Adv Fall Semester Reflection

Answer the following questions in an in depth - paragraph:

1. What are three things that you have struggled with in the advanced class this semester? Why have they been difficult?

2. What are 3 things that we have covered that you need more help understanding? How could you learn more about them?

For the first semester, I found it difficult to come up with my own ideas by myself because I am the only advanced student. I don't have anyone to bounce off ideas or build my story with. I also found it difficult to juggle the work in film with my college apps and normal schoolwork. I was not able to work on film outside of class because I was always busy outside of class. In the end, it was most difficult to work with clients. Although I have worked with real clients during the PSA shoot, one of my group members were responsible for personally contacting the client. Therefore, working with different teachers at this school to make content for them was challenging. I definitely need more understanding when it comes to lighting. I often get too lazy when location shooting that I would do minimum to no lighting setup. I wish I could have learned more about post production during the first semester. Although I messed around with After Effects during my free time, I did not get even a basic understanding of the software. However, I would have more time during second semester to work on my post production skills so I hope to implement them in my second semester projects. I also need more help understanding wave forms. This concept was slightly touched for the Day of the Dead video and while working with the monitor but I still fail to have a deep understanding in it.

Harnessing Shadows

1. What is a silhouette? How can you create it in your film using lighting?
2. What is separation? How is it created?
3. What is edge lighting? How can you create it using lighting?

A silhouette refers to a lighting style in which the background is exposed but the subject is not. This makes the subject into a dark shape without any facial or bodily details. This can be created by placing a bright light behind the actor or by using natural light. Lighting the subject and the background separately can be effective in that it allows for more cinematic control. This also allows for a concept known as separation where there is a clear contrast between the subject and the background. Edge lighting is similar to a hair light, serving as a light source that separates the subject from the background. While keeping the subject mostly in the shadows, the subject can be clearly distinguished from the background.

Shooting During the Day

1. How does knowing where the sun is help you when shooting a scene?
2. Where should you place the sun while shooting? Why?
3. How can you use foamcore to fill? Why would you use it?
4. How would you shoot a scene at noon outside? How would you soften the light?

Knowing when the sun is going to be at a certain point can help schedule the shoot effectively. Placing the sun behind the subject is smart because it helps the subject pop out of the background and any additional light can be reflected. Foamcore can be used on either side:silver or white. The sun can also be placed on the side or in front, depending on the scene. Using soe sort of diffusion to soften the light can create a much more flattering look on the face. The sunlight during noon could be altered by using diffusion sheets to soften the light or simply shooting in the shadow.

Lighting Instruments

1. Summarize the 4 different lighting instruments that are covered.
2. How are each of them different from each other?
3. Why are kinoflo lights so useful?
4. What makes the Arri L series light so unique? What could you use it for in your films?

LEDs are energy efficient and do not produce excess heat. They also tend to have the ability to adjust the color temperature and the ability to dim. The small LED is very portable so it is effective when shooting documentaries and live events. However, they have a small throw, so it is only effective for up close shots. Hot lights are specifically 3200 kelvin and has a lens in front of the light that helps the light focus; this makes the light easier to control. Kinoflo lights are popular because they can provide a beautiful, soft light. The Arri L series light is unique in that they are a LED fresnel light, meaning that they do not heat up. These can be used on film sets so that not one gets burned but there is enough light to supply for a large surface.

Commercial Status

What is the status of your SVCTE commercial production? What are some challenges you are facing during the shooting?

Currently, I have shot in the film and auto service classroom. I have booked Friday, next Monday, and Tuesday for Construction Technology, Dental Assisting, and Fire Science. I am going to record the audio / voiceover today. Some challenges include collaborating with the students in other classrooms. Unlike students from film in which I used to help shoot the storyboards, they tend to be less cooperative. In the next classroom I visit, I would have to be more assertive when conducting the students. Furthermore, the operation of the Ronin was more difficult than I thought. Using the joystick to make subtle adjustments can often lead to unintentional motion. 

Negative Fill

1. What is negative fill? What does it do to your image?
2. What is a good place to use it?
3. How could you start using this in your shooting?

Negative fill can be used to add shadows for a flat lighting situation. This technique can add contrast into the image and bring about more depth. This look can be cerated by using any non-reflective black cloth that blocks the light. The distance of the black cloth from the subject can determine how harsh the shadows are. For example, keeping the cloth closer to the subject can create darker shadows while keeping the cloth further away from the subject can lighting the shadows. This is often used outdoors where there is abundant light. In the next shoot, I can use this technique to block unwanted light in the scene.

Quality of Light

1. What is the difference between a hard and a soft light?
2. What is diffusion? What does it do?
3. What does hard and soft light communicate to your audience?

Hard light can create harsh shadows on the fact and in the background. On the other hand, soft light tends to wrap around the subject so that the shadows appear less crisp. Hard and soft light can be determined by the size of the light source in comparison to the size of the subject. Distance from the subject also comes into play. The further the light source, the harder the light. The closer the light source, the softer the light. Diffused light can be created by letting the light pass through a certain material that spreads the light evenly. Diffusion can smooth out the specular highlights, creating a softer look on the face. Hard and soft light can identify the time of day, mood of the scene, or emotions. The kind of light can also create a flattering or unflattering look for the character.

Shaping Light

1. How do you create a soft light from a hard light?
2. How can you use flags to shape your light? What effect does it have?
3. What are china balls, duvetyne and blackwrap used for when lighting?

You can create a soft light from hard light by bouncing it to a white card. It can also be achieved through diffusion sheets. Flags can eliminate spilled light in unwanted areas. For example, flags can eliminate the light spilled in the background, helping the subject pop in the front. Negative fill can also be done, adding more depth into a subject's face. Flagging unwanted light can focus the audience's attention to the more important portion of the frame. Chine ball can shed light in all directions, blackwrap can be used to cover unwanted light.

Shots vs. Setups

1. What are shots? What are setups? How are they different from each other?
2. What does this matter? What is turnaround?
3. Why is it so important to group your shots?

The different shots are identified by the different framing of the setup. Different setups are identified by the position of the furniture and the way the light hits the subject. A turnaround when the lighting and camera setup must be completely redone to accommodate for the next shoot. This matters because the number of turnarounds significantly slow down the shoot. Therefore, filmmakers must plan efficiently so that they are able to film the same scene in the least amount of time. Grouping shots may cause the scene to be shot out of order but it would increase the efficiency overall.

Reviewing the Basics of Lighting

1. What are three new interesting things you've learned in this video?
2. What does cross lighting mean?
3. How can you put these into practice in your next film?

 There was nothing much that was specifically new in this video. After all, it is  review of all of the concepts that I have learned so far. Cross lighting is a technique that lights subjects facing towards each other. Here, one lighting source can act as a back light for one character and a key light for another. On the other side, there would be another source of light that lights the back of the other character and act as a key light as well. In my next film, I can incorporate these when I am lighting a two-shot.

Bouncing Light

1. What happens when you directly aim a light at your talent?
2. What happens when you bound your light? Whats a simple way to bounce it when shooting?
3. How can bounce cards be used?

Directing aiming a light at a talent can create harsh shadows in the background. In comparison, bouncing a light can create softer shadows in the face, giving the illusion that the light is being wrapped around her face. However, simply bouncing a light off of a white wall can cause light to be lost or create a flat look. Subtle angle differences can create drastic differences on the subject. Bounce card be used as another source of light. This card can be angled in every direction to create a different diffused look. One simple way to light a scene is by bouncing the light off the ceiling. This creates a natural look that is normally observed under ceiling lights.

Setting up a C-Stand

1. What are three key important details when setting up a C Stand properly?
2. How should you store and carry C-Stands?

When setting up a C-stand, all of the the tallest leg must be under the weight. This is also where the sand bag is placed. If the sand bag is on any other leg, it can be touching the floor, decreasing the effectiveness of the weight. The knuckle should always be placed on the right side so that objects tightens itself when it begins to drop in case it was not fully secured. When storing the C-stand, they must be soldiered so that the legs do not cross paths. When carrying these stands around, it is important to notify the people around by calling out "points."

How to Set Up a Light

1. What are three key important details when setting up a light properly?
2. What are the proper terms when instructing someone to change where the light is pointing?

When setting up a C-stand, the legs at the bottom either have to slanting  downwards towards the middle or in a perpendicular fashion. Leaving the legs too high up can result in an unstable C-stand. When tightening the knob, it should only be tight enough to be able to be loosened by the hand or finger. One sandbag is required for all lights, and more if the light is heavy.  All cables must be secured under a rubber mat or taped down so that the people do not trip over them. When turning on the light, it is important to call out "striking" so that people are not looking directly into the light. When turning off the light, call out "saving" so that people do not mistake it for lighting outtage. There are three main terms used for the movement of the lighting source: tilt, pan, and stick (up/down)

Lighting Direction

1. What do you notice about front lighting? Top lighting? Side lighting?
2. What does the angle of your light have to do with your character and story?
3. How can you incorporate this in your film noir?

Front lighting creates minimal shadows onto the face, creating a flat look. Lighting slightly above the head can define the cheek and  jawlines to create a beauty shot. a Top light will create deep shadows especially near the eyes, creating a mysterious and unsettling mood. Side lighting covers an entire side of the face while illuminating the other. Angle of light can illuminate or darken a specific part of the character, creating different moods. Adjusting lighting can identify which part of the character the audience is able to see. The film noir can utilize different lighting angles to convey different emotional states of the character. For example, a despicable character can have a top light so that their eyes are cast in shadows.

Lighting the Human Face

1. What do you notice about how the angle of lighting affects the human face?
2. Take a moment and pause the video in the article in different parts. What does the lighting to do the ladies face at those angles?
3. How could you start using lighting angles intentionally in your future productions?

The different angles a human face is lit can convey different emotions. For example, lighting from above the head creates dark shadows near the eyes. The inability to see the eyes clearly gives uneasiness to the audience, causing suspicion towards the character. A light source coming from the side can create a dramatic look depending on how crisp the shadows are. If a light source is coming from the center or the light is emitted from a large surface, the person appears to be hopeful or joyous. The color temperature can also tell how the subject is feeling or their intentions. In the future, I can convey the emotional background of the character by correlating it with different lighting techniques.

Using Flags

In a detailed paragraph, please answer the following questions:

1. What are flags used for on set?
2. What are three key things you learned in the video that you can put to use when lighting?

Flags are used to control the spill of light, highlighting the parts of the frame that is most important to the scene. Darkening the parts that are unimportant directs the audience away from such parts. These flags help shape the light in the liking of the cinematographer. Adjusting the angles and location of the flags can alter the darkness and the location of the shadows. I learned that light can be controlled so that the it only affects one specific portion of the frame. This allows for flexibility when shaping the light.

Film Noir Cnematography on a Budget

1. What are some issues you notice that the presenter runs into when lighting his scene?
2. What are three techniques he uses to make the image look more cinematic? How do they affect the shot?

When the presenter is lighting the scene, he runs into the problem that the desk is too bright, distracting the audience from the subject inside the frame. In order to combat this, he tilts the light off to the side. However, this causes a reflection in the background, and thus, he need to add a black wrapper to the side of the light to shut out some of it. This causes the desk to have an unnatural light. He then comes to the conclusion that the reflection can simple be blocked with a paper towel Using a black wrap, covering reflections with a paper towel, and changing the angle of the light all brought upon problems that had to be solved into another way.

Film Noir Lighting

In a detailed paragraph, explain three of the key concepts that the presenter says are important for film noir lighting. How does film noir lighting differ from lighting in other kinds of productions?

Low key lighting is the most common form of lighting in a film noir. This style of lighting can create depth and drama within the image. Three point lighting is the basic lighting technique that is often altered according to the scene. This lighting set up is composed of the key light, fill light, and the back light. In film noir, the fill light is often weak to create a highly contrasted image. A light can either be a hard light, creating a clear shadow, or a soft light, creating soft shadows. Film noir often utilizes cucoloris, or cookies. These are cutouts that create a specific shape in front of the ligting source so that the shadow has a specified structure. 

Sunset Boulevard

1. After reading this article, why do you think Sunset Boulevard seems like such a classic film?
2. After reading this article what are two interesting things that you are interested in seeing in the film?

Sunset Boulevard is a classic film because it highlights the cruelty of Hollywood themselves. This cruelty is established through the casting choices that featured actual stars of the silent era as the "has-beens." These casting choices ultimately embodied the cynicism that revolved around the film. The casting choices had such an impact on the film that it is hard to imagine what the film would have been like the actors and actresses been different. I am interested in seeing the famous dialogue this film features and the actor's performance that emphasizes the overall tone of the film. I wish to see all of these aspects come together has one classic film that is appreciated to this day.

Defining Film Noi P.2

How did societal fears play into the storylines of film noir?

Societal fears were reflected in the movie to have a stronger emotional impact for those who were watching it during the time period. For example, during the World War era, many feared the invasion of foreign countries that would pull them into an uncontrollable situation. The people also distrusted the manipulative government exploiting American citizens. The lower class generally distrusted those in higher power, such as the police force and lawyers.

Defining Film Noir

What are some key defining features of the protagonist in Film Noir? What are some key defining features of the femme fatale in Film Noir?

The protagonist in Film Noir often goes through moral distortion that causes them to be forced from one bad situation to the next. They often lose control of the situation and themselves, ending up in an inevitable fate. Their downfall is mainly caused by choices they made as a result of poor morals, yet they barely have a choice beyond that. The femme fatale in Film Noir is characterized by their ability to seduce and manipulate men into immoral behavior. 

B&W Moves P.2

How can black and white set a mood and create a tone? How can it heighten realism?

Black and white forces the filmmaker to make specific artistic choices with lighting instead of relying on color for emotional impact. This way, the monochromatic film can be made dramatic with harsh lighting or light-hearted with softer, flat lighting. Realism can be heightened in these films if they are portraying a setting in the 1900s where black and white photos were often used. The audience connects the time period to black and white because of the old photos and faded film they have seen. In this way, the lack of color can be used as a tool to make the film closer to the time period. 

B&W Movies

How did german expressionism effect black and white cinema? How did black and white enhance film noir? How does black and white enhance other genre's?

German expressionism highlighted high contrast and abstract imagery, becoming a great influence to the monochromatic cinema. Because of the lack of color, the brain naturally focused on the shapes and lights used in the frame. This high contrast characteristic of the German expression became later known as Film Noir. Black and white was especially effective in Film Noir because it forced the filmmaker to be more selective in their artistic choices. The unrealistic appearance of monochrome emphasizes the heightened  reality the film is trying to depict. On the other hand, the connection between black and white and the 1900s create a reality that can be very beneficial for science fiction movies. Horror movies are also effective in monochrome in that it can reflect the paranoia of the character.

Rembrandt Lighting

1. What is Rembrandt lighting?
2. What is Chiaroscuro?
3. What is important to consider when you are trying to achieve low key lighting?

Rembrandt lighting is a lowkey style of lighting that allows one side of the face to be lit while the other side of the face is gently filled in with a shadow. This can increase the depth in the image and is relatively easy to replicate for many situations. Chiaroscuro, as mentioned before in the previous blogpost, refers to the light and dark portions of an image. In order to achieve this low key lighting, there must first be a key light that causes the other side of the face to create shadows. These shadow are then filled with either a reflector of a dimmer source of light. Light can be dimmed by adding a diffusion gel or an ND in front of the light source.

Chiaroscuro

In a detailed paragraph, explain what chiaroscuro is. How can it be used to create depth in the images you record? How can you put this into action going forward with your projects?

Chiaroscuro refers to the the highlights and shadows in a frame that creates the allusion of depth in a two dimensional image. This technique can be used to emphasize a specific part of the image by concentrating the highlights of the image on the important subject matter. Lighting emphasis can also be accomplished by incorporating colored lights. Simply angling a lighting source differently can add drama to the image. Going forward, I can use this technique to reflect lighting with the scene's intended meaning. I can also incorporate this technique in creating a shot that emphasizes certain points within the frame.

Lighting Ratios

1. In your own words, explain what lighting ratio's are.
2. What is high key lighting used for? What is low key lighting used for?
3. How can you put this principle into effect with your film noir shoot?

Lighting ratio describe the amount of contrast a certain set of lights create. In simple terms, the fill and key lights will create the ratios. Lighting ratios can be kept with different intensities of light as long as the other lighting sources change in intensity accordingly. High key lighting can be used to create a dramatic look while a low key lighting can be used t =o create a typical, comedic tone to the film. Different lighting ratios can achieve looks from dramatic to undramatic. In the film noir shoot, this principle can be used to associate drama with the lighting. According to the scene's mood, I can alter the lighting ratio.

Measuring Light

1. What is a lumen? What is a footcandle? What is lux?
2. How do you think this could effect your understanding of lighting in the future?

The lumen is a unit of measurement that originates from candle light. This is the most basic measure of light that can identify the intensity of certain light sources such as light bulbs. A footcandle is a unit of measurement that defines the amount of light on a subject. They are the most common field measurement system. A lux is identified as lumens per square meter. Knowing these different units, I now understand the relationship with a lighting source and its surface. Light is a measurable unit that can be calculated to fit a certain situation.

Inverse Square Law

1. What is the inverse square law of light?
2. How does this affect you when you are lighting a scene? What do you need to keep in mind?

The inverse square law of light indicates that whenever a subject falls away from the light source by double the distance, only a quarter of the amount of light will reach the subject. Understanding the concept of of the inverse square law is critical when lighting to create a specific "light fall-off" look. For example, if the shot requires the light to fall off quickly onto a subject's face, it is better to keep the light source close. On the other hand, if the light should fall off less dramatically, the light source should be held far away. In order for the light to be far away, the entire crew including the camera operator must stand far away from the subject.

What is 3-point lighting?

1. What are the three different parts of 3-point lighting?
2. What are three tips that this presenter makes that are different than what you have been taught so far in this class?
3. How can you put this knowledge into use in your future videos?

Three-point lighting is composed of the key light, back light, and motivated light. Motivated light can have multiple sources: slash/kicker, rim, fill, eye light, and catchlight. All light sources other than the key light is motivated. The three-point lighting system is simply a basis for lighting and therefore can be alternated according to the scene. How a scene should be lighted should not be based upon rigid principles, but rather the motivation behind the shot. Having a firm understanding of lighting has a much better effect than fully relying on a cheap "three-point lighting kit."

The Waveform

1. What is the IRE scale? What does it mean on the waveform?
2. What is crushing and clipping? What does it tell you when you see it happening on the waveform?
3. Why is the waveform monitor so important to the digital cinematographer?

The IRE scale indicates the exposure levels. Because precise exposure levels are hard to identify with bare eyes, utilizing these mediums can lead to better image quality for post production. Within the IRE scale, the y axis--the vertical axis-- identify the exposure levels of the image. The higher the line, the brighter the image. The lower the line, the dimmer the image. In the horizontal axis, identifies the position of the image. The left side of the IRE scale will be high if the left side of the image is bright. Anything above 100% is "crushed" and anything below 0% is "clipped." Anything that is above or below the line is not "broadcast legal."

Gain / ISO

1. What does the ISO/Gain sensitivity of a camera mean?
2. Why would you want to increase the ISO/Gain of the camera?
3. What happens when you increase the ISO/Gain on a camera? What are the problems that come into play?

The ISO/Gain sensitivity of the camera refers to the amount of light that is artificially increased. Each individual sensors determine the amount of each color is can detect. The sensor then translates this information to display a specific color. In cases where light is preferred over less noise, the camera operator may consider increasing the ISO. In better cameras, the ISO can increase the noise by a lesser degree, however, it will inevitably increase the visual noise. The quality of the ISO/Gain is determined by the amount of signal interference one is able to avoid. 

Zebras

1. What are zebra stripes? What are they used for?
2. What do the zebra stripes tell you?
3. Whats a practical way to use these while shooting with a video camera

Zebra stripes indicate the portion of the image that is over exposed. It is a function on the camera that can be turned on so that the camera operator can adjust the brightness accordingly. What the zebra stripes tell change according to the settings. Depending on the setting, it can be more or less sensitive to high exposure. Zebra stripes are most likely to appear on shiny objects or white subjects. Shooting with zebra stripes is a practical way to correct exposure in a video camera because it is much more simple and easily identifiable compared to histograms. One of the biggest benefits of zebra stripes is that the location of over exposure is clearly marked.

Getting the Correct Exposure

1. What is a gray card used for? What does it help represent?
2. What is a waveform monitor used for? How should you use it?
3. What is false color? How can it be used to determine exposure?

The grey card is used to get correct exposure on skin tones. the correct grey card can help represent the necessary settings for the skin tone to be exposed correctly. A waveform monitor can be used to identify the exposure levels at the image. The grey card in front of the monitor will appear as one thick card, therefore adjusting the thick line to the correct position can signify the best  possible exposure. Typically, having the grey card exposure set to 40 would create the ideal exposure. False color is also identifies the exposure levels of an image. This can be useful when the camera operator needs to isolate the specific subject that has extreme exposure levels.

F-stops Explained P.2

1. How are each F-Stop steps calculated?
2. What does going up or down a stop mean? 

3. What does a fast or slow lens mean?
4. What does a lenses rating mean?

F-stops can be calculated by multiplying the diameter of the aperture by the focal length. In order to double the amount of light available, the diameter must be multiplied by the sqrt of 2. To compensate for the diameter change, the focal length now must be divided by sqrt of 2. Going down in the size of the aperture increases the F-stop number by the sqrt of 2. This is what "going up" or "going down" a stop defines. A fast lens indicates that the aperture is opened wider, therefore letting in more light. On the other hand, a slow lens indicates that the aperture is opened narrower, thus creating a darker image. Lens rating define the largest available aperture on the lens. For zoom lenses, the lens rating may display a range because larger focal lengths with a wide aperture is difficult to manufacture.

F-stops Explained P.1

What is the difference between the aperture and the iris? In your own words, what is an F Stop? What is the difference between each stop? Explain in detail.

Adjusting the iris can change the aperture. The iris is the physical subject the camera operator is changing and the aperture indicates the size created by the changes of the iris. F-stop is a unit of measurement that calculates the amount of light that is let in through the aperture hole. The smaller the F stop number, the brighter the image. F stop numbers are often indicated in fractions; if the numbers are seen in fraction form, the larger number indicates a brighter image. Going back to the F stop number not in fraction form, the changes in aperture can alter the depth of field. A shallow depth of field can be created through a smaller aperture. If a specific depth of field is necessary and is made possible through the aperture size, other aspects of light such as the ISO and the shutter speed must be considered to keep the same amount of light. It is important to note that each of these changes can alter more than the amount of light; it can increase noise or make motion more blurry.

Deep Focus P.2

What is the hyperfocal distance? What does the circle of confusion mean? How does a larger or smaller lens affect the hyperfocal distance?

Hyperfocal distance is everything from half that distance to infinity is acceptably sharp. This allows for the short to have the deepest possible depth of field. The circle of confusion is how out of focus a point of light can be to still be considered a sharp point of light. The hyperfocal distance is defined by the distance between the subject that matches exactly the acceptable size of the circle of confusion. The smaller the focal length, the closer the hyperfocal distance. Vice Versa, the larger the focal length, the further the hyperfocal distance. Additionally, the higher the Fstop, the closer the hyperfocal distance. the larger circle of confusion can also decrease the distance of the hyperfocal distance.

Deep Focus P.1

How does deep depth of field affect the audiences experience of a film? Why would a filmmaker want to use shallow vs. deep depth of field?

Using a deeper depth of field allows the audience to view the blocking of the characters better. In one scene, more information is able to be captured. Landscape shots are incredibly influential when a deep depth of field is used because it emphasizes the grand mountains and rivers. The details a deep depth of field can capture can be just as beautiful as the bokeh of a shallow depth of field. The decision whether a shot requires a shallow or deep depth of field depends on the position of the important subject matter(s). If the subject is up close and  no other subject in the shot is as important, keeping a shallow depth of field can be effective. However, if there are multiple important subject matters in different distances. a deeper depth of field will be preferable. 

Focus Tools

What is the peaking function on your camera? How does it work? What are the four different tools you can use right now to improve your focus that the presenter brings up in this video? How can you put these to use right away?

The peaking function identifies the points or edges of a subject that is in focus. These are usually indicated with bright colors. It is important to have the subject stay still to assure ease in the focusing procedure. Magnification allows the camera operator to digitally zoom into the subject to have a closer look to see if the subject is in focus. When the subject is properly focused, the image can be zoomed out to display a clearer image. Because the subject is bound to have different distances from the camera, it can be difficult to have everything in focus. If anything is in focus, it should be the eyes. The eyes display the most emotion and thus becomes the most important to be in focus. Having a flashlight is handy when determining which plane two subjects are both in focus in.

Setting Marks

What are the rules for setting marks that this video mentions? How can you begin using these suggestions immediately in your productions?

The second AC typically creates the setting marks for the actors. These setting marks should be set with paper tapes so that they are easily taken off from the ground. The most common ways the setting marks are created are in the T-shape or setting two strips of tape in front of the toes. When tape is ineffective for the specific shooting location, a sandbag T or a T bracket can be used. Both of these strategies help the actor know where and in which direction they should be standing. If the mark showing up on camera is a concern, a small dot can do the trick as well. There are a couple helpful rules when setting marks: use a different color for each actor, different color for each camera, and make sure the setting mark will not be visible inside the frame. One of the most useful tips I found in the video was the twist and tear. This technique allows for an easy tear from the roll and an easy source location to strip the tape off from the ground.

Stills v.s. Cinema Lenses

What are 4 key differences between still lenses for video and cinema lenses? Why would you use a still lens to shoot video? What would you need in order to shoot with proper cinema lenses?

Cinema lenses has focus marks clearly marked on the side for the focus puller working on the side of the lens. Because these marks need to be consistent throughout all shoot, they include hard stops. Cinema lenses are more expensive and are engineered to be as precise as possible. Additional differences include the T-stop instead of the F-stop and a larger glass size.  On the other hand, still lenses have focus marks but they are often harder to read because a focus puller is not needed. These lenses' focus rings do not have hard stops. Still lenses include less options regarding the aperture. They often have different aperture availability when zoomed in. Additionally, still photography lenses cannot keep focus upon zooming in and out.

Back Focus

1. What is back focus? How does affect the image that you are shooting?
2. How do you check the back focus? Are our JVC camcorders different than the Sony EX3? How? What are the key differences between adjusting the back focus?

Back focus allows the image to stay in focus for all focal lengths. Calculating the distance between the lens group and the sensor plane. Because an image can go easily out of focus, precise adjustments are vital. The process of getting precise back focus requires the camera operator to zoom into the star multiple times to adjust the focus. Once all of the adjustments are finished, the back focus locking screw must be fastened. The JVC, in comparison to the Sony EX3, has the capabilities to adjust the back focus.

Depth of Field Pt.4

In your own words, what are the three key factors in determining depth of field for your shot? Explain in detail how each of these three factors affect the depth of field.

1. Aperture

By opening the iris wider, a shallower depth of field can be achieved. On the other hand, a deeper depth of field can be accomplished through a smaller aperture. 

2. Distance from Subject

The closer the subject is to the sensor, the shallower depth of field. Vice Versa, if the subject is further away from the sensor, the deeper the depth of field. Placing the camera away from the subject allows the light to spread apart slower, capturing more distance in focus.

3. Focal Length

Focal length is determined by the distance between the sensor and the lens. With a larger focal length, a shallower depth of field an be obtained, while a smaller focal length can create a deeper depth of field.

Dolly Zoom Assesment

What were three challenges you faced when shooting your dolly zoom assignment? What where the technical considerations you needed to keep in mind when shooting a dolly zoom? How did the shoot turn out?

The one notable challenge for the dolly zoom assignment was setting up the equipment. Although I was aware that setting up the dolly required collaboration with other crew members, I often attempted to do them on my own so that I would not disrupt my classmates during their class time. However, looking back, I should have been more open to recruiting people for my project because not only would it have helped me out, it would also have been a good experience for the beginning students. The dolly zoom required careful practice before the day of the shoot. Even practicing the same movement for 30 minutes straight was only able to do so much to improve my skill One thing I kept in mind though, was the direction I moved my fingers in correlation to the dolly. It is already a given that I was going to be getting many shots to make the best possible attempt, so mistaking my finger direction only cuts into the time I could be shooting more takes. Overall, the shoot turned out okay. One thing that bugged me was the slow shutter speed during the "real world" takes. This slow shutter speed fit the mood in the "dream world" but I did not change it back to normal shutter speed for the real world, ultimately creating a distorted image.

Tips for Better Focus

1. Pick three of these techniques and summarize them. What do each technique demonstrate? What does it add to the shot?

2. Which techniques could you start using right away? Why?

1. Be familiar with the lens. By knowing how much turning in which direction can allow the subject to be in focus, there is a higher change that more shots will be in focus. This technique demonstrates a firm understanding of the lens and ultimately leads to a better shot.

2. When attempting a focus pull, it is easier to set the initial focus to the closer subject and then to shift the focus to something further away. subjects away from the camera tend to have a deeper depth of field, allowing more range for an acceptable focus.

3. If a focus ring is too small, it can be useful to buy a focus gear that allows for a better grip. This can assist the camera operator to have more precision when focusing on a subject.

I can start using technique #2. Although I had a general understanding of depth of field, I didn't realize this concept can be used in a focus pull. I will keep this in mind when shooting outdoors or planning the next shoot.

Camera Sensor Size

1. How do larger sensors effect the image?
2. How does sensor size effect using lenses?
3. What are the benefits and drawbacks of using a large sensor camera?

Large sensors have better capabilities with low light situations and in creating a shallow depth of field. However, they are usually expensive and the lens size can become a burden. The expenses of these cameras are troublesome because many tend to think that a larger sensor is always better. However, in reality, they simply have different looks to them and it cannot be determined which is better than the other. On the other hand, smaller sensors tends to create a deeper depth of field an are compatible with smaller lenses. However, these smaller sensors show less capabilities when it comes to low light performance. Each sensor size will inevitably create a unique look to them.

The Push

What does "the push" movement add to a scene?
Why should you add a push movement to a scene?

By physically moving the camera closer to the frame, the movement can compliment the script by creating a heartfelt, magical, or overall emotional scene. Push be use to emphasize a certain subject matter inside the frame. This usually means that a certain character is going through an impactful moment or that a subject inside of a frame as a sort of importance in the story. Either way, the push should be relevant to the story in one way or another. Overusing this technique can detract from the scene, and reduce the value of that movement. The more it is used, the more used to the movement the audience is going to be, and thus, less impactful it is going to be overall.

Camera Sensors

1. What are the pro's and con's of a CCD sensor?
2. What are the pro's and con's of a CMOS sensor?
3. What are CCD sensors better at? What are CMOS sensors's better at?

CCD sensors allow for a relatively noise free video signal. However, a small amount of charge is lost when electrons are shifted. Thus, the electrically inefficient CCD sensor becomes a problem for higher resolutions. Some more cons include the low serial readout time -- the amount of time the shutter requires to be closed and their necessity for more voltage for operation. CMOS sensors came later in popularity though invented during a similar time period because the technology was yet to be built. by implementing Amplifiers on each pixel, the original capacity issue can be solved. In comparison to CCD sensors, CMOs sensors require less voltage and has faster image capture. However, in any manufactured device, there is always a drawback, which in this case, is higher noise and rolling shutter. Rolling shutter is especially problematic when capturing movement because it distorts the image as it is recorded.

Controlling Your Depth of Field

1. What are the different factors that you can use to control depth of field that this video mentions? What is one of the primary ways to control depth of field?

The aperture, the distance between the subject and the lens, and the focal length of the lens all play a role in changing the depth of field. The most accessible way to alter the depth of field is to change the aperture. Once the desired depth of field is adjusted using the aperture, other setting must be adjusted accordingly. This includes the light level, ND filters, ISO, and the shutter speed. Changing the focal length of your length can also alter the depth of field. For prime lenses, this can only be done by switching out lenses. However for zoom lenses, there is the option to change the focal length by zooming in. It is important to regard that in a zoomed in shot, space will appear compressed. If a subject is closer to the lens, a shallower depth of field can be accomplished. This may be difficult because the composition of the shot must be manipulated in order to create this look.

Depth of Field P.3

1. What is crop factor?
2. What is lens equivalency?
3. If you had a full frame sensor and your cousin had a APS-C sized sensor, how would you explain the differences between the camera's and lenses to your cousin?

Crop factor is defined by the amount zoomed in depending on the size of the sensor. For example, a smaller sensor will create a greater a crop factor, resulting in a more zoomed in image. In a standard 35mm camera, many photographers and videographers understand what a different focal length lenses look like. However, keeping the sensor size into consideration, lens equivalency can be calculated by multiplying the crop factor and the focal length. An APS-C sensor with a crop factor of 1.6, a 50mm focal length would be the equivalent to a 80mm on a 35mm aka full frame sensor. When you attempt to match the focal length to compensate for the crop factor, the bokeh in the background changes. This is because the crop factor is not only multiplied to the focal length, but it is also multiplied by the F-stop number. when the F-stop is adjusted to create a similar bokeh in the background, the ISO must be multiplied by the crop factor^2 as well. As a result, smaller sensors shoot the equivalent of a higher focal length and aperture, resulting in a deeper depth of field.

Depth of Field P.2

Answer the following questions in an in depth - paragraph:

1. What is the circle of confusion?
2. How does this affect what the viewer of the image perceives overall?
3. How does the camera's sensor come into play with the circle of confusion? Why?

The circle of confusion is defined by the size of the spot of light that is acceptable to be considered "sharp enough." This is a subjective matter that its accuracy is generally determined by the size of the print or screen that the content is going to be viewed in. In general terms, the bigger the projected screen, the smaller the "acceptable spot of light" becomes. The circle of confusion is altered when speaking in terms of digital mediums. Because digital mediums are captured in pixels, the circle of confusion is defined by the size of the pixel. The smaller the pixel sizes, the more accurate the focus has to be in order to be considered in focus. Thus, as a result, the higher the resolution, the shallower the depth of field. In other words. A smaller sensor will inevitably create a shallower depth of field.

Depth of Field P.1

Answer the following questions in an in depth - paragraph:

1. In your own words, explain what depth of field is.
2. What is deep depth of field? What is shallow depth of field? What might you use it for in a video?

 Depth of field is determined by the amount of space that a certain subject is "acceptably" in focus. For example, if a subject goes easily out of focus just by moving it slightly towards or away from the camera, it has a shallow depth of field. If a subject stays in focus even when the subject is moved visibly and drastically, it has a deep depth of field. The length of the depth of field can be calculated by seeing how far back the lens can go without going out of focus in both directions. Depth of field can also be determined by the aperture. For example, a smaller aperture can make an image that creates a wider range of acceptable depth of field.

Lenses P.3

Answer the following questions in an in depth - paragraph:

1. What are the key difference between photography and cine lens?
2. What are the key differences between prime and zoom lenses? What are the drawbacks and benefits of each?

The main difference between a cine lens and a photography lens lies in the Focus Breathing. Photography lenses, holding a single focal length, can zoom in or out as a result of focusing an image. This aspect of the lens is not an issue when it comes to photography. However, it may pose an issue when it comes to filmmaking. This is where the cine lens comes into play. Cine lenses are able to eliminate focus breathing. Prime lenses are often cheaper and better quality in comparison to their zoom counterparts. On the other hand, zoom lenses are capable of shooting a range of multiple focal points. Zoom lenses can be separated into two groups: Varifocal and Parfocal lenses. A Varifocal lens causes the focus to change as the focal length changes, while a Parfocal lens will maintain the focus independent from the focal length. While prime lenses may sacrifice some quality, it allows the filmmaker to have more flexibility while shooting. Another drawback worth mentioning is that the aperture may not be available for all focal lengths. This is especially the case when it comes to the lens's maximum focal lengths.

Filmmaker IQ Lenses P.2

Answer the following questions in an in depth - paragraph:

1. How does the diameter of the aperture affect the focus of the image?
2.What is an F-stop? How are they calculated?
3. What is a T-stop? How is it different from an F-stop?

A smaller aperture results in a sharper image by restricting the angle of light traveling through the system. However, this can cause less light to be exposed onto the sensor, which can be problematic in a darker situation. The F-number, or the F-stop, can be calculated by dividing the focal length by the diameter of the aperture. In order to double the amount of light that hits the sensor, the diameter must be increased by dividing the Fstop by 1.4. It is important to note that the different amount of light may hit the screen even wit the the same F stop value depending on the structure of the camera. In this case, cinematographers will use a scale known as the T-stop. T-stops are numbers that are corrected according to the F-stops numbers. This way, the same T-stops will have the same exposure levels even on lenses with different focal lengths.

Lenses P.1

Answer the following questions in two in depth - paragraphs:

1. What is crop factor? How does it affect the image shot with different lenses?
2. What is a "normal" lens? What is a wide angle lens? What is a telephoto lens? How do they affect the image that is shot?

Crop factor refers to the "magnitude of the crop as compared to a 35mm still horizontal standard." Different size sensors can cause the image to capture a smaller cropped image in comparison to a full frame shot. This field of view that is available to be seen through the camera is also determined by the focal length of the lens. A "normal" lens refers to lenses with  focal length that replicates how humans normally see with their eyes. What is considered to be a "normal" lens depends on the way it is displayed and the sensor size. For example, if the footage is intended for the big screen, the diagonal line's length is twice the average camera. For full frame average cameras for normal screens, 43mm will create a "normal" view, while a smaller sensor size will require diagonals ranging from 26mm to 22.5mm if on a micro 4/3rds camera. Other lenses include telephoto lenses which zooms in as a result of a higher crop factor and wide-angle lenses which captures a larger field of view

Camera Jib Techniques

Answer the following questions in an in depth - paragraph:

1. Pick three of these techniques and summarize them. What do each technique demonstrate? What does it add to the shot?

2. Which techniques could you start using right away? Why?

1. Dynamic Point of View shot: This requires the actor to push the weight of the jib as they walk in a circular path. This can create the point of view of the opponent if they are both walking in the same circle. By having the actor push the jib, the camera can move perfectly with them, allowing a more realistic point of view shot.

2. Large movement but with a close up: This technique is exactly as the name says. In most cases, jibs are used to create large movement as an establishing shot. However, jibs can also be used to follow a subject's movement. This can help convey a certain emotion with a camera techniques that adds production value to the video.

3. Tracking/Revealing shot: This technique follows the actor in order to reveal a subject that they are walking towards. This is another type of revealing shot that can be used to as an introduction shot. 

I am most interested in using the jib technique that follows the subject as a close up. As seen in the example, this simple technique can add production value through the smooth movement.

Creative Slider Techniques

1. Pick three of these techniques and summarize them. What do each technique demonstrate? What does it add to the shot?

2. Which techniques could you start using right away? Why?

1. When pushing into the subject, set the focus to the final position. This is reveals the subject from out of focus to in focus. This technique only requires one person, so it is efficient to work with in comparison to attempting to pull the focus while changing positions.

2. Tilt the slider and level the camera. This effect can also be used as a shot to reveal a specific subject from another point of view. When this effect is performed perfectly in a smooth fashion, it can make a stable subject vastly more interesting.

3. Place the camera at the end of the tilted slider in order to create a jib effect. This effect can be combined with the first tip of setting the focus at the end of the shot. This adds depth into the shot by changing the background as the camera moves.

Technique one is the easiest effect to do because it requires simply setting the focus to the end point. This technique will not only be visually pleasing, but easy to do when shooting alone. 

Using a Slider

What types of movements are used in this video? What are 3 key tips that you learned in this video that you can put to work in your videos going forward this year? Why do you think they are useful?

Straight tracking shots: No pan or tilt is used; side-to-side motion. These are most effective for shots that reveal a certain subject into the frame. This type of movement helps add depth into the shot.

Tracking shot: The slider is moved back and forth with panning. This technique keeps the subject in the middle of the frame at all times. This is also an effective way to add depth into the picture because while the subject remains still, the back ground changes. When performing the tracking movement, it is advantageous to hold the head in order to ensure consistent, smooth motion. (tip #1)

Tip#2: Change the speed of the movement depending on the scene.

For example, when shooting an emotional scene, slower movement would be more effective compared to fast side-to-side movement.

Tip #3: Practice.

Although it is a simple tip, it is important to note that slider technique cannot be obtained right on the spot. It is a skill that requires practice in order to obtain the necessary consistency.

Kurosawa and Movement

1. What were three types of movement that Kurosawa used in his films. How did he use these techniques in his films? What did they communicate to the audience? Please explain each in detail

1. Movement of Nature

For example, weather, such as snow and rain, can be used as an element within the shot to enhance a stable shot. This type of movement allows the audience to relate to the image with a sensual connection. Such movement can be used to spice up a simple frame, or to create a smooth cut between shots. Nature can be used as a prop to display the character's emotions as well.

2. Movement of Groups

There are two types of groups: those who band together or those who split apart. Having a large crowd can emphasize the emotion of the shot, by having multiple people with the same facial expression. The coalition of the group with the camera movement ca be used as a tool to communicate a part of the story.

3. Movement of Individuals

In Kurosawa's films, the actor's blocking is exaggerated. For example, if the character is nervous, they will display those emotions visibly by covering their face. He often times assigned one specific movement for one character to help the audience recognize the character.

Camera Movement

Why does the beginning shot example look bad from a technical as well as a storytelling viewpoint? What are three differences between the static shot examples that the narrator shows and shots with a dolly or a hand held rig?

The beginning shot was extremely shaky for no enhancement in the storytelling. If the camera movement was specifically intended to fit the scene, it would have been perfect. However, in other cases, the jittering of the camera was unstable and took away from the audience's attention. In order to fix the problem, a bigger weight should have been added to the camera to create a smoother image. In comparison to the dolly or the hand held rig, the static shot displays minimum production value. With little effort, the footage could have looked more cinematic. Furthermore, the dolly shot was able to show more emotion in the scene, enhancing the actor's performance. The static shot was no more than the display of the actor's skills. 

Composition in StotytellingP.2

Answer the following questions in an in depth - paragraph:

1. What does this video essay say about the purpose of composition? What does the narrator have to say about the use of lines in the frame?
2. What does this video have to say about the use of artificial vs. primal control? How is this used in composition? Why?

Composition of a scene can create meaning. When the concept of the frame is not exclusively,  seen as a frame, it can convey a powerful meaning as well. Lines inside the frame can be used to guide the audience to a certain focal point. It is important to understand how they converge as well. For example, a character that is pushed to one side of the frame can feel trapped in their current lifestyle. However, lines are not necessary in order to create a focus. It is simply an available option. Artificial control lies in the aesthetic control of guiding the audience where they should be looking. Primal control identifies what subject has the most control in the specific scene. This concept is not only applied to human connections, but it can also be used between interpersonal connections with the environment. The "control" or the importance a subject holds can be identified through the size of the object in the frame.

Composition in Cinematography

Answer the following questions in an in depth - paragraph:

1. What are three things that you've learned in this video essay? How do these relate to what you've learned so far until this point in this class?
2. What does the narrator have to say about the frame? What is it used for?

Framing a shot is an expressive decision that indicates how the subjects or the environment inside the frame is exhibited to the viewer. This determines what the audience sees and what they don't get to see. However, the composition of a shot requires some technical skills. The shot must be able to convey the intended message, with proper structure. When deciding what the "proper structure" is for a certain scene, one must ask themselves, "why?" There are some pre-established composition strategies one may use in in order to create aesthetically pleasing shots. Rather than focusing on compositional variety, it is important to understand what the composition is saying. Proper composition can enhance the scene's meaning, much like color. Compositional strategies can help emphasize a certain point, convey a meaning. or suggest symbolism. The frame is often used to attract the audience's attention. For example, creating a "frame within a frame" pleases the audience's desire to create order in an disordered society. These can be used to incorporate subtext, such as separating different worlds.

Color in Storytelling

Answer the following questions in an in depth - paragraph:

1. What does this video essay say about the purpose of color? What does the narrator have to say about associative and transitional in storytelling.
2. What is one way you could use color going forward in your filmmaking considering what you've learned this week?

The purpose of color can be divided into two: associative and transitional. The repetition of a single color throughout the film can be used to help the audience associate the color with a certain idea. Once the association is established, subject can be referenced with the color without the physical presence of them. The establishment of a certain color scheme or the repetition of a color can allow specific color to be an outlier. This is the transitional use of color. Shifts in color pallets can suggest a character's development,  change in setting, or whatever the color change is highlighted in. These two types of color uses can be combined as well to enhance the story. Going forward, I would consider the colors I incorporate in my shots from clothing, setting, props, and framing. I would take into consideration the importance of luminance and saturation and the effect it has on the overall story.

Color in Storytelling

Answer the following questions in an in depth - paragraph:

1. What are three things that you've learned in this video essay? How do these relate to what you've learned so far this week about color in filmmaking?

Color has been around since the age of silent films. Early filmmakers often painted their films one by one in order to create a magical feeling to the film. Color was soon adopted as means of communicating different emotions. From studying the different psychological influences a color has on the viewer, color in film was chosen artistically to enhance the story. Through color, metaphoric storytelling became possible. For example, in a scene where only gold coins are tinted yellow, they represent the materialism that has consumed the people. Color can also be used to set the atmosphere of the story. Atmospheres such as gritty or dangerous can be conveyed by a certain combination of colors. Color is subjective among people and cultures. For example, red can be a symbolic color for strong love or hate. Color schemes can be used in films to create a well-balanced image. Complementary colors and analogous colors can be used to perform a specific psychological effect.

Color Theory for Video

Answer the following questions in an in depth - paragraph:

1. What are complimentary colors? What are tertiary colors? What is the difference between primary and tertiary colors?
2. How can colors be assigned meaning in a film?

Complimentary colors are visually appealing colors that can be found on the opposite sides of the color wheel. Specifically, there are colors that especially compliment one another: red-green. orange-blue, and blue-yellow. Tertiary colors can be found by mixing the secondary colors derived by the primary colors. Primary colors cannot be derived from any color, thus the name, PRIMARY color. In film, emphasizing a certain color can convey a time of day, shed light to a specific character, or grab the audience's attention for an important scene. Color can be utilized within in a film by associating them with a socially constructed idea. Different cultures associate different colors with different meanings, and thus, a film from different cultures may utilize color in distinctly different ways. Color can also be "given" a meaning within the film by constantly associating a certain color or color scheme to an idea.

Color in Digital Filmmaking P.1

Answer the following questions in an in depth - paragraph:

1. What are three ways that the video mentions color can enhance filmmaking?
2. What is color sub sampling? What are the drawbacks or benefits of 8 bit color? What are the drawbacks or benefits of 10 bit color?

Implementing color in film can be used as a visual cue for location, represent the the overarching theme of the movie, and provide temperature for the film. Color sub sampling reduces the color resolution while keeping the luminance resolution the same. 8 bit color, most often used in consumer cameras and DSLRs, can display significant deterioration in the quality of the image when heavily color graded due to the lack of available information. Although 8 bit color has drawbacks in post production, it is perfect for playback. On the other hand, 10 bit color, in ProRes or DNxHD, has twice the color information as compared to the 8 bit. Because of this feature, files captured in 10 bit is perfect for most professional post production.

Color P.2

Answer the following questions in an in depth - paragraph:

1. What led to technicolor taking over color filmmaking? What films really drove the adoption of the process?
2. How did Eastman color affect the development of color filmmaking? What were some of it's pro's? What were some of it's con's?

Technicolor was a new, innovative way for color to be displayed on screen. This process was especially convenient because it was able to be played back in standard projectors. With the help of the new Imbibition, a process where another black gel was incorporated in addition to the magenta and green gels, films were able to contain more colors. One of the most famous films that drove the adoption of the process was The Toll of the Sea. Eastman color was developed during a time period in which Technicolor was holding a monopoly in the color film industry. Some benefits of Eastman color includes its affordable cost, the ability to wok in conventional cameras, and the fact that no specialized lighting or lab process was required. Although the technologically superior Technicolor had a significantly richer color compared to Eastman color, audiences were ready for a new change in the color tone.

Color in Silent Film

1. Why do you think modern day people perceive early film as ONLY black and white? What do you think has led to this perception? How do you think color was perceived by audiences back in the dawn of cinema?

Color in cinema was largely disregarded in the process of preservation because many believed this aspect to be an "add-on." This is especially the case for tinted and toned films, because they were relatively easier to produce compared to stencil and hand-colored films. In addition to lack of motivation to preserve the colors, colors themselves were hard to preserve due the film's poor shelf-lives. Thus, as a result of fading, attempting to preserve color films were ineffective. Ultimately, many assume that the majority of silent films are monochromatic. Back in the dawn of cinema, the bright colors incorporated into the silent films grabbed the audience's attention. The colors made the films seem to be magical, enhancing the film's tone in most cases. 

Color P. 1

Answer the following questions in an in depth - paragraph:

1. What is color? What principle did James Clerk Maxwell discover?

2. How was color used in early filmmaking? What were the two major types of colorizing film?

Color is a function of light, and the span of color, or the visible light, can be examined through the Electromagnetic Spectrum. As a result of his experiment, Isaac Newton discovered that all of the color combined can create white light. James Clerk Maxwell, founder of electromagnetism, refined the color theory created by Thomas Young and Herman von Helmholtz by using a colored spinning wheel. In this experiment, Maxwell discovered that the primary color are red, green, and yellow, instead of blue. Before digital colorized film, hand-tinting was a popular in the industry. Because these films were only roughly ten minutes long, though a daunting task, it was a viable option. Some examples of color used in film include Le Voyage Dans La Lune (The Man on the Moon). As films became more produced and hand tinting became a less viable option, toning rose in popularity.

Frame Rates P.2

Answer the following questions in 2 in depth - paragraphs:

1. What were tee reasons why 60 frame interlaced chosen for over the air broadcasting? How did the introduction of color factor in?
The interlaced format was introduced as a result of the attempt to reduce the necessary bandwidth. The increasing popularity of television in modern society meant that letting the VHF die off was impractical. Thus, the race to achieve the certain color standard began. Color TVs adopted the separation of luminance and chromas which means the separation of colors versus their brightness. I order to prevent the color standard from interfering with the audio signals, the frame rate was reduced by 0.1%. Therefore the common frame rate is in fact not exactly 60 frames per second, but rather 59.94 fields per second.

2. How do you convert a film to television? What is 3:2 pull down?]

In order to allow 24 fps to fit into a 60 i video format, it must be split up into fields known as the 3:2 pulldown. However, this is not a completely practical way of converting files because they lead to jitters every 2 frames per 4 frames. Thus, in order to maintain the quality of the video, it is optimal that one shoots in 24 fps to begin with.

Frame Rates P.1

1. What were three reasons why 24 frames per second chosen as the modern standard frame rate for filmmaking?

24 frames per second was chosen as the modern standard frame rate because it was a number that was easily divisible by six numbers, including 2,3,4,6,8, and 12. Although other numbers have similar aspects of being easily divisible, 24 was chosen because it was the most financially efficient, requiring the least film as possible. Sound was what drove the introduction of the 24 fps second standard, however. Because of this new introduction of audio waves on the side of the film strip, the films had to be in rigid format. In order to achieve the desired 48 projected frames per second, 24 was a convenient number that required 2  blades to run the film.

Frame Rate

1. Define what shutter speed is and what frame rate is.
2. What is frame rates relationship with shutter speed? How do each affect the image?
3. How could you use these principles to artistically affect your images going forward?

Shutter speed is "the amount of time that each individual frame is exposed for" while frame rate "refers to the number of individual frames that comprise each second of video" recorded. The shutter speed must be the double the frame rate. Different frame rates can either create a cinematic look a video look. For example, a filmic look would be shot in 24fps, while a video look would be composed with 30fps. Frame rates can also be altered accordingly to the application in post production such as slowmotion or creating realistic motion blur.

Under and Over Cranking the Camera

1. Think back on what you've learned about filmmaking. What is overcranking the camera? What does it do? How is it done?
2. What does undercranking the camera do? How is this done?
How does this affect the image artistically?

Over-cranking the camera refers to slow motion and under cranking a camera refers to a timelapse.  Slow motion can be used to capture every detail of a fast motion. By slowing down the time, the audience will pay more attention to the activity on the screen. This effect is typically done by increasing the frame rate in order to obtain a smooth image. On the other hand, undercranking a camera allows the filmmaker to convey the passage of time. This is typically done by setting a camera down and letting it sit still for a long period of time. Artistically speaking, they create variations in the image, capturing the attention of the audience. They can be useful and effective in small amounts.

Pan and Scan

1. What is pan and scan? Why was it created? How does it affect a film when it's transferred from the theatre to home video? In your own words explain 3 examples from the video on how pan and scan changes what the filmmakers intended.

Pan and scan technique is used when a wide screen needs to be cut into an aspect ratio with a shorter width. This allows the film to be redirected so that the film has a different emotional appeal. Readjusting the frame of the film allows more flexibility in post production. Although this technique has a tendency to ruin the creativity that went into composing a certain shot, it can add new creativity as well. The aspect ratio is often that intended look of the director, and can be damaging to the storytelling process when done incorrectly. Sometimes, seeing a portion of the picture loses an important aspect of the original production.

Aspect Ratios

1. What are the major differences between the different aspect ratio's?
2. How does aspect ratio affect what the audience experiences in a film?
3. How do filmmakers use these differences to craft their films?

4:3 Academy Ratio reminds the audience of the early 1900s style movies, and is therefore a great device to use when referencing back to such time period. 1:1 Square ratio can be utilized as an effect to demonstrate an unrealistic view or perception. 2.35 ratios are meant to portray a cinematic, dramatic look to the film. For example, science fiction films with this 2.35 ratio turn out great because the dramatizing effect the aspect ratio has. 16:9, which tends to take up the biggest available space, allows the audience to experience the grandness of a certain scene. 16:9 is also effective when portraying a real situation in a film such as documentaries.

The Role of the Cinematographer

What are the key responsibilities of the cinematographer on a film set? What is the cinematographers relationship with the director?

In literal means, cinematographer's role on a film set is to act as the head of the camera department, deciding the camera work, lighting, and framing. However, there is more to a cinematographer's job. They must consider which equipment is the most financially efficient for the ideal shot. They must also consider the time constraints so they do not drag the entire shooting process for everyone. By composing the perfect lighting and camera work for the scene ready, the director and the actors will have a more comfortable working environment. Creative storytelling requires communication with the director so they are able to convey their vision. A working cinematographer should always be aware of how they can make the director's job easier.

Tips for Beginning Cinematographers

What are three key suggestions that this video made that you find useful that you didn't know before. Why are these so interesting?

The cinematographer must defines subject. This means that when regarding the composition, the important body parts must all be in frame. When considering what should be inside the frame, the audience must be put into consideration. What information should they know? What information should be kept hidden? Focal point is also important because a sharp focus on a certain subject inevitably draws attention to that subject. A fuzzy image distorts the concentration of the image. Especially when shooting a human subject, the focus point should be set to the eyes. People naturally draw attention to the eyes, and focusing on them allows more emotion to be portrayed effectively. Headroom, or space above your head, should always be kept open unless the rule is broken purposefully. According to Alfred Hitchcock, "The most important thing in the frame should also be the biggest," and thus, cutting off the head which tends to be one of the most important part of the shot is usually ineffective.

The Language of Cinematography

How is cinematography like a language? What are three techniques of visual language that you realized while watching this video?

Cinematography is based upon concrete understanding of visual communication. Therefore, a certain technique can have a clear indication of what the story is trying to convey. On the contrary, such "definitions" can also be used as means to ironically convey a different message. For these to be used ironically or un ironically, rules of cinematography must be created, much like rules of any language. In order to break a rule, one must understand it first. For example, angles can be used to convey difference in power. If a character is sho from a high angle, it can display the character's weakness. The opposite tact is a strategy in which the camera matches the important character's perspective. This allows the audience to empathize with the character, further indulging them into the story. Camera movement is also an important aspect of cinematography, changing the emotion of the scene according to the direction and style of the movement. For example, if a scene utilizes a smooth, steadicam shot, the audience will be filled with ease and confidence.

Film Festival Edit

What challenges did you run into during the Film Festival Awards Show edit? How did you overcome them? What do you still have left to do?

The biggest challenge I faced was the trouble with exporting. In the process of rendering a certain file or exporting a certain section, it would consistently fail to process the information. As of right now, the problem is not solved. However, I can try reimporting the failed footage, opening the current project on a different project file, or rendering just the additional effects. In addition to exporting projects, I encountered a file saving problem, specifically for the slide show that was available during the festival. Although this was an easy fix by simply adding my own graphics in the video, it would have made the editing process significantly faster had the slideshow not been deleted. Although this was a problem completely blamed on myself, I kept on deleting edited footage because I dragged the clips over instead of copy and pasting. The alt key to quickly copy a clip is useful if it was used correctly.

Fair Use Myths

What are the common copyright myths that this video talks about? Do any of these go against what you thought you knew about copyright? What are three more important questions you have about copyright and how it applies to filmmaking?

Take time to craft a 3 paragraph response to what you've learned about the future of work in this video.

Common Copyright Myths

1. It you're not making money off of it, it is okay

I didn't necessarily believe in this myth because Youtube gives copyright strikes even to those who do not  earn money from the video. Whether it is in the form of money, the one who produced the content is benefitting from the utilized content one way or another. Are there specific guidelines for using copyrighted material when you ARE using it for profit?

2. Commercial use is not okay.

Although it is not a distinguishing factor, commercial use is not an excuse to copyrighted materials out of the fair use laws. How will commercial use be considered okay? Would the content creator have to buy the content from the creator of the used material?

3. A specific number of seconds or less is always fair use

Although it would allow the content creator to feel more secure about using copyrighted material if there was a specific laws such as this one, this is simply not the case. Before I came to this class, I was watching videos regarding copyright that gave me this false information. However, I understand now that that is not the case.

Avoiding Violating Fair Use

How does copyright and fair use apply to Youtube? Write a reflection on three instance where you might have violated copyright on YouTube. Now that you've learned more about copyright, how might you have solved each of these three situations using the fair use clause?

Copyright and Fair Use laws apply very much to Youtube. When uploading content created by another user to your own video, these specific guidelines must be followed. For instance, I once uploaded a video with copyrighted background music. This was a blatant violation of the copyright law especially because no credit was given to the creator of the video. Unsurprisingly, the video was taken down. In order to solve this problem, i simply needed to use a royalty free remix of the song or a entirely different royalty free song. As mentioned in the first scenario, I did not know to include citations for the copyrighted content I took from online. All it took was to simply write the name of their work and the name of the creator in the description below. I was also oblivious to the amount of copyrighted material I am able to use in the project. I have had instances where I used the copyright material for more than half of the video. Simply including more original content would have solved this problem.

Copyright and Fair Use

What are the four points of fair use? How do you think you can you apply fair use to you work that you create in this class?

1. School Work and Education

2. Criticizing or Commenting

3 Comedy or Parody

4. New Reporting

Because this is a film class, many utilization of copyrighted material can be considered fair use under schoolwork and education. In order to follow copyright laws, I would have to search for royalty free music, sound effects. and images when using a portion of the content. The requirement of adding new meaning to the work can be easily accomplished through a creative process to complete the project. Reworking it to be used in a completely different way is similar to the previous concept, yet it is aso important to keep in mind as well. 

Future Jobs

What will the work world of the near future look like? What are the societal challenges that will come up in the coming machine age? How will this change how we look for employment?

In the near future, many jobs will be automated by the enhancement of technology. Those who used to work in this field will inevitably lose their jobs, leading many to seek other means of income. This also means that the development of new technology may create different jobs in the future. Androids with significant skills that equate or exceed capabilities may come into play in the future as well. Technology productivity allows an abundance of supplies and the ease for a certain work to be completed. By removing such tasks, it allows the future generation to spend more time being innovative and entertained. 

21st Century Skills

What are the four 21st century skills? As an advanced student, how do these 21st century skills apply to the work that you are doing in the advance class? How do you think you can apply each of these to your work in this class going forward into the year? Be specific and give an example of how each of the four key 21st century skills apply of your filmmaking career going forward.

1. Creative Thinking

Creativity plays a large role in filmmaking. Although there are specific methodologies to creating a film, the creative process of coming up with ideas of what and how to shoot the story requires creative thinking. For example, storyboarding is required in preproduction, but how and what you storyboard comes as a result of creativity.

2. Communication

Especially because filmmaking is a collaborative effort, communication with the team becomes vital in filmmaking. Efficient communication leads to more effective collaboration, ultimately leading to a better product. For example, communicating important concerns during preproduction can save the overall production in the long run.

3. Information Literacy

As said before, filmmaking requires a team. Often times, the information or idea that on team member thought of requires the other to understand the idea through a written form. The ability to understand the overall flow of the film by looking at the preproduction is vital to better teamwork.

4. Active and Engaged

Being an engaging member of film production is an important when being a part of a team. Not only will disengagement distress other members of the group, it also lowers the change of getting hired for another job. A film crew that is active and always willing to help those around them will be a positive influence overall.

Beginning Year Reflection

You have now signed up for the pilot year of my advanced class. You will be expected to model the professional behaviors of an advanced student and lead student productions. Considering the work you produced last year, what were you strengths and weaknesses of your work? How could you improve your work this semester? What do you need in order to improve it?

Please write 3 complete paragraphs on three different ways you can improve your overall work that you create in class this year, along with an introduction paragraph.

Based upon the horrible mistake I made last year in Skills USA, I consider audio to be a important aspect when improving my films. The Audition interface seems to be complicated and it was slightly intimidating for me during the sound design project. In order to improve the audio quality, I would have to start by learning how to record audio correctly. I was not able to interact with the audio equipment partly due to my lack of interest. Therefore, I would have to push myself to actively use the recording equipment.

The lyric video I am currently working on is entirely composed graphics generated by Adobe Premiere Pro. However, I do realize that learning Adobe After Effects will not only have more functionalities, but it will also improve efficiency of the work. Regarding how I love masking and keying, I think I would be able to learn the software pretty quickly if I set my heart to it.

Going back to the mistakes I made for the film I made in Skills USA, I would like to learn proper lighting. Although I do understand the concept of the three point lighting, I am unable to put that concept to use. I am well aware that there are other lighting techniques available for different scenarios, but I would have to begin with the basics.

Student Leadership

Considering how you behaved last year, select 3 of these leadership qualities that you are weak in. How can you positively develop these leadership qualities going forward this year? How could improving these aspects of your leadership make you a better class leader and filmmaker?

1. Core self-evaluations
Although I would like to consider myself relatively self aware, I still the ability to effectively control of myself. Out of the four related self-perceptions, I believe emotional stability is an aspect I need to learn the most. Keeping strong emotions from affecting others is quite the easy task, however, keeping those strong emotions from developing is a difficult task. By improving this leadership qualities, not only will the filmmaking process be easier for my crew, but it will be easier for myself as well.

2. Extraversion

Because I am not naturally fully extroverted, I can find myself drained when encountering great amount of people for a long time. In order to improve this, I hope to make a conscious effort to participate in team activities and demonstrate the interest I genuinely obtain. The improvement of this skill will help me create a stronger connection with my filming team, therefore earning their trust as a filmmaker.

3. Assertiveness

Regarding how I occasionally found myself keeping in important concerns for the filming process, I believe being up front about such comments will help me become a better leader. As a second year student, I may be able to make unique insights that first year students may not be able to make.

Professionalism

Overall, how do each of these characteristics of professionalism apply to filmmaking? How do they apply to your daily work in this class? Please select three characteristics to give real life examples of how you can work toward improving them in this class.

Please write a complete paragraph on each of three characteristics, along with an introduction paragraph.

1. Appearance
Appearance is important both from a professional perspective but also from an logical perspective. As desirable it is for people to be judged based on the quality of their work, it is most common that appearance plays a large role in the judgment of others. If everyday is an interview for a potentially offered job, dressing professionally is a must. This would include wearing appropriate clothing without obvious distress or avoiding clothes that may be worn as sleepwear.
2. Reliability
Being a reliable worker is a necessary employability skill. This means one must be early to the scheduled time and turning in assignments on time. This may also mean that one is able to complete a task even in sudden notice. The fact that someone can depend on you at all times creates a better chance to be hired.
3. Organizational Skills
Having organizational skills can also lead to other professional skills such as reliability. A messy file storage system can not only be an annoyance for the user themselves, but it is also frustrating for a client because of the inefficiency that could have been avoided. Sorting files correctly in a folder both on the cloud storage and in projects help work to be finished faster.

Goal Setting

What are your 3 filmmaking goals for the 2018-2019 school year? Don't simply copy everything this creator says. Really look down and decide what specific goals you want to set for yourself. Look back at your goals that you set in last years class. Did you achieve them? Why or why not? How can you make steps to achieve these goals? Where will you need to look to gather help or resources?
Please write a complete paragraph on each of three goals, along with an introduction paragraph.

Looking back at the goals I set for myself last year, I can say that I was able to achieve two out of three of the goals. The achieved goals include learning keyboard shortcuts and understanding how to use filmmaking equipment effectively. Although I have much more to learn, I loved learning new keyboard shortcuts that make the editing process more efficient. (Some of my favorite include alt to copy the item and i+o+' combination is quickly eject unusable portions of a clip) With the help of CreaTV and numerous projects, I was able to be proficient at operating the camera. The one I consider to be unachieved is the goal to create more visually aesthetic shots. Personally speaking, I do not see significant improvement in my ability to compose better shots. Roughly analyzing the goals I was able to achieve last year, here are the goals I am setting for this year:

1. Have an understanding of how Adobe After Effects work 
Based on my ability to achieve goals in the editing category, I believe learning the basics of After Effects is a well achievable goal for this year. However, this level of mastery will depend upon how many projects I will be assigned that will require this software. Because I finally downloaded the Adobe Creative Cloud on my own computer, I will have consistent access to this application at home. Unfortunately, the amount that can be dedicated to editing will be limited due to college apps and the 4 AP courses I will be taking. Therefore, the assigned projects' necessity of After Effects will play a large role in achieving this goal. I will most likely be watching numerous hours of After Effects tutorials in my free time despite the previously stated commitments so I hope to gain technical education from Youtube.

2. Understand all of the color correcting panel's functionalities
Last year, I was fascinated by my discovery of HSL Secondary during skills USA. Color Correcting is one of my favorite aspects of editing coming in after masking, keying, and motion tracking. I want to be able to color correct from raw footage so that I get the most data from one shot to work with. I also noticed that the color correcting panel and the Lumetri Color effects seen in the editing panel has slightly different functionalities a couple months ago. I am especially interested in learning color theory and the graphs correlated with color. I would have to click around the software more and actively google when I discover a new function.

3. Create varied projects outside of class
Although I made projects outside of class last year as well, I would like to set this as a goal this year especially because second semester senior year will allow me to have more time. For example, I want to challenge myself to film competitions when I have time. As academics killed my sleeping schedule Junior year, I did not participate in any of the recommended film competitions except for Skills USA. Once all of my college applications are submitted, I want to work on projects outside of my comfort zone. I discovered that working on a wide range of projects help me enhance my skills in various forms. For example, I worked on a vertical video this year inspired by the launch of Instagram TV. Although it was a peculiar project, I learned how to change my interface in order to match the content I am working with. I need to keep an eye out for inspiration for new content to film or film competitions of submit to.