Reading & Writing

Preparing for Video

Chapters 1, 2, 5, and 6 of The Bare Bones Camera Course for Film and Video cover the Basics, Composition, Camera Moves, and Montages within Film and Video. In preparation for creating a video montage, here are my takeaways from each chapter.

Chapter 1: Basics

Chapter 1 of Schroeppel’s book provides a thorough introduction to cameras. Schroeppel continues by detailing how cameras work, exposure, color temperature, setting exposure, and lenses. The part of the chapter that resonated with me the most covers depth of field, which can be found on page 23. 

“Depth of field is simply the area in front of your camera where everything looks sharp and in focus.” 

Objects within the depth of field appear to be sharp, while objects outside of the depth of field have a soft appearance. Manipulating a camera’s focal length has a direct impact on the depth of field. If the focal length increases, the depth of field decreases. If the focal length decreases, the depth of field increases. Additionally, the depth of field increases as the camera’s aperture is made smaller or closes down. The depth of field also increases as the subject gets further away. Lastly, there is always more depth of field behind a subject than in front of it.

Chapter 2: Composition

This chapter reinforced the fact that making use of a tripod mitigates camera jiggle, which is caused by “shaky handholding of the camera.” If a tripod is not accessible, there are ways to get tripod-like support, including using a monopod or shoulder brace. Chapter 2 goes on to cover various visual composition techniques:

• Rule of thirds: mentally dividing the frame into thirds both horizontally and vertically and then placing the subject/elements along the division lines.
• Balance: 
  • Leading looks: ensuring that the frame includes room on either side of the subject to create a more comfortable composition. This space is known as head room or lead room.
  • Masses: shots featuring a mass that feel visually off-balance can be corrected by introducing a second, smaller object some distance away from the first object within the frame.
  • Color: Color contains weight and intensity. The color of one object can be balanced by introducing an additional object that has a similar or heavier weight, brightness, or intensity into the frame. 
• Angles: In a two-dimensional environment, angles introduce depth.
• Frames within the frame: Using elements of your location to create a full or partial frame makes your shots more interesting.
• Leading Lines: Using lines within your shots helps direct your viewer’s eye toward your subject. 
• Backgrounds: Repositioning your camera, subject, or both helps keep the background in its place.

Chapter 5: Camera Moves

Camera moves include zooms, pans, tilts, and combinations of the three. Each kind of camera movement has the potential to reveal new information to the viewer. The best practices for implementing camera moves include beginning and ending every camera move with a well-established static shot. Secondly, filmmakers and videographers should always move from an uncomfortable position to a comfortable one. 

Chapter 6: Montages

This final chapter covers montages. “A montage is a series of related shots used to condense time or distance, set a mood, or summarize information.” It’s best that each shot within a montage is unique and distinctly identifiable from other shots within the piece. This can be accomplished by shooting various angles and image sizes.

Research to Inform

Shows Depicting Visual Composition Guidelines

The Handmaid’s Tale: Frames

https://youtu.be/g2sKnKBTozM?t=8

This show contains multiple visual composition guidelines that are utilized throughout every scene. The most common and identifiable one is a shallow depth of field, followed by angles. However, in this particular scene, I love the innovative utilization of Offred’s bonnet as a frame.

Inventing Anna, The Cleaner: Frames

Additionally, shows including scenes of characters in jail often incorporate shots utilizing the bars from the cell as a frame. This creates a distinct boundary, giving viewers a sense that they are free, on the outside of the cell, while the character they are following is confined within a cell. 

Grey’s Anatomy: Leading Lines

This scene of Grey’s Anatomy takes a unique approach to leading lines. To support a patient and (quite literally) stand in solidarity against domestic violence, hospital staff members form two lines on either side of a hospital hallway as the patient is guided to the operating room. The leading lines formed by the staff first direct viewers and the patient toward the elevator until the camera orientation shifts to face the patient, centered by the lines. This scene takes a unique approach to leading lines. To support a patient by literally standing in solidarity against domestic violence, hospital staff forms two lines on either side of a hallway as the patient is guided to the operating room. The leading lines formed by the staff first lead toward the elevator until the camera orientation shifts to face the patient, centered by the lines. 

How to Get Away With Murder, Queen of the South: Panning & Angles

Often times if you’re watching a show with a protagonist who is tough, independent, and driven, scenes that highlight these characteristics may include shots of the protagonist from numerous angles. Here, both shows include close shots that pair panning with angles which introduces depth, adds interest, increases tension, and directs the focus of the viewer to the main character. These shots can also serve as a way to transition scenes quickly while keeping the viewer’s attention.

Dream Home Makeover, The American Barbecue Showdown: Angles

Another approach to angles and depth can be seen in reality TV shows. These kinds of shows, especially ones that involve working on a specific project such as home renovations or food competitions, often feature a final result (the renovated house, the fully cooked recipe, etc). The reveals of these finished products typically depict the product from varied angles to highlight fine details and give viewers a complete look.

Create

The Rawlings Conservatory

This week I visited Baltimore’s Howard Peters Rawlings Conservatory in Druid Hill Park. Toward the end of 2020, I moved to Baltimore County. While searching for items to help decorate my new space, I developed a new appreciation for houseplants and swiftly become a plant mom and enthusiast. Rawlings Conservatory was initially a location I considered renting for my impromptu quarantine wedding, but, over time, it became a location I desired to visit as a fellow Baltimore County resident and plant lover.

Creating a Visual Composition Shot List

My dream of visiting the conservatory became a reality this past week. Accompanied by my husband and puppy, I took my Sony A6400 camera along with me to visit the conservatory and capture various shots with the guidance of a shot list template. Although I had to get creative with some of the shots, considering that the plants within the conservatory are stationary and my husband is currently on crutches, I was able to capture various shots for a few of the shot list categories covered:

• Composition – Rule of Thirds
• Balance
• Balance – Color
• Angles (Depth)
• Frames in the Scene
• Leading Lines
• Backgrounds
• Basic Shots (Shot Framing)
• Perspective
• Shallow Depth of Field

This experience helped me practice what I learned about depth of field, composition, and camera movements in Schroeppel’s book. 

Below are a few of my favorite shots. (The final two shots are unedited):

View the entire shot list:

Planning for a Video Montage

Next week, I’ll be implementing what I learned in Chapter 6 and creating my own video montage of Rawlings Conservatory. In preparation for my montage, I created a script and storyboarded my potential shots. I will have to visit the conservatory a couple of times before shooting the video to tighten up my script, as I plan to refer to some of the plants in each room by name. I would also like to walk through the location and make sure my current navigation plan makes sense. Overall, I look forward to building upon my shot list exercise and developing a montage that features wide and medium shots, close-ups, music, ambient audio, and subtle sound effects. 

View the montage pre-production document:

A video of Rawlings Conservatory that serves an inspiration for my Montage: