تويت
التصوير الفوتوغرافي الحديث
التصوير الفوتوغرافي الأساسي للصور المتحركة ..
تصوير الفيلم ..
تأثيرات الكاميرا
CAMERA EFFECTS
An enterprising cameraman can work quite a number of special effects and camera tricks into his films to add humor or to achieve some special result . Such tricks are legitimate tools of the trade , and are used by the most conscientious and ethical cameramen . Every good photographer should know how the more common effects are produced . Before explaining them , however , it is necessary to add a word of caution .
Trick photography is effective if used correctly and in moderation . One , two or at the most , three trick shots per film are enough . Anything beyond that is repetitious and boring . Think , for a moment of the good Hollywood pictures you have seen and try to remember how many trick shots they contained . Very few unless the story was built around trick photography . Trick shots are effective if they are unexpected . If the film is top - heavy with them , they are no longer novel and become simply childish .
FAST AND SLOW MOTION . Many types of scenes can be made very effective by changing the camera speed . A graceful swan dive is much more beautiful if it is taken in slow motion . The better movie cameras usually have a slow motion speed of 64 frames per second . When pictures are taken at this speed and projected normally , they are slowed down to 1 / 4th the normal speed . This produces very satisfactory slow motion .
It isn't necessary to use full , slow motion to study action . College football games are often filmed with 16mm or Super - 8 equipment . The coaches study these films , then show them to the players so that any errors they have made may be corrected . It is customary to shoot such pictures at 24 or 32 frames per second and project them at normal speed . This slows down action sufficiently to enable closer study . Full slow motion would be needlessly expensive and time consuming . Operating a camera at 64 frames per second eats up the film in a hurry .
Filming at half - speed ( 8 frames per second ) has the reverse effect . It speeds up action to twice normal . If you want to add a touch of humor to a shot of a busy downtown street , try shooting at half - speed . When the scene is projected at normal speed , everybody will be rushing around in a tearing hurry .
Filming at half - speed doubles the exposure . If the light is too bad to permit pictures even with a wide open lens , you may shoot at half - speed if there is no motion in the scene . However , be sure to keep the camera running for twice as long as you would normally , or the scene will be too short .
FADES AND DISSOLVES . A fade is the gradual appearance or disappearance of a scene . When a scene opens with total darkness and then gradually builds up to full brilliance , you have a fade - in ; the reverse is a fade - out . A dissolve , which is also called a lap - dissolve , is a combination of a fade - in and fade - out with the two scenes over - lapping so that one scene fades out , while the other fades in . Fades . and dissolves are usually used to indicate a lapse of time . A fade - out may also be used to indicate the end of a series of shots of one subject , and a fade - in the start of a new series .
There are a number of ways to make fades and dissolves . The more elaborate cameras have automatically adjustable shutters so that all you do is set a lever or push a button and the scene fades out or in as desired . A dissolve is made by fading - out , winding back the film to the start of the fade - out and then fading - in on the next scene . When projected , the first scene will gradually dissolve into the second .
Fades may also be made by gradually stopping down or opening the lens . while the scene is being shot . This method works only with relatively slow film , or when the light is so limited that the lens must be used practically wide open . It is obviously not possible to fade - out a scene by stopping down the lens when it is already at f / 11 or f / 16 .
Another variation of this method may be used when filming under artificial light . Simply have someone gradually dim the lights by moving opaque cards in front of them , and you get an effective fade - out . Reverse the process for a fade - in .
When shooting indoors , it is often possible to make professional looking fades in the following manner . Work up the shooting script so the first scene is a medium shot of a room . Then set the camera just outside the room , close the door and start shooting with the door closed . Slowly open the door to disclose the room interior . The next scene , of course , can be taken with the camera inside the room to provide good continuity .
Another type of fade is the wipe . In a wipe , one scene seems to push or wipe another off the screen . Good professional wipes call for special equipment , but a very easy wipe can be made simply by holding a black card a little in front of the camera lens and just out of its field of view . When you have shot enough footage
Fade - outs , fade - ins and dissolves are also known as opticals . They are normally accomplished in printing but some cameras have variable shutters so that these effects can be shot in the camera .
The fade - out ( a gradual transition from light to dark ) should be used at the end of a section of the plot since it is like lowering the curtain at the end of an act of a stage play .
The fade - in ( a gradual transition from dark to light ) is like the curtain rising . It is used . immediately after the fade - out to begin the next section of the plot .
Dissolves are used as transitions between the fade - in and fade - out or during the act itself .
In a dissolve , one scene is superimposed on another until it gradually replaces it altogether .
move the card slowly and smoothly in front of the lens . The card will be sufficiently out of focus so it won't be recognized as such . When you project this scene , it will appear to be wiped off the screen . You may , if you wish , start the next scene with the card in front of the camera and slowly continue its movement in the same direction as the first scene . This will achieve a full wipe .
It is possible to make very good fades and wipes through the use of black dyes . If the end of a strip of film is slowly immersed in a suitable dye solution and slowly withdrawn again , the end will be dyed quite deeply because it has been in the dye longest . The density will gradually diminish until the undyed film is reached . To make a fade - in , dye the beginning of a scene ; to make a fade - out , dye the end . Wipes may be made by covering part of the film with Scotch tape and immersing it so it is dyed fully except where covered by the tape .
التصوير الفوتوغرافي الأساسي للصور المتحركة ..
تصوير الفيلم ..
تأثيرات الكاميرا
CAMERA EFFECTS
An enterprising cameraman can work quite a number of special effects and camera tricks into his films to add humor or to achieve some special result . Such tricks are legitimate tools of the trade , and are used by the most conscientious and ethical cameramen . Every good photographer should know how the more common effects are produced . Before explaining them , however , it is necessary to add a word of caution .
Trick photography is effective if used correctly and in moderation . One , two or at the most , three trick shots per film are enough . Anything beyond that is repetitious and boring . Think , for a moment of the good Hollywood pictures you have seen and try to remember how many trick shots they contained . Very few unless the story was built around trick photography . Trick shots are effective if they are unexpected . If the film is top - heavy with them , they are no longer novel and become simply childish .
FAST AND SLOW MOTION . Many types of scenes can be made very effective by changing the camera speed . A graceful swan dive is much more beautiful if it is taken in slow motion . The better movie cameras usually have a slow motion speed of 64 frames per second . When pictures are taken at this speed and projected normally , they are slowed down to 1 / 4th the normal speed . This produces very satisfactory slow motion .
It isn't necessary to use full , slow motion to study action . College football games are often filmed with 16mm or Super - 8 equipment . The coaches study these films , then show them to the players so that any errors they have made may be corrected . It is customary to shoot such pictures at 24 or 32 frames per second and project them at normal speed . This slows down action sufficiently to enable closer study . Full slow motion would be needlessly expensive and time consuming . Operating a camera at 64 frames per second eats up the film in a hurry .
Filming at half - speed ( 8 frames per second ) has the reverse effect . It speeds up action to twice normal . If you want to add a touch of humor to a shot of a busy downtown street , try shooting at half - speed . When the scene is projected at normal speed , everybody will be rushing around in a tearing hurry .
Filming at half - speed doubles the exposure . If the light is too bad to permit pictures even with a wide open lens , you may shoot at half - speed if there is no motion in the scene . However , be sure to keep the camera running for twice as long as you would normally , or the scene will be too short .
FADES AND DISSOLVES . A fade is the gradual appearance or disappearance of a scene . When a scene opens with total darkness and then gradually builds up to full brilliance , you have a fade - in ; the reverse is a fade - out . A dissolve , which is also called a lap - dissolve , is a combination of a fade - in and fade - out with the two scenes over - lapping so that one scene fades out , while the other fades in . Fades . and dissolves are usually used to indicate a lapse of time . A fade - out may also be used to indicate the end of a series of shots of one subject , and a fade - in the start of a new series .
There are a number of ways to make fades and dissolves . The more elaborate cameras have automatically adjustable shutters so that all you do is set a lever or push a button and the scene fades out or in as desired . A dissolve is made by fading - out , winding back the film to the start of the fade - out and then fading - in on the next scene . When projected , the first scene will gradually dissolve into the second .
Fades may also be made by gradually stopping down or opening the lens . while the scene is being shot . This method works only with relatively slow film , or when the light is so limited that the lens must be used practically wide open . It is obviously not possible to fade - out a scene by stopping down the lens when it is already at f / 11 or f / 16 .
Another variation of this method may be used when filming under artificial light . Simply have someone gradually dim the lights by moving opaque cards in front of them , and you get an effective fade - out . Reverse the process for a fade - in .
When shooting indoors , it is often possible to make professional looking fades in the following manner . Work up the shooting script so the first scene is a medium shot of a room . Then set the camera just outside the room , close the door and start shooting with the door closed . Slowly open the door to disclose the room interior . The next scene , of course , can be taken with the camera inside the room to provide good continuity .
Another type of fade is the wipe . In a wipe , one scene seems to push or wipe another off the screen . Good professional wipes call for special equipment , but a very easy wipe can be made simply by holding a black card a little in front of the camera lens and just out of its field of view . When you have shot enough footage
Fade - outs , fade - ins and dissolves are also known as opticals . They are normally accomplished in printing but some cameras have variable shutters so that these effects can be shot in the camera .
The fade - out ( a gradual transition from light to dark ) should be used at the end of a section of the plot since it is like lowering the curtain at the end of an act of a stage play .
The fade - in ( a gradual transition from dark to light ) is like the curtain rising . It is used . immediately after the fade - out to begin the next section of the plot .
Dissolves are used as transitions between the fade - in and fade - out or during the act itself .
In a dissolve , one scene is superimposed on another until it gradually replaces it altogether .
move the card slowly and smoothly in front of the lens . The card will be sufficiently out of focus so it won't be recognized as such . When you project this scene , it will appear to be wiped off the screen . You may , if you wish , start the next scene with the card in front of the camera and slowly continue its movement in the same direction as the first scene . This will achieve a full wipe .
It is possible to make very good fades and wipes through the use of black dyes . If the end of a strip of film is slowly immersed in a suitable dye solution and slowly withdrawn again , the end will be dyed quite deeply because it has been in the dye longest . The density will gradually diminish until the undyed film is reached . To make a fade - in , dye the beginning of a scene ; to make a fade - out , dye the end . Wipes may be made by covering part of the film with Scotch tape and immersing it so it is dyed fully except where covered by the tape .
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