be professionally lit.
The key and fill lights have been turned off, letting us see exactly what effect the back light has on our subject.
Above is the result of using the back and fill lights. Notice that the fill light does not provide full illumination to our subject's face. It's also best practice to use soft fill and back lights whenever possible.
The White Backdrop
Now that our subject is properly lit, we can experiment with the backdrop. Let's try to achieve a popular backdrop, which is a solid bright-white backdrop, free of shadows and detail.
Now that our subject is properly lit, we can experiment with the backdrop. Let's try to achieve a popular backdrop, which is a solid bright-white backdrop, free of shadows and detail.
A white sheet has been hung on the wall about 6 feet behind our subject, but we can obviously see that it's a sheet (and in need of a good iron!). Not very professional.
Why doesn't the sheet look white? The reason is that the camera's exposure has been set according to the subject, who is much more brightly lit than the backdrop. Simply put: we need more light on the backdrop.
A backdrop light has been placed behind and to the side of our subject, pointing at the white sheet. It lights up half of the sheet, but we're not quite there yet.
Ah-ha! Two lights did the trick - one on each side. It's important to note that the lights have been positioned in such a way so that their light does not spill onto our subject. Remember - she has been properly lit, and we don't want extra light ruining our setup. There are devices called barn doors which can be put on lights to prevent extra light from spilling in undesired directions. In this case, it was sufficient to just put the lights low on the floor behind our subject and point them at the wall.
Vertical Positioning
The last thing we're going to look at is what difference the vertical position of a light makes to our image. In the photo above, the light is higher than our subject, pointing down slightly. This will almost always produce desirable results. Elevating the light also helps eliminate reflections and glare on eyeglasses.
The last thing we're going to look at is what difference the vertical position of a light makes to our image. In the photo above, the light is higher than our subject, pointing down slightly. This will almost always produce desirable results. Elevating the light also helps eliminate reflections and glare on eyeglasses.
Now the light has been lowered so that it's the same height as our subject's face. You can see that this produces a much different effect, which sometimes can be desirable, depending on the mood you're aiming for.
The light has been lowered to knee-level, and it has also been moved from an 8 o'clock position to the 7 o'clock position. This produces an eerie effect on the subject, usually desirable in dramatic or suspenseful scenes. This effect can be greatly accentuated by removing the umbrella and lowering the back and fill lights, producing a more low-key image.
http://www.sps186.org/film/?p=7664 Artcle by Dave Heinzel
Tuesday, 21 October 2014
Monday, 20 October 2014
Sound Design
L4 Performance Skills (Production) : Sound Design
Sound design is undoubtedly one of the biggest contributing factors to a high production value. Understanding sound is imperative if you want to avoid the airy, light, “hissy” sound that is often associated with independent film productions.
Have a look at the video which introduces the fundamentals of sound design.
You need to record on the camera and externally on the Zoom 6 device.
The camera-recorded sound is to ensure that you have a guide track to work with and will help with synchronisation. Also, it may be useful as a back-up or Synchronisation can be assured by using a Clapper board. ambient sound. So, Keeping shot logs is absolutely essential.
Extra process – Spend a session syncing up sound and image files.
Stereo vs. Mono,
Record dialogue in mono. You can match it up easily to the shots that you have taken.
For example, if you are filming a close up shot you can get your boom pole in closer. With a long-shot or wider angle your boom pole will be further away from the source of your sound. If you have recorded in mono, you can manipulate these mono recordings so that they match each type of shot. The sound has the effect of cutting together cleanly and does not have the effect of being further away in the long shot or closer in the close –up.
Microphones
If the mic is at a distant from the subject then the more ‘distant’ are the effects of the sounds that have been recorded.
Radio Mics – are available but, don’t break the illusion in a fiction text. If it is concealed in costume that’s fine, but if you have a character that moves you will pick this up on mic.
The majority of things that you record are in mono: ie, one microphone.
EDIT: When we edit and playback sound it is played back in stereo. If it’s recorded in mono and played out of two speakers you can set the position of the sound in two speakers.
Stereo recording involves two microphones in specific arrangements.
If things move during recording the effect in playback will be similar, you perceive that the sound moves. But, that movement cannot be altered or manipulated. It is fixed at recording.
Atmosphere / Wildtrack – Record in stereo, because the world around us is in stereo. Because rooms and outdoor locations are stereo spaces – ie reflections of the walls etc. Even dead air is going to provide a ‘noise’ background. If you are outdoors you get movement which needs to be recorded- this is used as a sound bed to put underneath dialogue. The actors may only be speaking out of the centre of the sound available. Stereo is good for background or ambience in that it is not necessarily keyed to any visuals, it just enhances the film.
Microphone placement,
Have a look at the video below which discusses the uses of each type of mic.
You need to consider the tone of the room. The closer the mic is to the subject, will cancel out more of the tone of the room. Here is where the shotgun mic comes in handy.
Shotgun mics.
They are very accurate in relation to what they pick up. For example, if you want to capture voice- shoot at the front of the head and stay following it as closely as the shot will allow. However, you can be further away from the subject and get same quality sound as you would from a closer-non shotgun mic.
Omni – directional mic – picks up sound all around. Sounds natural, but needs to be close to subject.
Figure of 8 mics- Records at the front and at the back and rejects sound at the sides . But it only records one track- its still mono, but might be useful in a conversation where extraneous sound could be distracting.
In a studio backing singers
Cardioid mic – rejects sound from the back. Like a zoom lens almost gives a boost to the sound but its still quite wide.
Sound Editing in Adobe Premier CS6
Sound design is undoubtedly one of the biggest contributing factors to a high production value. Understanding sound is imperative if you want to avoid the airy, light, “hissy” sound that is often associated with independent film productions.
Have a look at the video which introduces the fundamentals of sound design.
You need to record on the camera and externally on the Zoom 6 device.
The camera-recorded sound is to ensure that you have a guide track to work with and will help with synchronisation. Also, it may be useful as a back-up or Synchronisation can be assured by using a Clapper board. ambient sound. So, Keeping shot logs is absolutely essential.
Extra process – Spend a session syncing up sound and image files.
Stereo vs. Mono,
Record dialogue in mono. You can match it up easily to the shots that you have taken.
For example, if you are filming a close up shot you can get your boom pole in closer. With a long-shot or wider angle your boom pole will be further away from the source of your sound. If you have recorded in mono, you can manipulate these mono recordings so that they match each type of shot. The sound has the effect of cutting together cleanly and does not have the effect of being further away in the long shot or closer in the close –up.
Microphones
If the mic is at a distant from the subject then the more ‘distant’ are the effects of the sounds that have been recorded.
Radio Mics – are available but, don’t break the illusion in a fiction text. If it is concealed in costume that’s fine, but if you have a character that moves you will pick this up on mic.
The majority of things that you record are in mono: ie, one microphone.
EDIT: When we edit and playback sound it is played back in stereo. If it’s recorded in mono and played out of two speakers you can set the position of the sound in two speakers.
Stereo recording involves two microphones in specific arrangements.
If things move during recording the effect in playback will be similar, you perceive that the sound moves. But, that movement cannot be altered or manipulated. It is fixed at recording.
Atmosphere / Wildtrack – Record in stereo, because the world around us is in stereo. Because rooms and outdoor locations are stereo spaces – ie reflections of the walls etc. Even dead air is going to provide a ‘noise’ background. If you are outdoors you get movement which needs to be recorded- this is used as a sound bed to put underneath dialogue. The actors may only be speaking out of the centre of the sound available. Stereo is good for background or ambience in that it is not necessarily keyed to any visuals, it just enhances the film.
Microphone placement,
Have a look at the video below which discusses the uses of each type of mic.
You need to consider the tone of the room. The closer the mic is to the subject, will cancel out more of the tone of the room. Here is where the shotgun mic comes in handy.
Shotgun mics.
They are very accurate in relation to what they pick up. For example, if you want to capture voice- shoot at the front of the head and stay following it as closely as the shot will allow. However, you can be further away from the subject and get same quality sound as you would from a closer-non shotgun mic.
Omni – directional mic – picks up sound all around. Sounds natural, but needs to be close to subject.
Figure of 8 mics- Records at the front and at the back and rejects sound at the sides . But it only records one track- its still mono, but might be useful in a conversation where extraneous sound could be distracting.
In a studio backing singers
Cardioid mic – rejects sound from the back. Like a zoom lens almost gives a boost to the sound but its still quite wide.
Sound Editing in Adobe Premier CS6
Sound: Zoom 6 recorder
Recording media 16MB–2GB SD cards 4GB–32GB SDHC cards 64GB–128GB
SDXC cards Inputs Inputs L/R XY mic (XYH-6)
Mic Type: Unidirectional Sensitivity: –41 dB, 1 kHz at 1 Pa Input Gain: –∞ to 46.5 dB Maximum Sound Pressure Input: 136 dB SPL [MIC/LINE IN] Connector: 1/8" stereo mini jack Input Gain: –∞ to 46.5 dB Input Impedance: 2 kΩ Plug-in Power: 2.5V supported
MS mic (MSH-6) Mic Types: Unidirectional and bi-directional Sensitivity: –37 dB, 1 kHz at 1 Pa (unidirectional), –39 dB, 1 kHz at 1 Pa (bi-directional) Input Gain: –∞ to 42.5 dB Maximum Sound Pressure Input: 120 dB SPL (unidirectional), 122 dB SPL (bi-directional) Shotgun mic (SGH-6 [Option]) Mic Type: Unidirectional (mic unit x 3) Polar Pattern: Super-cardioid Sensitivity: –39 dB, 1 kHz at 1 Pa (each mic unit) Input Gain: –∞ to 50 dB Maximum Sound Pressure Input: 122 dB SPL (unidirectional)
Inputs 1 to 4 Connectors: XLR/TRS combo jacks (XLR: 2 hot / TRS: TIP hot) Input Gain (PAD OFF): –∞ to 55.5 dB Input Gain (PAD ON): –∞ to 35.5 dB Input Impedance 6.8kΩ Maximum Input Level: +22 dBu (PAD ON) Phantom Power: +12V / +24V / +48V Equivalent Input Noise (EIN): –120 dBu or less
Outputs Line Out Connector: 1/8" stereo mini jack Rated Output Level: –10 dBu (when output load impedance is 10 kΩ or more)
Phone Out Connector: 1/8" stereo mini jack Output Level: 20 mW + 20 mW (into 32Ω load) Built-in Speaker 400 mW/8 Ω mono speaker
Recording Formats [WAV setting] Sampling Frequency: 44.1/48/96kHz Bit Rate: 16/24-bit (Mono/Stereo, BWF-compliant)
Maximum Simultaneous Recording Tracks: 8 tracks (6 tracks + L/R backup)
Backup recording: 12dB lower than set L/R input gain [MP3 setting] Sampling Frequency: 44.1kHz Bit Rate: 48–320 kbps Maximum Simultaneous Recording Tracks: 2 tracks Recording Time (with 2GB card) 03:08:00 (44.1kHz/16-bit WAV) 34:43:00 (128kbps MP3)
Display 2.0-inch full-color LCD (320 x 240 pixels) USB [Mass Storage Class operation] Class: USB2.0 High Speed [Audio Interface operation: Multi-track mode] Class: USB2.0 High Speed Inputs / Outputs: 6 / 2 Sampling Frequency: 44.1/48/96kHz Bit Rate: 16/24bit Note: Use with Windows requires a driver, but Macintosh does not.
Audio Interface operation: Stereo mode] Class: USB2.0 Full Speed Inputs / Outputs: 2 / 2 Sampling Frequency: 44.1/48kHz Bit Rate: 16 bit Note: iPad operation supported in stereo mode only. Battery Life (with alkaline battery) XY mic, 44.1kHz/16-bit (stereo x 1): 21 hours XY mic and Inputs 1, 2, 3 and 4 used, 96kHz/24-bit (stereo x 3): 9 hours 45 minutes Note: The above times are estimates.
Approximate continuous recording times when using battery power were calculated using our own testing method. They may differ greatly depending on operating conditions. Power AA size (LR6) battery x 4 AC adapter: AD-17 (DC5V/1A/USB-type) (optional) USB bus power
Dimensions H6: 77.8mm（W）x 152.8mm（D）x 47.8mm（H） XYH-6: 78.9mm（W）x 60.2mm（D）x 45.2mm（H） MSH-6: 58.0mm（W）x 67.6mm（D）x 42.1mm（H） Weight H6： 280g (without batteries) XYH-6： 130g MSH-6： 85g
Included Accessories Operation manual, XYH-6 X/Y mic capsule, MSH-6 MS mic capsule, SD card (2GB), AA size (LR6) battery x 4, Cubase LE Software, WSH-6S Foam Windscreen, USB Cable, Case Optional Accessories SGH-6 Shotgun mic capsule EXH-6 Dual XLR/TRS Combo capsule
HS-1 Hot Shoe Mount WSU-1 Hairy Windscreen APH-6 Accessory Pack (includes RCH-6 wired Remote Controller, AD-17 USB-type AC adapter, WSU-1 Hairy Windscreen) *0dBm＝0.775Vrms
Monday, 22 September 2014
Saturday, 20 September 2014
Friday, 19 September 2014
Wednesday, 17 September 2014
Shot types: Overview
The term 'Shot type" refers to the distance from camera to subject matter within the frame.
Shot types relate to the way that humans instinctively react to visual information.
We identify with the lens.
For example: Close -ups imply that the subject is very significant, just as someone or something would seem if it were dominating our field of vision in every day life.
Shot types have communicative functions.
They can:
Communicate a state of mind of the character.
Elicit an emotional response from the viewer.
Shape the information and the way in which the story is being told.
Watch the following short overview of shot types and their significance in terms of telling a story.
Shot types relate to the way that humans instinctively react to visual information.
We identify with the lens.
For example: Close -ups imply that the subject is very significant, just as someone or something would seem if it were dominating our field of vision in every day life.
Shot types have communicative functions.
They can:
Communicate a state of mind of the character.
Elicit an emotional response from the viewer.
Shape the information and the way in which the story is being told.
Watch the following short overview of shot types and their significance in terms of telling a story.
Tuesday, 16 September 2014
Framing and Composition : The Rule of Thirds
The Rule of Thirds
The rule of thirds divides a frame into nine sections. The rule of thirds is a concept in video and film production in which the frame is divided into into nine imaginary sections, as illustrated on the right. This creates reference points which act as guides for framing the image.
Points (or lines) of interest should occur at 1/3 or 2/3 of the way up (or across) the frame, rather than in the centre. Like many rules of framing, this is not always necessary (or desirable) but it is one of those rules you should understand well before you break it.
The eyes are placed 1/3 down the frame. In most "people shots", the main line of interest is the line going through the eyes. In this shot, the eyes are placed approximately 1/3 of the way down the frame.
Depending on the type of shot, it's not always possible to place the eyes like this.
In this shot, the building takes up approximately 1/3 of the frame and the sky takes up the rest. This could be a weather shot, in which the subject is actually the sky.
Research has indicated that in Western Cultures, people will look at sections of the image frame for the amounts of time indicated.
Q? How might these findings be different in non-western cultures?
Q? Why
Take a look at this short video on the 'Rule of thirds'
Points (or lines) of interest should occur at 1/3 or 2/3 of the way up (or across) the frame, rather than in the centre. Like many rules of framing, this is not always necessary (or desirable) but it is one of those rules you should understand well before you break it.
In this shot, the building takes up approximately 1/3 of the frame and the sky takes up the rest. This could be a weather shot, in which the subject is actually the sky.
Q? How might these findings be different in non-western cultures?
Q? Why
Take a look at this short video on the 'Rule of thirds'
Hitchcock's Rule
Hitchcock's Rule:
Film director Alfred Hitchcock articulated the following rule of filmmaking:
"The size of an object in the frame should equal its importance in the story at that moment."
Orson Welles applied the Hitchcock Rule to the famous three-minute opening shot for his 1958 film "Touch of Evil"
The first frame is filled with a ticking time bomb. Then the camera pulls way back to set the scene, and closes in on the main characters as they kiss...and then...well check it out.
Blain Brown explains Hitchcock's rule and much more in his excellent book:
Cinematography: Theory and Practice: Image Making for Cinematographers and Directors
Film director Alfred Hitchcock articulated the following rule of filmmaking:
"The size of an object in the frame should equal its importance in the story at that moment."
Orson Welles applied the Hitchcock Rule to the famous three-minute opening shot for his 1958 film "Touch of Evil"
The first frame is filled with a ticking time bomb. Then the camera pulls way back to set the scene, and closes in on the main characters as they kiss...and then...well check it out.
Blain Brown explains Hitchcock's rule and much more in his excellent book:
Cinematography: Theory and Practice: Image Making for Cinematographers and Directors
Monday, 15 September 2014
Camera Angles: Low Angle.
Camera Angle:
Camera angle refers to where the camera is placed in relation to the subject of the image.
In general, the camera is placed approximately at eye level, or up to six feet off the ground.
Low angle refers to when the camera is placed below eye level.
The viewer is therefore looking up at the subject. the subject.
"Low Angle Discussion" scene from Film: Citizen Kane (1min., 22sec) Dir: Orson Welles, 1941.
TASK : Write a few lines about why you think that Welles decided to film this discussion using the camera placed at a low angle?
Camera angle refers to where the camera is placed in relation to the subject of the image.
In general, the camera is placed approximately at eye level, or up to six feet off the ground.
Low angle refers to when the camera is placed below eye level.
The viewer is therefore looking up at the subject. the subject.
"Low Angle Discussion" scene from Film: Citizen Kane (1min., 22sec) Dir: Orson Welles, 1941.
TASK : Write a few lines about why you think that Welles decided to film this discussion using the camera placed at a low angle?
Sunday, 14 September 2014
Sound: Introduction
Sound on film really came into play after the 1927 film "The Jazz Singer"
It was Warner Bros that took the 1st leap into the all-talking movie with the Jazz Singer in 1927. Though there are instances of sound being used earlier this film is the 1st feature-length motion-pic with synchronized dialogues. Directed by Alan Crosland, it starred Al Jolson performing the 6 songs in the Movie. And as the saying goes the rest is history.
It was Warner Bros that took the 1st leap into the all-talking movie with the Jazz Singer in 1927. Though there are instances of sound being used earlier this film is the 1st feature-length motion-pic with synchronized dialogues. Directed by Alan Crosland, it starred Al Jolson performing the 6 songs in the Movie. And as the saying goes the rest is history.
Camera Angles: High Angle
Most of the time you want to shoot people at their eye level.
It makes the camera a neutral observer. Shooting down towards your subject gives the impression that they are submissive. This is called a "High Angle" shot.
It makes the camera a neutral observer. Shooting down towards your subject gives the impression that they are submissive. This is called a "High Angle" shot.
High angle shots also make the figure or object seem vulnerable or powerless.
High angle shots are usually used in film to make the moment more dramatic or if there is someone at a high level that the character below is talking to.
Saturday, 13 September 2014
Camera Angles: Dutch Tilt
The Dutch angle, also known as Dutch tilt, canted angle, or oblique angle, is a type of camera shot where the camera is set at an angle on its roll axis so that the shot is composed with vertical lines at an angle to the side of the frame, or so that the horizon line of the shot is not parallel with the bottom of the camera frame.
The Third Man is a 1949 British film noir, directed by Carol Reed : The canted angle was a motif used throughout this film.
The atmospheric use of black-and-white expressionist cinematography by Robert Krasker, with
harsh lighting and distorted "Dutch angle" camera angles, is a key feature of The Third Man.
Combined with the unique theme music, seedy locations, and acclaimed performances from the cast, the style evokes the atmosphere of an exhausted, cynical, post-war Vienna at the start of the Cold War.
Some critics at the time criticised the film's unusual camera angles. C. A. Lejeune in The Observer described Reed's "habit of printing his scenes askew, with floors sloping at a diagonal and close-ups deliriously tilted" as "most distracting". American director William Wyler, Reed's close friend, sent him a spirit level, with a note saying, "Carol, next time you make a picture, just put it on top of the camera, will you?"
The Third Man is a 1949 British film noir, directed by Carol Reed : The canted angle was a motif used throughout this film.
The atmospheric use of black-and-white expressionist cinematography by Robert Krasker, with
harsh lighting and distorted "Dutch angle" camera angles, is a key feature of The Third Man.
Combined with the unique theme music, seedy locations, and acclaimed performances from the cast, the style evokes the atmosphere of an exhausted, cynical, post-war Vienna at the start of the Cold War.
Some critics at the time criticised the film's unusual camera angles. C. A. Lejeune in The Observer described Reed's "habit of printing his scenes askew, with floors sloping at a diagonal and close-ups deliriously tilted" as "most distracting". American director William Wyler, Reed's close friend, sent him a spirit level, with a note saying, "Carol, next time you make a picture, just put it on top of the camera, will you?"
Friday, 12 September 2014
Sound: Foley (Creation of sound effects for film)
Sound is a very important aspect of moving image production.
A foley artist is a crucial part of the sound design team creating sound to accompany filmic images.
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Wednesday, 3 September 2014
Sound: Contrapuntal (anempathetic)
Contrapuntal (anempathetic) Sound:
Definition: sounds which are opposite to the emotion expected from the narrative. So for example, to put it plainly, fun music over a sad scene
For example: Reservoir Dogs,
The song 'Stuck in the Middle With You' is introduced as diagetic sound which is introduced by the tuning of a radio. What follows makes the relaxed nature of the song and its lyrics, which include the line 'hard to get out of my chair', into a piece of music which seems to mock the victim, with the same level of sadistic sarcasm as is evident in the mindset of Mr Blonde.
Look at the example from Reservoir Dogs (Dir: Quentin Tarrantino, 1992)
Definition: sounds which are opposite to the emotion expected from the narrative. So for example, to put it plainly, fun music over a sad scene
For example: Reservoir Dogs,
The song 'Stuck in the Middle With You' is introduced as diagetic sound which is introduced by the tuning of a radio. What follows makes the relaxed nature of the song and its lyrics, which include the line 'hard to get out of my chair', into a piece of music which seems to mock the victim, with the same level of sadistic sarcasm as is evident in the mindset of Mr Blonde.
The song 'Stuck in the Middle With You' is used in Quentin Tarantino's 1992 debut film Reservoir Dogs, during the scene in which the character Mr. Blonde (played by Michael Madsen) taunts and tortures a bound policeman while singing and dancing to the song. In an interview with Rolling Stone, Tarantino recalled
Look at the example from Reservoir Dogs (Dir: Quentin Tarrantino, 1992)
Tuesday, 2 September 2014
Sound: Sound Recording Tutorial
Here is the primary product that we are going to be using to capture sound.
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