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  • you know, I'm I always told me to file my nails.

  • Otherwise, that might just end up scratching somebody.

  • But be mining around no more.

  • In she pause.

  • This is what a film might look like if cameras were set up, someone hit record and then just walked away.

  • There's no thought behind the framing or perspective, and it lacks any stylistic choices.

  • It's what might happen if someone like me is an onset.

  • My name is Oliver, and I'm a camera operator.

  • Let's go in to see all the different ways a camera operator might film a scene.

  • Rewind before we do anything else.

  • Let's get a camera operator in here.

  • That's more like it.

  • Now let's get to it.

  • Before the camera was completely stationary by utilizing pans, which are left and right movements and tilt, which are up and down movements, we can let our actors naturally moving the scene without running into weird prop frames.

  • Let's see the scene again with those in action.

  • You know, I'm I always told me to file my nails, otherwise I might just end up scratching somebody, but denying around no more.

  • She, in addition, depending you can also physically move the camera to reveal scenes, characters or objects in dramatic ways.

  • By putting the camera on a world platform called a Dolly, you could connect two shots into one with a single swift movement.

  • Let's see what that looks like in action, but the mining around no more.

  • Each method provides its own stylized way of revealing different aspects of the scene.

  • You mind telling me to get over here?

  • Have you no respect?

  • She's sleeping with the malls.

  • Sorry.

  • No disrespect to your mouth or me.

  • Marr, Mamma Mia!

  • Whatever.

  • But I'm not really the getting kidnapped type.

  • Notice the camera angles here, filming up that someone could make them seem or intimidating while filming down on someone could make them seem weaker.

  • Since the hitman has the upper hand right now, we should probably swap these angles there.

  • That's better.

  • This really helps put the hit man in a position of power.

  • Sorry, no disrespect to your Mao or me, Ma or Mamma Mia or whatever, but not really the getting kidnapped type.

  • Shut the hell up and tell me what you know about Joann's fabrics.

  • Listen, I don't want nothing to do with this close up shots on a single person like the ones we just saw could be good when trying to emphasize a moment or get a character's reaction.

  • However, let's switch to an over the shoulder shot when two people are talking, these kinds of shots place him in the scene together, highlighting the relationship.

  • Sometimes we call it dirtying up the frame.

  • Look, I don't even want Beatrice is money.

  • Just take it.

  • Take me out of this.

  • I said, Do yourself a favor and shut up when I'm talking to you.

  • Sorry, but when there's no a C, I got a little bit more.

  • So far, we have been using a tripod to film this scene.

  • Tripods provided more grounded static feeling.

  • Watch out smooth and stable.

  • Everything is in the next shot.

  • You know, I used to say, Don't speak until you finish chewing your Cheerios.

  • If you keep your mouth shut, stay out of trouble.

  • Wow, Maybe I didn't listen enough to that last one.

  • However, filming handheld can add a dramatic realism.

  • It feels more spontaneous and could follow the actors movement at any moment.

  • Let's see that line again.

  • Shot handheld.

  • You know, my used to say don't speak until you finished your in your Cheerios.

  • If you keep your mouth shut, stay out of trouble.

  • Well, maybe I didn't listen enough to that last one.

  • While camera moves on the tripod keep the film alive, adding handheld moves can keep the viewer engaged.

  • Sometimes the uneasiness of the camera can attention to the scene.

  • Listen, I'm trying to help you before a guy a lot less nicer than May fit you in a Paris cement shoes.

  • We're talking huge, nasty, tiny little big.

  • So is he bigger Z tiny?

  • What a me ma say about hold up that cut to the phone right?

  • There wasn't very dynamic.

  • When there's a dramatic action, you can syrup the scene and inject a sudden burst of energy with a whip pain.

  • A whip pan is a pan that happens so quickly that motion becomes blurred like this.

  • Whip pans can also be used as a transition between two separate shots, creating an effect ful jarring and surprising.

  • Let's try adding one in as a transition to the ringing phone would have me must say about, see how much more exciting that felt with a whip pan.

  • It really added some urgency to the moment.

  • Ah strewn Zoo.

  • Forgive me, kind sir, but I got to get this.

  • How you doing?

  • Wonderful.

  • Yeah, I'm looking at these big, beautiful head right now.

  • His kind guys were standing right at.

  • Looks like a sweetheart.

  • I almost feel bad about all this.

  • Okay.

  • So far, the camera has been focused on the hit man for the whole phone call.

  • Because of this, we miss something vital.

  • Let's rewind.

  • Yeah, I'm looking at his big, beautiful head right now by doing what we call a rack focus.

  • We can draw the viewers attention to new things, forming a connection between two items on screen that have the physical space between them.

  • Watch how this technique can shift the focus from the hit man to the lawyer.

  • His current guys were staring right at me.

  • He looks like a sweetheart.

  • I almost feel bad about all this before this shot of the nail file seemed arbitrary.

  • Now the rack focus makes it clear that it's an item that has caught the lawyers attention.

  • I can't hear a word I'm saying.

  • Can't say you made settling this easier on us, Mrs.

  • F.

  • This is an important shot.

  • But if we wanted to see me even more important, there are different ways we consume or Dolly in to emphasize objects or emotions.

  • You could do a very quick snap.

  • Zoom this immediately shoves whatever it's focusing on into the audiences faces, but it has more of a documentary feel.

  • It might not be the best thing to do in this instance.

  • Instead, let's try doing a slow zoom by doing a slow zoom.

  • The background around the nail file fades away, and we focus more intensely on the object itself.

  • This as important to it in a way a stationary shot can.

  • Additionally, you can achieve a different feeling by darling in on a subject watch.

  • This dahling in brings the viewer physically closer to the subject, moving three dimensionally through the space.

  • It can add a very personal feeling and is great for a tense moment like this.

  • Yeah, we're still still working it out.

  • Yeah, yeah, wonderful.

  • There are tons of different lens types for your camera, which each affect the shot in their own ways.

  • Normally, it's the director or cinematographer's job to choose a lens, but a camera operator needs to know how every lens functions.

  • Right now, we're using a wide lens that is fairly close to the lawyer.

  • This allows us to see a lot in the background of the shot and makes the hitman seem far away.

  • However, switching to a longer lens that is further back shrinks the space between them and brings them closer to one another.

  • This could make things feel more compressed, intense.

  • It's gonna take the fall, destroy that tape.

  • It's in the bag.

  • The bag Bada bing.

  • Slap my face and call me Charlie.

  • Gotta go.

  • Gotta know Tea boy on our hands.

  • Now let me get this straight.

  • So, Greg, Sammy or whatever the hell his name is was just a patsy.

  • Mrs.

  • Fontana wanted her ex hubby fried since his Rottweiler scrambled up her workplace cause this whole section, the lawyer transitioned from a weaker character into a more powerful one.

  • However, the camera didn't reflect this by altering the camera angle during the scene.

  • We can change how the audience subconsciously views someone.

  • Let's try that again.

  • But move the perspective from a high angle to a low one.

  • Now let me get this straight.

  • So Greg or Sami, whatever the hell his name is was just a patsy Mrs for Todd.

  • I wanted directs Hubby fried since his Rottweiler scrambled up her workplace.

  • Listen, Donatello.

  • No, you listen.

  • She was having trouble bringing home the bacon.

  • So now she's over hard with the mob.

  • So you guys turned Joann's fabrics into burnt toast and she goes and collects the insurance there.

  • That shit really highlights how the status has changed in this moment.

  • You should have put your right track shot and shoot your Cheerios.

  • Give me my say hi to your ma for me.

  • Now that the scene is coming to a close, a nice way to exit a scene is with a gym move a gym, is a piece of equipment with a camera on one end and counterweights on the other and allows for a sweeping our commotion.

  • It's a great way to establish the scenes beginning or ending how cameras utilized has an incredible impact on the way a story is told and could greatly influence that types of emotions.

you know, I'm I always told me to file my nails.

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B1 camera scene shot operator lens whip

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  • 15 1
    林宜悉 posted on 2020/09/06
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