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This 20 minute video provides a detailed explanation of depth-of-field and the factors that affect it. This tutorial was designed specifically for filmmakers who use or are planning to use 35mm depth-of-field adapters. Click here for video tutorial  Read More

Note that the above Quicktime versions are higher resolution and quality Click here for video tutorial Read More

NTSC Video is recorded with about 60 interlaced fields each second while motion picture film is recorded at 24 full frames per second. So it makes sense that if you have a camcorder that will shoot 24 or 30 full frames every second, what you shoot will look more "filmic" (or at least less "videoey") in its motion. To be precise, NTSC camcorders ALWAYS shoot in 60i- but are able to vary their field cadence to simulate 24 fps or 30 fps footage. I usually shoot in 30p (or "30f" on the Canon H1 & A1). The only time I shoot in normal, 60 field interlaced mode is when we’re purposely trying to get a videoy look- to make something look… Read More

Here's the sequence of events when shooting a take: * You ask if everyone is ready. * If so, you yell "quiet on the set". * When the set is quiet, you yell "roll camera". * Then, the camera operator (probably you) starts the camera rolling. After watching the white timecode numbers advance three seconds, the camera operator yells "camera rolling" or "speed" (meaning the camera is "up to speed") * The talent then goes into character but waits before beginning any action. * After a few more moments, you yell "Action". * The talents waits a moment more, then starts the take. * After the action is finished, the talent holds character and… Read More

When shooting video for delivery on the internet, keep the following in mind: Shoot everything tighter Smaller movies mean you need to make your subjects bigger. Close-ups provide energy and detail even at small screen sizes. Minimize camera movement The key element in great looking low-bandwidth video is to keep each frame as similar to the previous and subsequent frame as possible. Every pixel of a frame that is different from the previous frame must be stored in your online movie, which in turn increases the amount of data needed to represent that frame. To keep frames as similar to each other as possible, use a tripod and don?Äôt… Read More

You’re shooting with your new HDV or HD camcorder, and the footage looks amazing! But are you really seeing the full picture? Not unless you’re looking at a high definition monitor. But professional HD monitors are still expensive. So, here’s an idea: You can buy a LCD TV/computer monitor (the lines are being blurred more every day) that can be used for three different purposes: 1. While shooting, you can run component (like from the Canon XL H1 or XH A1) out of your camera into component input on the LCD to monitor what you’re shooting in full, pixel-for-pixel 1920 X 1080 glory. If your camera has HDMI, like the HV20, you… Read More

Getting good results shooting outdoors on a bright day is a challenge. We recommend positioning the subject and camera so that the sun acts as a backlight, painting a "rim of light" around the edge of your subject. Use your camcorder’s ND filter plus an ND .9 external filter so you can keep your iris open to avoid diffraction and minimize depth-of-field. Then, use a large piece of white artboard or foamcore (sturdier than artboard) to reflect sunlight back onto the subject and lighten if needed. Read More

If your projects are going to be delivered on DVD or broadcast, it’s important to have an accurate studio monitor on your desk so you can see your project as your viewers will see it while you’re editing. Why? First, many editing programs show you a low quality "proxy" of your timeline, so you can’t judge color correction, brightness, saturation, contrast, how titles or graphics will look, or any other aspect of the picture accurately. Can I just enable a second computer monitor to show video and that will work? With some editing programs, you can enable a second monitor to show a pixel-accurate view of the video, which will… Read More

Each shooter will have a unique selection, since you might be doing a lot of nighttime scenes, or interviews, or shooting under fluorescents, or who knows? General Cinelux #18: Flame Warm pinkish amber. Afternoon sunset. Good sidelight. (Transmission = 56%). Cinelux #318: Mayan Sun A medium salmon color which evokes feeling of a tropical island. A good sunset color. Interesting backlight and accent color. Good for warm tonal effects. (Transmission = 52%). Roscolux #02: Bastard Amber Good where a tint of color is needed. Excellent for natural skin tones. (Transmission = 78%). Roscolux #67: Light Sky Blue Excellent sky color. Useful… Read More

Veteran DPs (directors of photography) will shoot camera tests in advance of filming a project - trying different lenses and different camera settings to achieve the visual style and effect they want for the film. Rolling some tape well in advance of your shoot, in one of your locations or somewhere similar and experimenting will give you a huge advantage on the day of the shoot.This means you won't be burning time experimenting with camera settings, filters, and mics on the actual shoot- just concentrating on getting the framing and performance you want. This will lead to a much more productive, less stressful shooting day and excellent… Read More