Every story needs a character. Good character development can help the viewer relate to your subject and the issues being presented in your documentary. The most important part of character development is to form an emotional connection between the viewer and your character.
By nature, people want to connect with others on some level or another. If you give the viewer a reason to empathize with your subject they'll want to stick around to see what happens to them. Establishing this connection should be done at the beginning of your documentary, as you introduce the character. Within a few scenes you should be able to show your character's personality traits, and gain the viewer's empathy.
Once the viewer cares what happens to your character, identify your character's motivation for the goal they are trying to reach. Show your audience the obstacles that the character must overcome to reach those goals, and any barriers that may hold them back. This can help build conflict and shape the development of your character as they struggle in their journey. Interviewing your subject is helpful as well, because it allows your subject to voice their thoughts and emotions.
In the end, it doesn't matter if your character is successful at reaching their goal or not. If you create an emotional connection between the viewer and the character, the viewer will be able to empathize with the character no matter the outcome. The character is a very powerful tool in the documentary genre. If you are successful in the development of your subject, you will be able to create a more compelling story, and add to the overall emotional impact of your documentary.
Monday, May 30, 2011
ATOMOS NINJA
With the recent increase in affordable large sensor cameras, the demand for external recorders has risen considerably. Atomos is now shipping their highly anticipated ninja recorder and I was able to get my hands on one to run it through the paces.
The Ninja records directly to standard 2.5” hard drives as Apple ProRes files. While it will work with standard spinning 2.5” drives, we recommend using SSD drives to avoid any potential issues with dropped frames. In my testing, the Ninja only dropped frames with a spinning hard drive when shaken vigorously — obviously outside most operating behaviors, but it is something to keep in mind.
With an HDMI input, the Ninja is great for cameras such as the Panasonic Lumix GH2, the upcoming Sony NEX-FS100, or anything with an HDMI output, such as the Sony PMW-EX1R. Since the HDMI output of your camera is uncompressed, this is a great way to record a higher quality and bit rate, and skip the compression of the internal recording. The Ninja was able to handle any HD resolution and frame rate I threw at it, including the tricky 1080/60i (not 59.97) from the GH2.
With an easy-to-use interface and a responsive touchscreen, the 4.3″ monitor was sharp enough to check for focus, even when shooting wide open on the Panasonic AF-100 and Sony PMW-F3 The large icons combined with the resistive touchscreen means that using the Ninja in extreme conditions, such as winter with thick gloves, would not be an issue.
At this stage of the firmware, there is no playback function. Atomos assures us, however, that a firmware update to correct this is in the works. The Ninja lists for $999 and is available now.
Atomos has also just revealed the new Samurai recorder, which builds upon the features of the Ninja but adds several upgrades. In addition to the HD/SDI input & output, the Samurai uses a larger and higher resolution 5” (800×480) screen. It also provides timecode and genlock/3D support and can accept a 24PsF signal. Available this Summer with a list price of $1500, we’re looking forward to seeing and testing the Samurai.
Tuesday, April 12, 2011
LENS KNOWLEDGE (101)
Still in the mood of NAB 2011 i would like to share with you some basic knowledge i culled up from one of my resources about lens.
●Angle of view and focal lengthThe angle of view represents the subject range that can be imaged with the image sensor, and is expressed in degrees. The shorter the focal length of the lens, the greater the angle of view (i.e. the lens is wide-angle), and the longer the focal length, the smaller the angle of view (i.e. the lens is telephoto). The angle of view is determined by the lens' focal length and the image sensor's diagonal length, and usually expressed with the following formula.
With the Four Thirds system, the diagonal length of the image sensor is about 1/2 that of 35mm film. This facilitates the conversion of the focal length required for a given angle, which is about 1/2 of the focal length of the 35mm film camera lenses. Users who are accustomed to the traditional 35mm film camera can easily estimate the angle of view of a Four Thirds camera (for example, a 14-50mm lens for Four Thirds camera is equivalent to a 28-100mm lens for 35mm film camera).
●F-numberF-number represents the brightness of the lens. A bright lens has a low F-number and a darker lens has a higher F-number. The F-number is expressed with the formula shown above. In general, the advantages of a bright lens include; 1) smooth defocusing; 2) quality imaging at high shutter speeds, in addition to a bright and easy-to-see viewfinder image.
●Depth of fieldDepth of field is the distance in front of and behind the subject which appears to be in focus. The depth of field in front of the subject is not the same as that behind the subject. Usually, the former is smaller than the latter. The depth of field also increases when the focal length of the lens is short (wide-angle), the shooting distance is long or the lens aperture is stopped down. Therefore, enhancing these factors make it possible to increase the depth of field and attenuating them makes it possible to decrease the depth of field.
●PerspectivePerspective refers to the appearance of distance between a nearby subject and faraway subject (the visual effect expressing the distance between them). With a wider-angle lens, the image sizes of nearer subjects increase and the distance of the background is exaggerated. A telephoto lens, on the other hand, compresses distance so the distance between the subject and background is lost.
●Image magnificationMagnification is the value representing the size of the image of a subject captured by the image sensor compared to the actual size of the subject. The magnification at which the subject image is largest is referred to as the maximum image magnification. For example, an image sensor that can capture the image of a subject in life size has 1x magnification, while an image sensor that can capture the image only at half size has 0.5x magnification. Image capturing with a high magnification is usually possible with a macro lens, but it is also possible to increase the magnification of an existing lens with a simplified method using an extension tube or teleconverter.
(Note)
The maximum image magnification of a Four Thirds lens can be converted into the maximum image magnification of a 35mm film camera lens by multiplying "the indicated maximum image magnification x 2".
(Note)
The maximum image magnification of a Four Thirds lens can be converted into the maximum image magnification of a 35mm film camera lens by multiplying "the indicated maximum image magnification x 2".
●Difference between focusing distance and working distanceThe focusing distance is the length between the focused position of the subject and the image sensor, and the working distance is the length between the focused position of the subject and the front of the lens. This means that, when the focusing distance is identical, the working distance is smaller when a lens with a larger overall length is used.
●MTFThe MTF (Modulation Transfer Function) curve is a lens performance indicator that represents how faithfully a lens can reproduce the contrast of the subject. The MTF curve is drawn by taking the contrast reproduction rate (%) on the vertical axis and the distance from the image center (mm) on the horizontal axis. Evaluation is performed with a set of two curves, including the S (Sagittal) curve in the radial direction and the M (Meridional) cover in the concentric circle direction. The MTF curve chart shown here shows how the contrasts of an image containing 20 sine waves per mm and an image containing 60 sine waves per mm can be reproduced. In general, the curve for lower frequency approaches 100% when the lens has a high contrast, and that for higher frequency is high when the lens has high resolution. The frequencies used for this evaluation vary depending on the design policies of manufacturers.
Super Session Addresses Quality Video on the Cheap
| Rodney Charters |
Charters joined a panel of other experts at a Monday's Super Session on ways that independent filmmakers can effectively create "a million-dollar look on a thousand-dollar budget."
The well-attended discussion and Q&A featured lots of anecdotal notes on how digital special effects software and favored hardware — such as the RED Camera and Canon's EOS 5D Mark II Digital SRA — are revolutionizing the way indie films, short films and TV commercials are lit, shot and edited.
ILLUSION OF VALUE
Moderator Brian Valente, a partner with Redrock Microsystems LLC, opened the session with a clip consisting of chases, hand-to-hand combat and other typical action fare that appeared to the casual observer to have required far more expensive and sophisticated equipment than was actually deployed for the shoot: simply the 5D Mark II and a skateboard!
The simple production approach "illustrates how to create the 'illusion' of high production values without spending enormous amounts of money," Valente said.
With the entertainment industry buffeted by the same economic headwinds as the rest of the country, the NAB Show is well timed to help educate attendees about ways to economize without sacrificing quality.
|
Maschwitz said because it appears to most onlookers outside the industry as basically a still camera, he is able to shoot video footage on location where larger, more traditional-looking HD cams might be frowned upon.
While the 5D Mark II also features a 21.1-megapixel, 24 x 36mm CMOS sensor and an expanded sensitivity range from ISO 50 to ISO 25,600, Maschwitz would like to see Canon offer middleware (or some other conversion method) to make a 5D unit with a more film-friendly 24 fps, not just TV-friendly 30 fps.
Maschwitz took a quick straw poll of the audience, which seemed to support his suggestion.
Charters, who still prefers what he sees as the inherent qualities of film over digital, which he finds "a challenge and essentially eliminates a film colorist," noted that using essentially a still camera such as Canon's to shoot video has created some head-scratching and concerns with the unions. When he does use digital, he said, "It's important to use the fastest card you have."
Panelist Charles Papert, co-founder of Instant Films, concluded that "it's become the thing to do to shoot digital."
He likened the timing of far more cost-effective digital video tools with the current global economic turndown as creating a sort of "perfect storm" for filmmakers and all those associated with the industry, where both budgets and quality are always of concern.
Culled from Daily New NAB 2011
Cameron, Pace Keynote Sets Tone for the Show
With this year's theme of "The Art of Integration," the collaboration of art and technology are front and center as filmmaker James Cameron and acclaimed cinematographer Vince Pace get the 2011 NAB Show off to a resounding start.
The NAB Show Opening begins this morning with opening remarks from NAB President and CEO Gordon Smith who will welcome attendees to the convention and present the Distinguished Service Award to former NAB President Eddie Fritts. The event is sponsored by Blackmagic Design.
Cameron, the creative force behind the two highest grossing motion pictures of all time, and Vince Pace, a world-renowned visual effects visionary and 3D innovator, then take the stage for the keynote address with a look at recent innovations in 3D technology and storytelling, and future implications for the entertainment industry at large.
Over the past decade, individually and together Cameron and Pace have been responsible for films earning more than $4.6 billion at the box office including 1997's monumental blockbuster "Titanic," the underwater 3D adventure "Ghosts of the Abyss" (2003), and 2009's groundbreaking 3D hit "Avatar." Their efforts have won them numerous awards from the filmmaking industry.
Cameron landed his first film job in 1980 as art director on Roger Corman's "Battle Beyond the Stars." The next year he directed his debut feature "Piranha Part Two: The Spawning."
But his big break came when he wrote and directed his first mega hit, "The Terminator" (1984), which lead to a string of mostly sci-fi hits including "Terminator 2: Judgment Day" (1991) and "Aliens" (1986).
After working with Pace, CEO of PACE, on "The Abyss," they collaborated on technology originally called The Reality Camera, which eventually became the FUSION 3D camera system, first used on Cameron's "Ghosts of the Abyss."
Pace is credited with the idea of mounting two HD cameras side-by-side, but dynamically controlling the angle of their lenses to converge at the central object of the 3D image. This results in greater creative flexibility when shooting in 3D, and less eye strain for the audience when watching it. FUSION 3D launched the current era of stereoscopic 3D filmmaking.
Pace has provided both 3D and 2D camera equipment and post-production facilities to major motion pictures, live sporting events and entertainment concerts around the world.
Their keynote sets the stage for the show's lineup of Super Sessions, General Sessions, the Content Theater and the Content Conference, which offer convention-goers multiple opportunities to see clips and hear stories from top filmmakers; learn how they use the latest tools and techniques in production obstacles; and see how visual effects have become critical to the art of storytelling.
Distinguished Service Award recipient Eddie Fritts served as president and CEO of NAB from 1982–2006.
"For more than two decades, Eddie Fritts carried the banner for free and local broadcasting on Capitol Hill with integrity and distinction," said NAB President and CEO Gordon Smith. "Eddie helped put NAB on the map as an advocacy force in Washington, and his accomplishments on behalf of radio and television stations — and the listeners and viewers that we serve — will be felt for decades to come. I'm honored to follow in his footsteps as head of NAB, and we are thrilled to present him with the prestigious Distinguished Service Award."
Fritts rose from radio broadcaster in a small Mississippi market to an industry leader on Capitol Hill where he fought for public policies including the 1992 Cable Act and the regulatory reform contained in the 1996 Communications Act.
Currently Fritts is head of the political consulting agency, The Fritts Group, in Washington, D.C.
The NAB Show Opening begins this morning with opening remarks from NAB President and CEO Gordon Smith who will welcome attendees to the convention and present the Distinguished Service Award to former NAB President Eddie Fritts. The event is sponsored by Blackmagic Design.
Cameron, the creative force behind the two highest grossing motion pictures of all time, and Vince Pace, a world-renowned visual effects visionary and 3D innovator, then take the stage for the keynote address with a look at recent innovations in 3D technology and storytelling, and future implications for the entertainment industry at large.
|
Cameron landed his first film job in 1980 as art director on Roger Corman's "Battle Beyond the Stars." The next year he directed his debut feature "Piranha Part Two: The Spawning."
But his big break came when he wrote and directed his first mega hit, "The Terminator" (1984), which lead to a string of mostly sci-fi hits including "Terminator 2: Judgment Day" (1991) and "Aliens" (1986).
After working with Pace, CEO of PACE, on "The Abyss," they collaborated on technology originally called The Reality Camera, which eventually became the FUSION 3D camera system, first used on Cameron's "Ghosts of the Abyss."
|
Pace has provided both 3D and 2D camera equipment and post-production facilities to major motion pictures, live sporting events and entertainment concerts around the world.
Their keynote sets the stage for the show's lineup of Super Sessions, General Sessions, the Content Theater and the Content Conference, which offer convention-goers multiple opportunities to see clips and hear stories from top filmmakers; learn how they use the latest tools and techniques in production obstacles; and see how visual effects have become critical to the art of storytelling.
Distinguished Service Award recipient Eddie Fritts served as president and CEO of NAB from 1982–2006.
"For more than two decades, Eddie Fritts carried the banner for free and local broadcasting on Capitol Hill with integrity and distinction," said NAB President and CEO Gordon Smith. "Eddie helped put NAB on the map as an advocacy force in Washington, and his accomplishments on behalf of radio and television stations — and the listeners and viewers that we serve — will be felt for decades to come. I'm honored to follow in his footsteps as head of NAB, and we are thrilled to present him with the prestigious Distinguished Service Award."
Fritts rose from radio broadcaster in a small Mississippi market to an industry leader on Capitol Hill where he fought for public policies including the 1992 Cable Act and the regulatory reform contained in the 1996 Communications Act.
Currently Fritts is head of the political consulting agency, The Fritts Group, in Washington, D.C.
From Te Daily NEW (NAB 2011
Thursday, March 24, 2011
Documentary Tip: Production Prep
There are times when shooting a documentary will take you far away from your base and to an unfamiliar area, and other times it will only take you down the road a couple of miles. Either way, traveling with your gear can be stressful. With so many things that could go wrong, such as equipment damage or theft, or simply not remembering to bring extra batteries, it's easy to be less than enthusiastic about taking your production on the road. One way to soothe those equipment jitters is to be prepared.
With so many things to do before taking a trip, it's easy to forget the obvious essentials. Often, travelers will forget to pack a toothbrush, which is a mistake easily remedied by visiting the nearest drugstore. In the case of production gear, forgetting an essential piece of equipment can mean a standstill in your production. An easy way to solve this problem is to make a checklist.
Checklists are a great way to keep track of what you've already packed and items that still need to be obtained. Be thorough in your list-making, making a point not to exclude even the most obvious items.
Some basic items you might include on your checklist are: a camcorder, camcorder batteries, a battery charger, videotape or flash memory cards, microphones (additional batteries, if you're using a wireless system), a tripod or monopod, lights, stands, cables, and gaffer's tape. If you're traveling to another country be sure to add to your checklist the proper adapter/voltage converter, otherwise you'll have dead batteries and no way to charge them.
Making a thorough checklist can reduce the worry of forgetting something important. If you make it well in advance, you'll have enough time to review and modify it as needed. Whether you're traveling by air, by car, in a boat or by foot, knowing what you're bringing and how to pack it will ease your worries, allowing you to focus on the task at hand.
With so many things to do before taking a trip, it's easy to forget the obvious essentials. Often, travelers will forget to pack a toothbrush, which is a mistake easily remedied by visiting the nearest drugstore. In the case of production gear, forgetting an essential piece of equipment can mean a standstill in your production. An easy way to solve this problem is to make a checklist.
Checklists are a great way to keep track of what you've already packed and items that still need to be obtained. Be thorough in your list-making, making a point not to exclude even the most obvious items.
Some basic items you might include on your checklist are: a camcorder, camcorder batteries, a battery charger, videotape or flash memory cards, microphones (additional batteries, if you're using a wireless system), a tripod or monopod, lights, stands, cables, and gaffer's tape. If you're traveling to another country be sure to add to your checklist the proper adapter/voltage converter, otherwise you'll have dead batteries and no way to charge them.
Making a thorough checklist can reduce the worry of forgetting something important. If you make it well in advance, you'll have enough time to review and modify it as needed. Whether you're traveling by air, by car, in a boat or by foot, knowing what you're bringing and how to pack it will ease your worries, allowing you to focus on the task at hand.
Thursday, March 17, 2011
Documentary Tip - Finding an Approach
I am still on the series Documentary Tips, the next most important decision is the approach and if you ask me there are several approach if we are going by the books but Director are becoming very creative and beyond all the approaches i will discuss below, the industry is evolving, i would encourage you view several other peoples job and try to create your own approach this will give it a flavor you will forever cherish.
There are a number of ways you can approach a single subject, and each approach will give your documentary a different feel. Taking a look at documentary genres and sub-genres, such as observational and participatory, can help you in determining how you want to approach your topic.
Observational documentaries follow a "fly-on-the-wall" approach. This technique focuses on observing the subjects in typical, everyday situations. As an observational documentarian, you're strictly there to capture what happens, without influencing the outcome in any way. Winged Migration is a great example of this approach.
A participatory approach is the exact opposite of an observational one. If you choose a participatory approach you are choosing to step out from behind the camera and actively participate in the documentary you're making. This approach can be found in documentaries like Bowling for Columbine and Where in the World Is Osama Bin Laden? The topic is explored through the director's experience and point-of-view, and focuses on persuading the viewer.
As a documentarian, you determine the viewer's experience. Your approach will significantly affect how your viewer perceives your documentary and the information presented to them. Finding an approach that best suits your storytelling goal and style will increase the impact that your documentary will have.
One of the most important decisions you will make is choosing which genre style to shoot your documentary in.
There are a number of ways you can approach a single subject, and each approach will give your documentary a different feel. Taking a look at documentary genres and sub-genres, such as observational and participatory, can help you in determining how you want to approach your topic.
Observational documentaries follow a "fly-on-the-wall" approach. This technique focuses on observing the subjects in typical, everyday situations. As an observational documentarian, you're strictly there to capture what happens, without influencing the outcome in any way. Winged Migration is a great example of this approach.
A participatory approach is the exact opposite of an observational one. If you choose a participatory approach you are choosing to step out from behind the camera and actively participate in the documentary you're making. This approach can be found in documentaries like Bowling for Columbine and Where in the World Is Osama Bin Laden? The topic is explored through the director's experience and point-of-view, and focuses on persuading the viewer.
As a documentarian, you determine the viewer's experience. Your approach will significantly affect how your viewer perceives your documentary and the information presented to them. Finding an approach that best suits your storytelling goal and style will increase the impact that your documentary will have.
One of the most important decisions you will make is choosing which genre style to shoot your documentary in.
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