By Drew Campbell
TECHNICAL movie & television FOR NONTECHNICAL humans introduces movie scholars, actors, manufacturers and different nontechnical movie humans to the technical points that everybody engaged on a movie set should still comprehend. writer Drew Campbell is a lightning and sound dressmaker for common Studios who began in theater and who used to be struck through the complicated technical tactics and idiosyncratic expressions that he encountered on his first weeks at the set. subject matters defined in TECHNICAL movie & television FOR NONTECHNICAL humans:
вЂў Who does what on a movie setвЂ”the roles of technical and non-technical staff contributors
вЂў Seeing a scriptвЂ”turning a narrative right into a storyboard after which right into a construction
вЂў taking pictures on movie or videoвЂ”when each one structure is better used
вЂў The elements of a cameraвЂ”how it features and the way actors can top cooperate with it
вЂў SoundвЂ”the means of recording and modifying
вЂў ShootingвЂ”the geography and agenda of a collection and ''getting the shot''
вЂў PostproductionвЂ”editing, continuity, and the dailies
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Additional resources for Technical Film and TV for Nontechnical People
Except, I have to give one more caveat. There are at least six different film formats in common use and perhaps twice that many for video. The question is not just film or video, but what type of film? What type of video? Film and video are not just formats; they are families of formats. We’re going to look into each individual format in the next chapter but, with both of the above caveats in mind, let’s dig into the big picture of film versus video. We don’t have to dig very far before we reach the big land mine.
Neither of these formats, however, can hold a candle to film. 7 million pixels. With that kind of resolution, film can create an image that is much closer to what the lens really sees. Colors fade more smoothly, curvy lines are really curvy, and fine detail, like hair, is clearly rendered. Resolution (Depth) There is another scale of resolution that we can understand by looking at one of those mosaic rocks. Let’s say that we are making a mosaic out The First Big Choice: Film and Video Formats 33 of quarter-sized rocks and we come to a place where the cheek is a warm pink.
A. , at least as of this writing), some festivals have stopped accepting it, and it has become a smaller and smaller niche. The thinking is, basically, hey, if we’re going to do film, then there is an expectation that we will have a certain quality on-screen and that level of quality is only achievable with the industry-standard 35mm. 16mm is still the instrument of choice for film-school projects. Super 16mm, a film stock that achieves a wider image through having sprocket holes only on one side, lives on in professional shows because it is almost exactly the same aspect ratio as the up-and-coming HDTV format.