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