Now I have completed research on the areas of camera techniques and lighting the set I will use and also the practice I have gained within the studio i believe it is time to move on to looking at narrative within everything existing and how it will apply to my documentary.
Everything now a days when taking apart and looked at on a more fundamental level, reveals this form of narrative, websites such as product websites have this form of narrative where the user will follow certain links in order to make a purchase.
Ideally narrative is the progression of passing on information, how this is done is up to the creative mind behind the information, it is in its own sense a form of art.
Applicable to the style of my documentary photography is particularly a good example, every photograph has connotation and denotation, there is a hidden message conveyed beyond every subject, this is a form of narrative and will enable me to explore artistically with my documentary.
Thursday, 23 February 2012
Camera controls and techniques
I have partaken in research specific to my need for the documentary such as the camera techniques which are at my disposal.
I started with the basics such as the ability of zoom, I found there a re primarily two common zoom mechanisms which can be used, manual zoom and servo zoom.
Manual zoom involves much like the name implies adjusting the barrel much like focusing on a stills camera, this allows speed for super fast zooms but can unfortunately lead to irregular zooms which look shaky and ineffective, unless that's the look you potentially are going for, which I am not.
So this leaves me with the option of Servo zoom onto which there is a lever that sits near the lens casing and allows you to control zooming in and out with one finger, much more fluid and easy to use.
The zoom technique I may use on one or two shots but it is not something I plan to continually use as it can lead the audience to feeling nauseated.
Another concept easy to get used to but vital to ensure an effective video composition is focusing, working like manual zoom focus involves turning the focus ring or barrel until the image seen is clear or crisp and offers the depth of field you are looking to achieve.
As well as the functions available on the video camera there are all sorts of cinematic techniques involved which involve the interaction with the camera and I researched the main techniques I will use in my documentary.
Continuity cuts are a logical jump from one part of the narrative to another seamlessly, this I will use whilst filming combing the film with still images of my subjects photographic work.
All of the framing techniques such as extreme close ups, close ups, mid shots and over the shoulder shots i will use as many as possible to add as much variation with the documentation to keep the audience engaged and interested, if shot in one type of frame such as all shots filmed mid shot any video can become boring.
Most importantly whilst shooting I will have to remember about the white balance and white balance every shot unlike a stills camera, the white balance must match the skin tone of my subject if it involves the interview style i want to achieve.
With this research on cinematic techniques, awareness to complete mise-en-scene and controls available at my disposal I shall be able to create my briefed documentary.
I started with the basics such as the ability of zoom, I found there a re primarily two common zoom mechanisms which can be used, manual zoom and servo zoom.
Manual zoom involves much like the name implies adjusting the barrel much like focusing on a stills camera, this allows speed for super fast zooms but can unfortunately lead to irregular zooms which look shaky and ineffective, unless that's the look you potentially are going for, which I am not.
So this leaves me with the option of Servo zoom onto which there is a lever that sits near the lens casing and allows you to control zooming in and out with one finger, much more fluid and easy to use.
The zoom technique I may use on one or two shots but it is not something I plan to continually use as it can lead the audience to feeling nauseated.
Another concept easy to get used to but vital to ensure an effective video composition is focusing, working like manual zoom focus involves turning the focus ring or barrel until the image seen is clear or crisp and offers the depth of field you are looking to achieve.
As well as the functions available on the video camera there are all sorts of cinematic techniques involved which involve the interaction with the camera and I researched the main techniques I will use in my documentary.
Continuity cuts are a logical jump from one part of the narrative to another seamlessly, this I will use whilst filming combing the film with still images of my subjects photographic work.
All of the framing techniques such as extreme close ups, close ups, mid shots and over the shoulder shots i will use as many as possible to add as much variation with the documentation to keep the audience engaged and interested, if shot in one type of frame such as all shots filmed mid shot any video can become boring.
Most importantly whilst shooting I will have to remember about the white balance and white balance every shot unlike a stills camera, the white balance must match the skin tone of my subject if it involves the interview style i want to achieve.
With this research on cinematic techniques, awareness to complete mise-en-scene and controls available at my disposal I shall be able to create my briefed documentary.
Monday, 20 February 2012
Documentary Proposal
For creating my documentary I am going to focus on a man by the name Rob Mitchell, a photographer who also works alongside Swansea metropolitan university.
My views I want to express through he medium of filming a documentary is to get a personal response to the artistic and expressive side of photography.
Having worked for many years as a photographer I am going to stage an interview to discuss how he originally got into photography, who were his influences, discuss his technical attention while capturing the images and his role at Swansea metropolitan university.
Along with creating this interview style I will also juxtapose images of Rob’s work and create an interesting style which not necessarily breaks the conventions of a documentary style but certainly imposes an artistic experience.
After experimenting with lighting within the studio I have the found the major lighting set up component for my subject, using the three point lighting system I will allow a regimented and organized form of filming.
The research undertaken with narrative has allowed me to create my list of questions and how Rob’s pictures will allow this influence of a story, by getting to the man and the story behind him I will create a more personal expose.
Photography being my greatest interest it was no question I would choose this for my documentary theme, but by focusing on one photographer’s work I gain an understanding an insight to one man’s life, to other photographer’s this could be educational and to others just interested in the medium it will be factual and a pleasant viewing.
By combining camera techniques into my filming style and using to its fullest extent I will allow the audience to engage as if they are part of the actual documentary, extreme close ups on rob whilst he is explaining his life story will allow this deeper personal response and gain an insight to how this man has lived and how he has perfected his craft.
As well as focusing on Rob’s past work I will also question him about his new two projects which explore photographically the United states of America, with two books published this provides a good insight into what it takes to not only having your work produced but what it takes in personality traits to maintain such a sense of endearment.
I expect my documentary to be factual, entertaining and artistic, values which are key to creating a successful video production.
Saturday, 18 February 2012
Light testing
After arranging some time in the studio I managed to recreate several lighting techniques highlighted from my research.
By placing subjects within this lighting scenario I was able to visualize the lighting needed for the documentary to convey atmosphere.
I also experimented with colour by placing filters over some of the lights creating mood and contrast.
By placing subjects within this lighting scenario I was able to visualize the lighting needed for the documentary to convey atmosphere.
I also experimented with colour by placing filters over some of the lights creating mood and contrast.
Monday, 13 February 2012
Set-up
After a bit of experience with lighting in the studio today I refined further the set-up I will use when lighting my subject for the documentary.
After doing a bit of portrait photography in the past i took this experience of using a three light situation to place where i wanted the units, A key light off to the side creates form, a soft-light 45 degrees to the subject narrows down the shadows and portrays the effect I want to create and finally a soft-light behind the subject separates them from the back ground and creates this key contrast.
After doing a bit of portrait photography in the past i took this experience of using a three light situation to place where i wanted the units, A key light off to the side creates form, a soft-light 45 degrees to the subject narrows down the shadows and portrays the effect I want to create and finally a soft-light behind the subject separates them from the back ground and creates this key contrast.
Thursday, 9 February 2012
Definition
Now I have completed research into how light can affect the overall impact of a documentary I am going to look deeper into the context of what a documentary really is.
Documentation stands for the contextual study and arrangement of reality woven into a style of film, historical references and realism are combined to create an output of life as real as it is. As with other modes of film there are conventions and codes which run throughout documentary's including a narrative containing a voice over which puts he viewer directly within the context of the facts being shown, this gives the viewer an in depth and personal experience. The facts are presented along with what is presumed real footage which reinforces this idea of realism and adds an air of 'truth' to the documentary. Without this belief being portrayed throughout the viewing of such a genre the very existence would be nullified. Archived footage, stills and articles are portrayed again in order to build up this sense of trust and authenticity.
Techniques can include interviews, which again to popular belief add this sense of realism and encourage this breaking of the 4th wall, the viewer is targeted and is made personally involved. Dates and specific information linked to images and stills creates this sense of assertiveness and links well to other forms where information such as this is key for example in museums where they illustrate the time and date of the subject and where it was located.
Sound is also another key concept with the best use of digetic and non digetic sound's being overlaid, for example with non-digetic sounds they may overlay music to add ambience to a scene or create a mood, sound effects may be incorporated to again heighten sense.
Mise en scene is heavily important as it relates a scene to the real world or as close to the truth, it literally means everything in the scene and in the case if documentaries where realism is sought after this attention to detail is mandatory.
The whole sense of how the documentary is filmed is also key trailing right back to the way it is filmed, maybe observational with hand held cameras or even a participatory style where the crew is involved such as interviews with the subject.
The style of the documentary can be guided by its initial ruse and where the initial idea was born, was the documentary started to just observe and show a situation or was it created to attain a sense of morality as in a narrative of say an investigation.
artistically motages and reconstructions are useful tools in palnning out the narrative of the documentsry, and it presents visually a progression between scenes and information.
Location wise this interprets every value you are aiming to document, remeber the importance of mise en scene, wel use it to great extent upon the interviewing segmnet of the documnet as it provides the backbone for how you want the subjects portrayed.
In conclusion there are several elements I will have to take into account in order to complete this documentary as close to the genre and expectations of reality as I can.
Documentation stands for the contextual study and arrangement of reality woven into a style of film, historical references and realism are combined to create an output of life as real as it is. As with other modes of film there are conventions and codes which run throughout documentary's including a narrative containing a voice over which puts he viewer directly within the context of the facts being shown, this gives the viewer an in depth and personal experience. The facts are presented along with what is presumed real footage which reinforces this idea of realism and adds an air of 'truth' to the documentary. Without this belief being portrayed throughout the viewing of such a genre the very existence would be nullified. Archived footage, stills and articles are portrayed again in order to build up this sense of trust and authenticity.
Techniques can include interviews, which again to popular belief add this sense of realism and encourage this breaking of the 4th wall, the viewer is targeted and is made personally involved. Dates and specific information linked to images and stills creates this sense of assertiveness and links well to other forms where information such as this is key for example in museums where they illustrate the time and date of the subject and where it was located.
Sound is also another key concept with the best use of digetic and non digetic sound's being overlaid, for example with non-digetic sounds they may overlay music to add ambience to a scene or create a mood, sound effects may be incorporated to again heighten sense.
Mise en scene is heavily important as it relates a scene to the real world or as close to the truth, it literally means everything in the scene and in the case if documentaries where realism is sought after this attention to detail is mandatory.
The whole sense of how the documentary is filmed is also key trailing right back to the way it is filmed, maybe observational with hand held cameras or even a participatory style where the crew is involved such as interviews with the subject.
The style of the documentary can be guided by its initial ruse and where the initial idea was born, was the documentary started to just observe and show a situation or was it created to attain a sense of morality as in a narrative of say an investigation.
artistically motages and reconstructions are useful tools in palnning out the narrative of the documentsry, and it presents visually a progression between scenes and information.
Location wise this interprets every value you are aiming to document, remeber the importance of mise en scene, wel use it to great extent upon the interviewing segmnet of the documnet as it provides the backbone for how you want the subjects portrayed.
In conclusion there are several elements I will have to take into account in order to complete this documentary as close to the genre and expectations of reality as I can.
Tuesday, 7 February 2012
The link to light
Light is most effective when linked with some purpose, one of those being a documentary. Taking on the information learnt about the way light behaves and how it can be manipulated to serve a specific purpose I am going to understand how specifically certain lighting is used for a documentary purpose and why.
The most important and widely used light set-up is the basic three light setting, which similar to stills photography uses a light to fill in front of the camera to isolate and illuminate the subject, a second light is used to hide unwanted shadows and a third light is used to separate out the background from the subject you are shooting.
The fill light to the side completes by filling in unwanted shadows created by using a key light, after all the key light on its own would create unwanted shadows on the subject, especially for documentary purposes such as shooting a person for an interview, much like shooting a portraiture in photography.
Again when using a lighting set-up such as this rules must be obeyed for example the inverse square law which dictates where light falls off of the subject and also most of the time the lighting would be elevated to ensure the light is much more softer and gives a more desirable look.
The mood you intend to create whilst filming is also heavily influenced by how you arrange the lighting, high-key images filled with complete fill light suggest freshness and a sense of youth whereas low key lighting suggests a more sombre tone.
Of course to create certain tones you can also add textures implementing items such as soft boxes to lights to establish that softer feel, in the case of documentaries it can add warmth to a scene and get people associated with the subject or identifying with a persons view or expression.
In summary lighting is key to a documentary whether you are using a three point lighting system or are using natural ambient light outside of the studio, to convey the message you are trying to put across when filming.
The most important and widely used light set-up is the basic three light setting, which similar to stills photography uses a light to fill in front of the camera to isolate and illuminate the subject, a second light is used to hide unwanted shadows and a third light is used to separate out the background from the subject you are shooting.
The fill light to the side completes by filling in unwanted shadows created by using a key light, after all the key light on its own would create unwanted shadows on the subject, especially for documentary purposes such as shooting a person for an interview, much like shooting a portraiture in photography.
Again when using a lighting set-up such as this rules must be obeyed for example the inverse square law which dictates where light falls off of the subject and also most of the time the lighting would be elevated to ensure the light is much more softer and gives a more desirable look.
The mood you intend to create whilst filming is also heavily influenced by how you arrange the lighting, high-key images filled with complete fill light suggest freshness and a sense of youth whereas low key lighting suggests a more sombre tone.
Of course to create certain tones you can also add textures implementing items such as soft boxes to lights to establish that softer feel, in the case of documentaries it can add warmth to a scene and get people associated with the subject or identifying with a persons view or expression.
In summary lighting is key to a documentary whether you are using a three point lighting system or are using natural ambient light outside of the studio, to convey the message you are trying to put across when filming.
Monday, 6 February 2012
Light
What is light?
The human eye can see an amount of electromagnetic radiation and this radiation combined together creates light, although the human eye uses this light to allow us sight it does not necessarily mean all light is visible to the naked eye.
Similar to the concept of sound light is arranged in a complex variety of waves and frequency's, and is arranged into an electromagnetic spectrum and the visible elements to the human eye are known as the visible region although unlike waves of say water or a liquid density the create much more complicated paths and don't need a medium such as air to travel through.
Light is a powerful entity within physics and is not one constant form, through the study of optics there are very different propeties exerted by its force such as refraction, seen in instruments such as a microscope. Refraction simply means the light hits upon another object when passing though one density to another, be it solid, liquid or mass.
Not only can light rays enter this phenomenon of refraction they can also become reflected and scattered, understanding how light will react to a surface it is proposed onto, will indefinitely alter its outcome.
where the angle of incidence meets the angle of reflection this incident of light reflection occurs and again much like refraction can be controlled.
In conclusion light is one powerful physic of the modern world and wielded correctly is one of the most powerful weapons of this century especially for items of documentation and media purposes.
The human eye can see an amount of electromagnetic radiation and this radiation combined together creates light, although the human eye uses this light to allow us sight it does not necessarily mean all light is visible to the naked eye.
Similar to the concept of sound light is arranged in a complex variety of waves and frequency's, and is arranged into an electromagnetic spectrum and the visible elements to the human eye are known as the visible region although unlike waves of say water or a liquid density the create much more complicated paths and don't need a medium such as air to travel through.
Light is a powerful entity within physics and is not one constant form, through the study of optics there are very different propeties exerted by its force such as refraction, seen in instruments such as a microscope. Refraction simply means the light hits upon another object when passing though one density to another, be it solid, liquid or mass.
Not only can light rays enter this phenomenon of refraction they can also become reflected and scattered, understanding how light will react to a surface it is proposed onto, will indefinitely alter its outcome.
where the angle of incidence meets the angle of reflection this incident of light reflection occurs and again much like refraction can be controlled.
In conclusion light is one powerful physic of the modern world and wielded correctly is one of the most powerful weapons of this century especially for items of documentation and media purposes.
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