The short lens isn't just for shooting wide-angles, but for controlling how your video conveys the scale of a scene. Use the short lens to increase speed, change perspective and affect motion. From distorted close-ups to rapid moves, this lesson covers the advanced techniques for shooting expert footage with the short lens. | Difficulty: Advanced; Length: Short; Tags: Video, camera
The long lens can be used to enhance location shoots, create extreme changes of focus and strengthen your compositions. This lesson includes tips on lighting and controlling focus. These advanced techniques give you powerful ways to open scenes, direct attention and beautify a shot. | Difficulty: Advanced; Length: Short; Tags: Video
The light meter is essential for matching and to get your head around light ratios as a young cinematographer.
Many of you have asked me, why in this new digital age is a light meter necessary? When everything is immediate, as well as right there on an HD monitor for your review, WHY the light meter? I have mentioned in the past that Roger Deakins feels like he can be much more of a risk taker with digital. What you see is what you get. RIGHT! He has a point. When you are infusing LUTs (look up tables) on your monitor and lighting to those specs, why would you need that old light meter that reads the values of illumination?
"When I shot on the D16 last year with Joe and Elle in New York City's Central Park, I was able to get an initial impression of the camera (which I wrote about here.) Now that cameras are shipping to KickStarter backers, I was able to get my hands on one and take to the streets to start shooting!"
The ARRI Alexa has been a major player in digital cinema ever since its release and a large part of its success is because of its film-like image quality. As cinematographer Art Adams discovered, that quality may be due to the unique way Alexa handles color saturation and luminance.
SetLife Magazine (a recommended follow on Facebook) has compiled technical specification slates showing us who shot on what when it comes to the big 2014 (RED cameras absent from all Oscar cinematography and best picture nominees