Cinematography

feat_10

The Practical Differences Between Film and Digital Sensors

by

The single best piece of advice that I can offer with regard to the difference between exposing film and exposing digital is this: It’s OK and sometimes desirable to slightly overexpose film, but it is not OK or advisable to overexpose digital unless that overexposure is exactly what you want! Cinematographers have widely varying methodologies…

metadata

VIDEO: How Metadata Works When Shooting RAW

by

The below video tutorial is a quick look at how Metadata works when shooting RAW. It is just one of the video tutorials that is included on the companion website for Blain Brown’s book The Filmmaker’s Guide to Digital Imaging for Cinematographers, Digital Imaging Technicians, and Camera Assistants.

Film Shots in Your Film

Six Shot List Considerations

by

A shot list is usually created by the director and the production manager (or associate producer). The shot list is the first step in the larger task of scheduling the production, and the principal factor in organizing the shot list is efficiency. The considerations determining the organization of our shots, in more-or-less descending order of…

Canon DSLRs

White balance with Canon DSLRs — Not as Easy as Video

by

A couple of my colleagues at Northern Arizona University’s School of Communication noted how difficult it is to do manual white balance with the Canon DSLRs some of our students are using. All I can say: Not as easy as video cameras. The Canon presets have worked pretty well for all the projects I’ve shot,…

SCVP_Feat

Set Lighting Fundamentals

by

Lighting Preparation As soon as you and the crew arrive at the location, the lighting director or gaffer should run the power cable to your camcorder or recorder and then string power cables to the lighting instrument locations. Once you place your camera in position, the gaffer can start placing the instruments. The crew should…

Brown_pro_FEAT

Data Management & Procedure Best Practices

by

Data Management In principle, data management sounds simple: you download the camera media, put it on a hard drive and back it up. In reality, it is a process fraught with danger and rife with chances to mess up badly. Handling the recorded media is an enormous responsibility; a single click can erase an entire…

Elkins_Video

VIDEO: The Basic Steps of Camera Prep

by

Using a Panavision Panaflex Gold 35mm camera as the example camera, this video shows many of the steps you should follow when doing a basic camera prep. It is by no means complete, but covers most of the steps you should follow. Please keep in mind that each camera system is different. Cameras such as…

3807341166_bfc4734971_z

The Shoot – Set Etiquette for Cinematographers

by

As the cinematographer, you drive three departments: camera, lighting, and grip. It is your job to know at all times what is up next for all three departments. By staying in close communication with the first assistant director, the cinematographer can always be one step ahead of the director in setting up the next shot,…

FIGURE 4.3 This sequence of shots about diversity in golf opens with (1) an ELS to establish the topic and setting, then uses (2) an MS of a young player to reveal the wide spectrum of golfers, followed by (3) a CU of a club hitting a ball, with a cut to (4) an MS of a golfer finishing his swing. Then (5) a canted angle of a golfer lining up a putt adds variety, as does (6) a low-angle shot and (7) a high-angle shot, followed by (8) a CU of a putt, then (9) an ECU of the universal frustration of the ball almost going in but not quite, ending with (10) an ELS as another golfer pushes on.

The Long Shot – Beginning the Story

by

The long shot (LS) is sometimes called the wide shot (WS) and is also known as the establishing shot, the master shot, or the cover shot. It is generally the first shot a photographer should take. It is the most important shot in terms of establishing the setting and action. Typically, it shows the subject…

RAW_2.18_FEAT

Cinema Raw – What’s Lost in Compressed and What’s Gained in Raw

by

Canon 5D Mark III Compressed vs. Raw Magic Lantern, a software devised by hackers, created a code that gets placed on the memory card of the camera (and engages when you activate the firmware update of the camera—although it doesn’t actually alter or update Canon’s firmware). In essence it embeds a software interface that allows…

Latest Tweets

Stay Informed

Click here to register with Focal Press to receive updates.


about MasteringFilm

MasteringFilm, powered by bestselling Routledge authors and industry experts, features tips, advice, articles, video tutorials, interviews, and other resources for aspiring and current filmmakers. No matter what your filmmaking interest is, including directing, screenwriting, postproduction, cinematography, producing, or the film business, MasteringFilm has you covered. You’ll learn from professionals at the forefront of filmmaking, allowing you to take your skills to the next level.