Video Shooter: Storytelling with DV, HD, and HDV Cameras; DV by Barry Braverman

By Barry Braverman

Video Shooter is a advisor to either the mechanics of the video digital camera and the craft of capturing. Written by means of a veteran within the and using a fascinating, conversational type (including illustrative anecdotes from the author's a long time of experience), the e-book takes the reader past ''button pushing'' to educate the total variety of abilities required to catch compelling pictures. issues contain gear choice, digicam setup and operation, capturing concepts, and dealing with lighting fixtures and audio. even supposing the thoughts illustrated in Video Shooter are applicable for clients of quite a lot of digital camera versions, the e-book specializes in the most well-liked 3-CCD DV and HDV cameras. A bankruptcy on concerns and strategies in relation to DVD output makes the publication specially appropriate for business, academic, and executive video manufacturers. The e-book additionally incorporates a significant other DVD with tutorials, photos demonstrating storytelling ideas, and technical topic akin to a comparability of assorted filters. Written through a veteran within the undefined, Video Shooter is a advisor to either the mechanics of the video digital camera and the craft of taking pictures.

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Additional resources for Video Shooter: Storytelling with DV, HD, and HDV Cameras; DV Expert Series

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Note the actual diameter of a one-third-inch CCD is 6mm; a two-thirdsinch CCD is 11mm. 38 Some DV models, such as the Sony DSR-500, use a two-thirdsinch chipset that provides increased resolution and reduced depth of field. Even in larger chipset cameras, the depth-of-field advantage enjoyed by film shooters cannot be approached in DV without specialized equipment like the P & S Technik mini35 adapter. ] DV shooters are at a natural disadvantage as most cameras feature miniscule chipsets as small as 3mm and thus produce far too much depth of field.

What would Francis Ford Coppola do in this situation, he thought? This was Apocalypse Now and Colonel Kurtz still hadn’t nailed it. “Can you give me a beat at the end? ” Burt’s talons were out, ready to annihilate the mosquito. ” “Yes, please. ” “But the timing was good. Right on, in fact,” Burt maintained. “Yes. The timing was good. ” The star was clearly losing it. He looked off to compose himself, mumbled a string of epithets—and did another take. Burt and his hairdresser split for the door.

But suppose your goal is not to make the viewer feel comfortable. Tilting the camera in a so-called Dutch angle connotes emotional instability or disorientation. Cropping the head off your subject makes that person seem less human. Running the frame line through a subject’s knees or elbows evokes pain in the viewer. Maybe this is what you want. Maybe it isn’t. Proper composition and framing is not about following a prescribed set of rules but communicating a point of view unique to your story. As a skilled shooter, you are obligated to communicate a point of view in every shot.

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