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BOOKS AND ARTICLES Movie-like filming
They say: "Video is what the eyes see, and cinema is what the mind and heart see." Therefore, if you need terry realism - shoot video at a frequency of 50 fields per second. If you want to express a detached, dreamy view of this world - only a film rotating at a speed of 25 frames per second can convey this. Cinema differs from video not only in frame rate, they have completely different colors, gamma (contrast ratio), contrast range and graininess. If you want a cinematic image, why bother with video at all? The main reason is, of course, need. Little money, a lot of ideas. The film is expensive, the whole process of working with it is expensive and requires high professionalism at all stages of work. Where can you get big money and high professionalism from novice film enthusiasts? It's much cheaper to shoot everything on video and then convert it to another format, giving it a more cinematic look, or maybe even transfer it to film. There are some ways that when shooting in DV, DVCAM or HDV, you can give your video a cinematic look without going beyond your limited budget. First of all, the approach to shooting should become cinematic. It requires more discipline, endurance and attentiveness from directors and cameramen. As the most experienced master of camera art S.E. Medynsky teaches, "the cameraman must be able not to shoot." Filming, due to the expensive cost of film, has always brought up in the operator a reverent approach to each frame. In this respect cinema is akin to the art of photography. Each frame must be saturated. And in content, and in composition, and in color. The appearance of video cameras greatly corrupted the operators and pretty much lowered their bar. The relative cheapness of videotape also reduced the demands on the frame. To get closer to cinema, first learn to shoot as if you had the last meters of film left in your camera. The global difference between video and filming in image scanning methods. The video frame at each moment of time is always incomplete and consists of either even or odd bands. The human eye does not have time to see this half-heartedness, for us the picture merges into a single whole video image. It has a smoother and more realistic look than filming, depriving the video of any touch of romance, otherworldliness, leaving behind it the prerogative to shoot "soap operas" within four walls. Each film frame is complete, so the movement in them occurs in jumps. This is especially noticeable when shooting with a 25P progressive camcorder. One method for simulating a cinematic image with a DV camera is to shoot at slow shutter speeds of 1/25 - 1/30 sec. True, the vertical resolution will be halved, if you are willing to sacrifice this. Or shoot in normal mode, and when editing, apply the de-interlacing effect, which imitates the movement of a movie. The latter method is more efficient and with less loss in quality, but it will require much more rendering - processing time, and also increases the requirements for hard "n" soft post-production studio equipment. The best possibilities for simulating cinema are provided by progressive scan cameras, which shoot not 50 half-frame fields, but 25 full frames per second. Canon XL2 and Panasonic AG-DVX100 (both miniDV format), JVC GY-HD100/101 and GY-HD110/111 in HDV format are famous for this. A serious difference between video cameras and cinema is a large depth of field. This happens because the CCD matrix of video cameras is physically smaller than a 35 mm film frame, the matrix is rather closer in size to an 8 mm frame. As a result, almost everything in the frame, in the foreground, and in the background gets equally well into the focus of the camcorder. This greatly limits the creative possibilities of the operator. The smaller depth of field of the movie camera allows the operator to direct the viewer's attention to certain parts of the frame with the help of focusing, to emphasize some, on the contrary, to overlook others. In some cases, this video problem can be solved with the skillful use of optics. For example, zoom in a little and open the lens aperture as wide as possible. The wider the aperture is opened, the shallower the depth of field. The excess light entering the lens can be compensated for by using neutral density filters. Or, on the contrary, you can use the large depth of field of the video camera as a film technique and widely use shooting at deep focus. For some well-known filmmakers, this technique has become an integral feature of their individual style, such as Jean Renoir, Orson Welles, Hou Hsao-Hsien, Abbas Kiarostami. Another distinguishing feature of video cameras is that they have an artificial, i.e. image resolution software enhancement. This is achieved by increasing the contrast at the transitions from light to dark (and vice versa) in order to make the edges of objects appear sharper. Oddly enough, but the viewer often considers such an interpolation a more reliable reflection of reality than a motion picture. Although the movie camera, like the eye, does not outline the contours of objects. On cameras with a sharpness setting, by lowering the sharpness, you can adjust the degree of this artificial edge enhancement, thereby softening the contours and giving the picture a more cinematic, and therefore more lifelike look. The same effect can be achieved using artistic filters such as Promist, Soft, Diffusion. An ideal set of such filters is offered by the American company Tiffen. The set is called the Film Look DV Kit. It consists of four filters:
Lighting plays a fundamental role in cinema, as in photography. Film and video shooting have different lighting requirements. Video cameras react to light in a completely different way than film. The camcorder has a narrower dynamic range, the range of brightness is much sharper defined, while the movie camera is able to extract much more and smoother shades between white and black. Video recording tends to blow out bright areas and lose detail in dark areas. Moreover, the programmatic improvement of the boundaries in this case only exacerbates the matter - the illuminated places shine with impeccable "electronic" whiteness. To some extent, the zebra function, which is available in many cameras of the Prosumer class, helps to rectify the situation to some extent. Set its sensitivity to 100 IRE, a few zebra stripes are always acceptable and even necessary, just don't let them grow into large areas. If we talk about the correct color reproduction, the use of ultraviolet and polarizing filters is absolutely indispensable. They reduce the impact of the blue sky glow, give the picture purity and clarity, where without them it would be smoky and dull. The video image looks blank if there is not enough contrasting colors in the scene being shot. Ideally, it is desirable that in each plan there is something black and something white (just not too white). At the same time, you should not overload a video camera with contrast, because its contrast range is very, very limited in comparison with movie cameras. For example, 35mm film negatives sometimes reach a ratio of 1000:1, while camcorder negatives are usually limited to 32:1. In recent years, professional camcorders under $10.000 have become a must-have feature for gamma correction, which allows the camera to be tuned to work with contrast ratios greater than 32:1. Canon XL2, Canon XL H1, Panasonic AG-DVX100, Sony HVR-Z1 camcorders possess these properties to a greater or lesser extent. Fill light, as well as all kinds of umbrellas and reflectors (reflectors) will help to highlight the details in the shaded areas of the frame. Reflectors can be, for example, a sheet of white drawing paper or a white projector screen. The main thing is that the lighting is used wisely, not just flooding with light, but drawing the subjects of the shooting. Different intensity, direction and tonality of lighting are capable of conveying different moods, can significantly change both the artistic and semantic content of the frame. Publication: camcorder.ru
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