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Cinematographer Department Here are some articles that will help facilitate the art of cinematography. Feel free to search for anything that you may need related to cinematography, we have the largest selection of educational cinematography articles anywhere.
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Film Crew Positions and Responsibilities Part 1
When the credits roll on a movie, you will notice that there are many names and many different jobs. Understand while there are union rules associated with movie titles and who gets what, there are no laws on the books about them. If you make the movie, you can be "Grand Poobah" of the movie if you want. The thing to remember about these titles in regard to your production is that giving out a title is FREE. So, if you need to placate an investor or get a restaurant owner to let him use your place, you can always give him a credit on the movie for something. . . . keep reading
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Film Crew Positions and Responsibilities Part 2
Continued from part 1, this finishes up the jobs and responsibilites of your film crew. Just like the cinematographer is in charge of the look, Sound Guy is in charge of all the sound in the movie. He chooses the microphones, the placement and supervises all aspects of sound. Just like the DOP and the Camera Operator, he has his own little crew underneath him. . . . keep reading
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Art Films
An art film (also called an "art cinema", "art movie", or in the US, an "independent film" or "art house film") is a typically a serious, noncommercial, independently made film that is aimed at a niche audience, rather than a mass audience. Film critics and film studies scholars typically define an "art film" using a "...canon of films and those formal qualities that mark them as different from mainstream Hollywood films." Art film producers usually present their films at specialty theatres (repertory cinemas, or in the US "arthouse cinemas") and film festivals. . . . keep reading
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American Society of Cinematographers
The American Society of Cinematographers (ASC) is not a labor union or guild, but rather an educational, cultural and professional organization. Membership is by invitation and is extended only to Directors of Photography and Special Effects experts with distinguished credits in the film industry. . . . keep reading
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180 Degree Rule
The 180° rule is a basic film editing guideline that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. . . . keep reading
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Three-point Lighting
Three-point lighting is a very common lighting technique used in both still photography and in film. By using three separate light sources, the photographer can illuminate the shot's subject (such as a person) however desired, while also controlling (or eliminating entirely) the shading and shadows produced by direct lighting. . . . keep reading
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How to Properly Use a Tripod
Tripods are used to hold cameras: video, film or photo. "Tri" obviously means "three" as in three legs, but these devices are not to be confused with a c-stand or a light stand with three legs. Tripods are heavier because usually the camera that's being situated on top of it is heavier than a light or a bounce board. Since tripods are relatively durable and cheap by comparison to your camera, operating the tripod is not about the safety of the tripod, but about the safety of the device that you will connect to it. . . . keep reading
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10 Cinematographers You Should Know About
These ten cinematographers has added to the craft over the years and have helped shape the look of filmmaking today. We think you should know a little bit about each of the directors of photography. The Student Filmmakers Guild encourages you to research and watch at least one film of each of these cinematographers to enhance your visual aesthetic knowledge becau . . . keep reading
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Responsibilities of a Cinematographer
A Cinematographer is sometimes referred to as a Director of Photography or DP. The DP is generally responsible for the overall look of a film through lighting. Many times a DP is referred to as painting a scene with light. In the United States and abroad, the widely agreed responsibility of the cinematographer, along with the director, has the final word on all decisions related to both lighting and framing. . . . keep reading
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How to Keep Continuity
In the cold light of day, keeping continuity in your movie is as easy as watching a movie and saying, "Hey, that guy had a hat one when he went out the door. Now the hat is in his hand. Stupid director! How did he miss that?" As my favorite evil college dean character said, "You'll get your chance smart guy!" It happens to everyone. . . . keep reading
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Shooting Video vs. Film: Pros and Cons
Ever since the first video cameras were made portable, the debate between shooting video or film has raged. At first, it was no contest. Video equipment was bulky, unreliable and its images flat and lifeless. By the 1980's, videotape cassettes made shooting television easier, but the images were still unable to touch film. Videotapes quickly degraded if copied or archived for long periods. With the advent of digital images, computers allowed video to compete with film. Here are some of the pros and cons: . . . keep reading
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How to Properly set up a C-stand
When using any kind of stand or tripod, common sense is the key. It's not actually the stand that you're usually worried about, but the expensive light, gels or other equipment that you will connect to the top of it that can break. Although it largely depends upon the environment where you're shooting, here are some tips for properly setting up a c-stand. . . . keep reading
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Establishing Shots: Mapping Locations Within A Film
Every location in a TV show or a movie has a layout that your audience comes to know. On Married with Children, the Bundy family had the bedrooms upstairs, a closet near the front door, entrance to the garage and a bathroom behind that and the kitchen was to the left. Their neighbors, the D'Arcy's lived next door to the right of the Bundy's. . . . keep reading
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Effect of Colors in Motion Pictures
In films, one must prepare to show the audience visually rather than vocally what one is trying to say. Some films do the visual storytelling very well, others rely on dialogue to completely tell the story. Both ways can be done well but using visuals are more memorable to an audience watching something on screen. . . . keep reading
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How to Film Motorcycles
Motorcycles are fast, loud and out of control. So are the people who ride them supposedly. Shooting the vehicles in a film is a little bit harder than shooting a car. You can control the speed of a car and still make it look like you are going really fast if inside the car. But with motorcycles, there is no inside. If you are comparing it to other vehicles, there is a way to make it look faster while at a slow speed for safety and quality picture. But at a high speed by itself, it is hard to get the person riding on the motorcycle in emotional context. . . . keep reading
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Shooting a Road Film
Road pictures -- that's what they used to call them in the early part of the 1900's. It is said that Bob Hope and Bing Crosby put road pictures on the map (pun intended) when they did a slew f them from the 1930's to the 1940's. Their road pictures had characters who were traveling and finding themselves in crazy, funny situations when they made it to their destinations. . . . keep reading
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