What matters most in your film?
story - if you don't have a compelling story, you will lose your audience.
Audio - this is 40% - 60% of your film. Get it right or you will lose your audience. This is arguably the toughest step for amateurs since it's so often underestimated. You need good equipment to get good sound. This is much more the case than with cameras. You already have an outstanding camera in your pocket.
Visuals - cinematography is #3 in this list in terms of relative importance. You need to use the camera to tell the story. If you got the first 2 right, this one will win you awards and film festivals. Your actual camera doesn't matter. Your phone might be your best bet for filming.
Steps to good Cinematography:
Know how to use your camera! This means you must learn and understand manual mode. Don't wait until your first shoot.
Practice a 5 shot sequence (refer to the Storyboard page). Every scene should show evidence of the 5 shot sequence.
Learn the 9 Classic Camera Moves linked here:
Can you handle more? Learn and Practice the 30 Camera shots every film maker needs to know
Are there RULES for your various shots? (see "Understanding Scene Coverage")
180 degree rule - don't cross "the line" between shots
30 degree rule - move the camera at least 30 degrees between shots
Other important shots:
Tracking shots
Focus pull shots
Dutch angle
low angle shot (worm's eye view or WEV
high angle shot
perspective shot (use perspective)
Framing shots (door frames, trees, etc.)
Advanced Techniques:
conceal the action
reveal the action
frame a shot (use a doorway, tree branch, etc.)
show don't tell
Each shot should convey more information than the previous shot
use a glidecam or wheelchair or DJI Osmo to stay with the action
Mise-en-scene. Everything in the shot should be planned and have a purpose and contribute to the composition.
Don't forget!!!
Cutaway shots (or "insert" shots)
Cut-in shots
B-roll (free wheel shots of pretty much anything in the area)
Passage of time shots
Ultimate Guide to Camera Shots: Every Shot Size Explained [The Shot List, Ep 1]
Camera Gear: Every Type of Camera Rig Explained [The Shot List, Ep 5]
SHOTS:
Master Shot (or Extreme Wide Shot) (EWS) Full scene shot that provides background information about the characters, action, climate, etc.
2-Shot (2S) Usually a close up (mid-torso and up) shot of 2 actors talking
Over-the-shoulder (OS) Dialogue between two actors shot over the shoulder of one and containing a conversational view of the facing actor, and only part of the 2nd actor.
Reverse Shot taken 180 degrees from the previous shot. Usually used after an OS or POV shot.
Point of View (POV) View showing an actor's perspective (what he is seeing or looking at). This shot can range from an extreme close-up, to a master shot depending on what you want your audience to think your actor is seeing. Often a dolly move.
Extreme Close up (ECU or XCU) A very tight shot of something such as a ring on a finger, someones eyes, etc.
Close up (CU) A tight shot of a head for example.
Medium close-up (MCU) also called mid close up A slightlty wider field of view (usually head and shoulders).
Medium Shot (MS) also called mid shot Usually a waist up view.
Wide Shot (WS) Full view of subject.
Tracking or Dolly (Dolly) A moving shot that requires some method of motion to push or pull the camera through a scene. Can move forward and back or side to side.
Crane As the name suggests, it is a shot that requires some method of raising and lowering the camera. Motion should be available on the x, y, and z axis.
Pan A side to side motion of the camera in a motion similar to swinging your head from one side to the other (camera is usually spun on a tripod).
Tilt Like a pan, but in the vertical axis. Like tilting your head up and down.
Focus Pull A shot where the depth of field changes during the shot.
Cut Away (CA) A shot which shows something other than the subject
Cut In (CI) Close up of something you want the audience to see i.e. hand writing or a ring
* Notice that "Zoom" is not included. Don't use it. Your eye doesn't zoom and, most of the time, it looks unnatural to the audience.
** Be creative in your choice of shots, but your choice of shots shouldn't distract your audience from the story, rather they should complement it.
Adapted from:
The Digital Filmmaking Handbook;
Ben Long & Sonja Schenk, Charles River Media Inc, 2000
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