Farewell - Blog Post #15 -

Where do I begin! I really enjoyed taking this class this semester! Words cannot really describe all of the new things that I have learned. I really enjoyed getting to work with many different kinds of camera models. Learning the pros and cons of each model that we have in our TCF department was really cool and interesting. Even though I never got to check out the EX3, I would have to say that it was probably my favorite camera that we used. I was blown away by the quality of image it recorded and all of the neat features that it has. In the future, I hope to shoot some kind of sporting event with it. Another major thing I learned this semester was lighting. In TCF201 we touched on the basics of scene lighting and that was really it. In this class, I learned how to get rid of shadows, the difference between certain kinds of bulbs and their color temperatures and how it would look thru a camera lens. I learned to not over expose a scene and to keep my lighting as subtle and smooth looking as possible. I never had a really good grasp on how to light a scene until taking this class. I know that it is going to help me in the future. Another thing I really enjoyed about this class, were the people that were in it. It never really occurred to me just how much talent there was in the room until we watched our reels. I also really enjoyed how everyone treated each other with respect and was not harsh one another when it came to critiquing each other’s work. All of the comments and critiques that I was given really helped me out through out the course to this class. Most importantly, I learned what I wanted to do with myself as a person. All of the filming assignments and working at the many different roles of a film crew helped me solidify the fact that I want to be an editor. It is what I truly am best at, and by working as a director, or a DP, or as an AD helped me realize that. I will never forget the friends I made while taking this class or the things I learned. I hope to work with everybody on projects in the future.

-Ted

DSLR Film Making - Blog Post #14 -

DSLR Filmmaking is an interesting subject to me. The imagery these cameras are able to produce is nothing short of astounding. The fact that you can get a great video-capable DSLR with a kit lens for under $1,000 is almost too good to be true. But let me say straight out: there are some serious drawbacks to shooting video with DSLRs. They are anything but newcomer-friendly. Doesn't that mean they're not worth the investment. You do, however, really need to know what you're getting into before you start investing in a DSLR video rig of your own. Here are some of the pros and cons of DSLR Cameras.

Pros:

1. DSLRs are capable of producing beautiful, cinematic images that look closer to film than otherwise possible without spending $100K.  For many of us, this is reason enough to put up with all of the cons.

2. DSLRs are small, lightweight, and can be used in a huge variety of settings.

3. DSLRs themselves are very budget-friendly given the professional imagery they can produce.

Cons:

1. DSLRs record audio so poor that it's completely unusable for any kind of professional production. There are ways around this, but the long and short of it is that you'll need to be ready to invest some time and money into audio solutions in order to use this for live event or interview scenarios. 

2. DSLRs require some sort of stabilization solution in order to be usable. I think it is necessary to get a shoulder stabilizer when you purchase the camera - shots holding the camera itself while trying to focus will look amateur.

3. DSLRs have very short clip limits. The Canon's can shoot clips that are 12-minutes long max, and as far as I am aware that's longer than the Nikons or the Panasonics. This is great for concept shorts, but can become a serious problem for live event projects such as weddings or worship services.

A good reel - Blog Post #13 -

Personally, I think whether you are putting together a directing, cinematography, or editing reel, you should show more than just montages. People need to know that you can be consistent with your shots and directing and editing. For example, anyone can put together montages of pretty shots, but how consistent are they when it comes to the lighting and framing of a scene is hard to tell with their montages. Good reels are challenging to make, and I think that it says alot about the person that made the reel if he can be consistent and visually compelling.

Money $hots - Blog Post #12 -

A money shot is a provocative, sensational, or memorable sequence in a film, on which the film's commercial performance is perceived to depend. A money shot is something that makes a person think to themselves "there it is! thats the glorious shot!". In general film-making usage the term "money shot" can also refer to the scene that cost the most money to produce. The scene may or may not be a special effects sequence, but may be counted on to become a selling point for the film. For example, in an action thriller, an expensive special effects sequence of a dam bursting might be called the "money shot" of the film. In order to achieve a money shot, you need a strong or compelling moment, or an amazing event to film! Using all of your knowledge with cameras and their capabilities, a good cinematographer can capture something truly breathtaking!

Camera Movement - Blog Post #10 -

A camera’s movement provides more than an audience’s viewpoint and perspective of the action. Movement may also provide an aesthetic means by establishing emotions, whether of a character’s or from experiencing it from a third-person perspective. Always, when the camera moves, it moves in relation to something, and that something may either be a character or an object. Camera movement should be planned ahead of time, and employed dependently along with camera angles and composition to create any effective emotions all around.

DP Scene Assignment - Blog Post #11 -

Boy oh boy was this assignment interesting! I've NEVER really been very good at any other job on a film set. I don't know why. I mean, I guess I'm a pretty good gaffer and all but then again, who really has a hard time gaffing. When we had to pick a scene, rewrite it, do a story board, and draw up floor plans, I thought it would surely be the end of me. It turns out, that Im not as terrible as I thought I was. Doing all of the preproduction stuff was fairly easy. It was when it was time to film that things got a little complicated. I had a good DP that knew what he was doing. I just wasn't a great director. I think the hardest part for me in the on set process was trying to convey exactly what I wanted to my DP. You see what you want in your mind but just have no idea as to going about describing it in words. I think the hardest and biggest challenge that the cinematographer faces is creating and capturing the exact vision that the director wants (also doing it in a timely manner). But once you figure out what the vision is, its not so difficult getting the shot. When I was directing my scene assignment, my DP really understood what I wanted to do with my lights and was very good at lighting the scene, and it shows in the final product. I think that in order for me to improve on the work I've done, I need to learn how to communicate my vision better. That would make things alot easier on everybody.

Demo Reel