Camera, Lighting and Motion Capture

BEHIND THE SCENES: first feature film shot entirely on Prius backup camera

Green Screen Tips, Tricks and Materials – Chromakey Tutorial

6K RAW In-Camera

Making of Mad Max: Fury Road from ACS Victoria with John Seale ACS ASC and David Burr ACS

Vary your video composition: 10 types of camera shots

Until you’ve experienced being on the other side of the camera, moviegoers might not realize that they’ve been engaged throughout the storyline because of the range of camera shots in the film. It’s not just writing and acting that pushes the narrative forward (don’t get me wrong — they’re very important too!), but the actual composition of each frame can mean something and keep viewers interested.


Digital Camera World

Discount Digital Photographs

Drone Production Company – Fancy Drone Camerawork

Creative Live

Daniel Smukalla: Director of Photography Seoul, South Korea.

DJI Inspire 1: Everything you need for aerial filmmaking, integrated into an elegant, ready-to-fly system.

Gizmodo DSLR Buying Guide: Top DSLR Tips For Beginners


Clark Little

456e2abd8eb3490fa937f5d82774fc3c_largeEdgertronic Affordable High-Speed Camera Will Officially Be Released

Kick Starter: Color 1280×1024 High Speed Video Camera – Up to 17,791 Frames/Sec. – Powerful – Easy to Use – Price Starting Under $5K

Canon’s new $30,000 video camera can see where you can’t

Pocket Skater

Projection Mapping – through the lenses:  audi a3 sportback behind the scene

Aerial Film Australia

Airstoc –  Professional Drone Aerial Footage Marketplace.

Bret Price – Aerial Photography Specialist

Janusz Kaminski

Roger Dean 

Top Cinematographers Reveal Their Favourite Movie Moments 

A beginner’s Guide to Cinematographers

The Surprisingly Fascinating World of Frame Rates

Aerial Film Australia

The Changing Shape of Cinema: The History of Aspect Ratio

Avengers: Age of Ultron Scenes Shot with BlackMagic PCC. Cinematographer Ben Davis used Blackmagic Design Pocket Cinema Camera for much of the footage for super hero blockbuster. 

Cinematographer John Seale Rolls Down ‘Fury Road’


BREKEL  Tools for Markerless Motion Capture



Cinematography, Film Craft Series by Mike Goodridge and Tim Grierson

Framed Ink: Drawing and Composition for Visual Storytellers by Marcos Mateu-Mestre

Aerial Photography:

Near Map delivers high-resolution aerial imagery direct to your device, within days of capture.

Professional Aerial Photography or PAP, can perform all of your photographic needs. While we specialize in aerial photography using our state of the art drones.

Skyshots Low Level Aerial Photography Advantages

Vimeo Staff Picks: Omote/Real-time Face Tracking and Projection Mapping

Lighting with one light.

Information about filming shots, cameras, lighting and composition.

The Changing Shape of Cinema: The History of Aspect Ratio

Robert Rodriguez – Ten Minute Film School

Cinematography with Richard Michalak Trailer

Cinematography Learn from a Master

Steady Feathers: LG G2 – The most extreme camera ever “Chicken”


Elements of Cinematography: Camera

Camera Moves


Is when equal amounts of what and black paint are mixed together.


Reflected and incident


Toe and shoulder

Highlights, middle tones and shadows.

Contrast or tonal difference between the highlights and shadow areas.  Is dependent on the amount of exposure of the shadows as will as development.

Density is the difference between the amount of light striking the film and the amount of light that actually passes through the film or how much transmitted light passes through the film. The differences in the density determine its contrast.

zonescaleZONE  SYSTEM

Each zone receives withe twice or half the light of the some before or after.

Film is 24 fps and video is 25 or 30 fps.  Film cameras can be overcranked to higher frame rates and when played back at normal frame rates the images appear slower or undercranked, where the footage appears faster when played back.  The shutter exposure is 1/48th of a second, half the speed is 12 fps  with the exposure increased to 1/24th of second, doubled is 48 fps with the exposure reduced to 1/96th of a second.

Film/light sensor where the light-sensitive material of the camera is located.

Lens, optical part of the camera focusing the rays of light onto a recording media such as film which then runs through a film gate which consists of the pressure plate and the aperture plate which contains the film aperture, in front of the aperture is the shutter.  A camera lens contains multiple lenses, elements  for focusing the light onto the plane or back of the camera, an iris controlling the size of the opening or aperture setting which is controlling how much light is getting into the camera.  The film aperture defines the shape of the image on the film.

Shutter controls the amount of light that enters the camera through the speed at which it opens and closes using varying amounts of time for light exposure, does not control the amount of light.  Increasing the shutter speed decreases the exposure, decreasing the shutter speed increased the exposure, how long light flows.  1/8th of sec, 1/12,000th of a second, controlling the motion of objects.  Slow shutter speeds slow objects if moving faster than the shutter speed. Leaf or focal plane shutter and movie cameras use a rotating circular shutter with a 180º cut out.

Aperture or diaphragm controls the amount of light entering the lens, with variable opening, the size of the opening.  Changing this opening changes the amount of light that passes through, controller of intensity or brightness of light.  The f-stop is the number that equals the focal length of a lens divided by the diameter of the effective aperture, or relative aperture.  f-8 to f/11 the light is halved, or from f/11 to f/8 the light is doubled, f/2.8 is faster than f3.5, with each change in exposure representing a “stop”.  The aperture also controls the depth of field.

Critical Plane Focus which is where the actual focus of the lens falls.

Depth of fields the area or region that has the sharpest focus, the near plane and the far plane bracket the depth of field. This is not the Critical Plane Focus which is where the actual focus of the lens falls.  The depth of field lies before and after the critical plane focus, functioning as a regional sharpness compressor and expanders dictated by the aperture opening. Wide apertures (smaller f stops numbers) have a narrow depth of field because the far and near planes of focus are closer to each other. Small aperture (larger f stop numbers) the depth of field increases with the near and far planes moving further apart resulting in more areas of the scene in sharper focus.

Focus control mechanism controls the distance of the lens to the film either moving the lens assembly away from the film plane or towards

The focal length is the distance between the centre of the primary lens and the film.  A shorter length or wider focal length gives a more pronounced perspective and larger sense of depth with more of the scene visible in the image, about 24mm or less.  A longer focal length produces images that exhibit a flatter look with less sense of depth and less of the scene, about 50mm or greater.  Prime lenses have a fixed focal length. Variable or zoom lenses where the focal length can change.

d7qde09zci7hmbxsruecWhen you zoom in it looks like you walked towards the subject with a prime lens, it is a two dimensional move that is simply magnifying the image.  Dolly move is a three dimensional move that displaces objects in the frame. Zooming and dollying in have different relationships of foreground and background elements, they have different perspectives.  Where depth is concerned, parallax dictates that moving a camera forward (i.e. tracking shot) distorts closer objects more prominently than those further away from view; however, zooming in effectively works as a crop by affecting the entire image in equal measure (note the size of the vinyl record in the images below).  Check the relationship between the foreground and background, If they do not move independently then it is probably zoomed.

When an image is in focus the lens is bending the light so that the beams of light converge exactly at the film plane otherwise it will be blurry or capture12out of focus. The light from closer objects enters the lens at different angles than light from distant objects meaning it is possible to have some objects in focus and some out of focus. Having a sharp photograph is dependent on something called “depth of field”.  To put it simply, depth of field is the amount of the photographic scene that is in focus, or sharp.  It can be greater, with much of the scene in focus, or shallow, where very little is in focus.  Depth of field changes with the angle of the camera’s lens, the distance from the lens to the objects in the image, and the camera’s settings.  It is especially dependent on the aperture.  (Remember aperture is the size of the opening of a camera’s lens, and it controls the amount of light entering into the lens at one time.)

Nodal Point or optical centre is at the centre of the lens. When a camera moves or translates the resulting image will exhibit parallax when the camera pans or rotates there is not parallax, rotating around its nodal point. If the pivot point is the tripod it is not the optical centre in the lens.  3D cameras are mathematically perfect cameras and they need to reflect a small amount of parallax.  Measure the focal distances and distances to the subject from the nodal point of the lens.

Film Backs and CCDs, the film aperture is directly in front of the film, the size and shape of this opening dictates the size and shape or format of the image.  The film back and focal length together help define the filed of view which represents what section of the scene will be visible with a particular lens and film aperture configuration.  The Angle of View measures the 360º visible circle and is expressed in degrees.  A longer lens has a lens centre further away from the film back giving a narrower angle of vision.

Digital cameras record incoming light as an electrical signal, CCD with its shape defining the shape of the image. With smaller digital sensors affecting how focal lengths are measured and changing the relationship between the lens and the sensor different lenses are required to create the same image on the digital film back.

barrel_linesLens Distortion causes images to become stretched or compressed near the edges of the frame, inwards is barrel distortion, outwards or pincushion distortion. One type of distortion is known as “Barrel Distortion.” Barrel distortion is a side effect of the round glass elements within a lens and the effect of bending light more near the edges of the lens then we encounter near the center of the lens. The smaller the lens diameter gets the more drastic the effect of Barrel Distortion becomes.  It occurs more with wide-angle and zoom lenses.


GoPro HERO4: The Adventure of Life in 4K

Making of Mad Max: Fury Road from ACS Victoria with John Seale ACS ASC and David Burr ACS

THE HOBBIT, Production Diary 4


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