Introduction to Camera
Aperture
The larger the aperture of the lens
opening the more light reaches the
sensor. Aperture is expressed as an
f-stop.
Each whole f-stop half or double
the light.
The higher the f-stop, the greater
the depth of the field, i.e. the more
objects are likely to be sharp in
frame. The smaller the f-stop
number, the shallower the depth of
field is.
Aperture and DoF
Depth of Field
Four factors affect depth of field:
Sensor/image size
Distance to subject
Aperture
Focal length
Sensor Size
Bigger the sensor,
shallower the depth of field.
Sensor Size
Shutter Speed
Shutter speed is the amount of time each frame is exposed
for, not the number of frames per second
Shutter speed of 50 = 1/50 of a second
Higher shutter speeds reduce exposure time
Individual frames appear sharper, due to reduced motion blur.
Motion blur occurs when the subject moves within the frame
while the shutter is open.
Higher shutter speeds ‘freeze’ motion in each still frame, so
the image is more crisp
Shutter Speed
ISO
Doubling ISO doubles the sensitivity of the sensor
The higher the ISO the noisier the image
But the C100 performs very well in low light
Zebra patterm
Zebra at 70-90 IRE for
facial highlights
Zebra at 100 IRE for
overexposure
Waveform
• Measures Luma. Dark pixels are at the bottom, bright ones are at the top.
• Pixels in the first column of the image will also appear in the first column
of the Waveform and so on…
Colour Temperature
Automatic white balance
automatically compensates
for
varying
colour
temperatures by adjusting
the brightest part of a
scene so it will appear
white. it then adjusts the
rest of the colors based on
that white balance.
Colour Temperature
‘Lower’ colour temperature. By adjusting for
Tungsten, blue is added to compensate
‘Correct’ colour temperature
‘Higher’ colour temp. By adjusting for
Daylight, red is added to compensate
Production – Sound
Sound is half of your film
Avoid noisy environments. Plan ahead.
Avoid auto gain
Get the mic really close
Listen for handling noise
Monitor properly. Listen Carefully.
Record wild-track / room tone
Shooting Interviews
Shoot at eye level
Get a good eyeline
Get a close-up.
Frame to one side, looking into space. Rule of thirds.
Headroom
Vary the composition for different subjects.
Cutaways
Close ups! Get the whites of their eyes. Get detail.
Variety. Interesting angles.
Find fore and background interest.
Pan and tilt to add movement. But plan the shots.
Shoot lots of relevant cutaways
Production
Light
Cameras love light. Look for the light and shoot in it
Avoid fluorescent & overhead lighting
Shoot with the light behind you
Use natural light – intelligently