Ten commandments for a cameraman. video art

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Ten Commandments for TV Cameramen

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1. Do not rush to turn on the camera, not being sure of sufficient illumination of the object and the possibility of high-quality sound reception.

2. Remember to have a tripod and an external microphone. Handheld shooting and the use of the built-in microphone are justified only by the operational or other, due to the design, nature of the shooting.

3. Panoramic frames must have sufficient length of static at the beginning and end of the frame of each shot.

4. It is advisable to end the passages of the characters with their exit from the frame, which facilitates the construction of the editing phrase. This applies to any moving objects: animals, cars, etc.

5. A person moving in the frame must have complete phrases of movement, and in general it is advisable to shoot shots with moving objects in long shots.

6. The plasticity of a panoramic frame is determined by the tempo and mood of both the entire film and a specific episode. The nature of the execution of the panorama, its compositional solution, and the very direction of the panoramic movement is determined not by the "character" of the operator, but by the semantic and plastic content of the episode. When shooting people engaged in any activity, as well as natural landscapes and animals involved in them, it is not only permissible, but desirable to perform panoramas with some “suspensions”, which allows you to better see what is happening and make some accents. In this case, the mechanical "look back" will clearly give way to a meaningful "review".

7. When shooting long passes, it is necessary to make at least short-term delays from time to time on certain objects, details, faces of people falling into the frame. This circumstance gives the director the opportunity in the subsequent editing to interrupt the protracted passage in the right place, and not completely abandon this very frame due to the unacceptable length of the hero’s passage or the long panoramic movement of the camera.

8. The television shot dictates the maximum use of the "foreground" not only when shooting large-scale, spatial and panoramic shots. Shooting characters in a live "life" environment in the presence of a "foreground" creates a kind of "observation effect from the outside", the impression of a randomly peeped frame.

9. Bet on big plans! It is justified not only by the specifics of the television screen, the opportunity to peer into the essence of what is happening in the frame, to look into the eyes of the hero. All this is absolutely true. But in addition to all this, shooting in close-ups eliminates the usual artificiality of the filming environment and the behavior of the characters, the conventionality of the mise-en-scène intended for filming. In particular, when there is a synchronous conversation with a large number of participants. In the general plan, such directorial and camera "constructions" are visible to the naked eye, and the whole "creative kitchen", as they say, is evident. Among other things, it is much easier for the director to edit the synchronicities of the interlocutors when they are filmed separately, and not side by side in one frame. In this case, there are no problems either with their poses, which may not match in "joining" frames, or with the conversation sequence itself. There is complete freedom for installation maneuver.

10. "Cameramanship" when shooting synchronous dialogues. It seems to me that when shooting synchronous episodes, when 2, 3 or more talking people are involved, it is not at all necessary to keep only "talking heads" in the frame. In this sense, no less expressive are the hands, and the details of everyday life, and the faces of the interlocutors, and even the hero’s own face, when he, having become silent, listens to the statements of his partners. The listener is sometimes much more interesting than the speaker. Well, the viewer, thus, receives in parallel sound and visual information more voluminously, that is, about 2 characters at the same time. For the director, however, the presence of such shots with interlocutors listening to each other makes it possible to freely maneuver their texts in editing. And every second "camera throws", when the operator with dog agility grabs the synchronisms of each of the people entering into a conversation, already on the third or fourth throw begins to cause visual irritation. Such a demonstration of "skill" makes one think of its absence.

Author: A. Pogrebnoy, Film director, Honored Art Worker, Laureate of 23 festivals

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Children who sleep in a room with PVC flooring are more likely to develop asthma than children who do not have the material in their rooms. In addition, there is speculation that PVC covering in the parents' bedroom also provokes the development of asthma in unborn children, which indicates exposure to PVC during the prenatal period.

Soft polyvinyl chloride (PVC) is a common material - it is linoleum and PVC tiles that imitate various materials, including natural wood. Outwardly, such material looks attractive, and it is unpretentious in care, which made it very popular among consumers.

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