1. The Slate and Double System Sound Recording
Generally, movies are shot on film, but now more and more on HD video. While video can record sound directly onto the magnetic tape or SD card, most film cannot—it records picture only. Sound is recorded separately some form of digital recorder.

2. The Slate and Double System Sound Recording
Double-System Sound Recording: When sound is recorded on equipment separate from where the picture is acquired.

3. The Slate and Double System Sound Recording
Slate/Sticks/Marker: any item which is used to give a simultaneous visual and audio cue which can be synced later in editing (can be actual slate or even a clap of hands).

4. The Slate and Double System Sound Recording
The sound of the slate, or marker, or sticks is the method used to sync the two together.

5. The Slate and Double System Sound Recording
Match the visual moment when the slate comes together in the film with the sound of the slate on the audio tape, and you’re in sync.

6. The Slate and Double System Sound Recording
Take: another word for “try”—as in “Scene 4a, take one”.
This means that they will shoot the part of the movie located in Scene four, shot a, the first time.
It follows that “Scene 4a, take two” means that they will shoot the part of the movie located in Scene four, shot a, the second time.

7. Calling The Shot – keys to smooth film making
There can be only one director.
Finally:

8. Of Setiquette Setiquette
A word I invented to keep things nice on the set.
Of Setiquette

9. Of Setiquette Setiquette
Always say “Please” and “Thank You”— FOR EVERYTHING

10. Of Setiquette Setiquette Obey the Hierarchy
The Director HAS TO BE the last word on decisions

11. Of Setiquette Setiquette Have rehearsals for BOTH Talent and Camera
(you’ll learn how to call for a rehearsal soon)

12. Of Setiquette Setiquette
Always say “Crossing” when walking in front of the camera lens.
NEVER walk in front of lens when DP or operator is looking through the camera unless you ABSOLUTELY have to.
NEVER EVER walk in front of lens when DP or Operator is setting up shot or establishing focus.

13. Of Setiquette Setiquette
Here’s what can happen when you do not follow the Rules of Setiquette.

14. Of Setiquette …or else Christian Bale’s Rant Bill O’Rilley’s Rant
Bill O’Rilley’s Rant
Chris Berman’s Rant
Matt Damon’s Rant (fake, but true reactions)
David O’ Russell’s Rant

15. Storyboard – Here you decide what shots to take.
If a small move happens within a shot it is indicated in the frame with an arrow, also.

16. Cinematography 1 – Types of Shots
Establishing Shot
EST.
A shot that shows the location, elements around the location, and characters that may be in the location— usually a wide angle shot.

17. Tripod Tri – three; pod – leg Two main parts Head Legs
Two types of heads
Friction (cheap)
Fluid (expensive)

18. Camera Movements
Keep in mind, the camera represents a viewer— someone who is watching the scene.
This idea dictates almost everything we do with the camera.

19. Camera Movements
Pan
camera is locked from top to bottom and rotates left and right (imagine a bolt being driven through the camera from the top)

20. Camera Movements
Tilt
camera is locked from left to right and rotates up and down (imagine a bolt driven through the camera through the side)

21. Camera Movements
Dutch Tilt
camera tilts on an angle

22. Camera Movements Track/Truck (left, right)
camera physically moves laterally to the left or right through space.

23. Camera Movements Dolly (in, out)
camera physically moves forward or backward through space.

24. Camera Movements
Dolly (in, out)
We have three wheel spreaders

25. How can you do these tracking shots here in school?
Meet “Walter” the wheel spreader!

26. Camera Movements Crane (up, down)
camera physically moves up and down through space.

27. Camera Movements Steadicam
camera is placed on a person wearing a weighted gimball apparatus and can move smoothly in almost any direction.

28. Tripod Tripod as Steadicam
Hang weights from center column hook (optional)
Extend column and grip there.
I shot the whole “Happy” music video this way

29. Camera Movements Watch hand held scene from “The Abyss” Hand-held
(what I call “the James Cameron Effect”)
camera held in the hand and is not steady, but moves with the camera operator
can be “hand-held” steady, or shaken more on purpose.
Watch hand held scene from “The Abyss”

30. Camera Movements Aerial Camera is attached to a helicopter or plane
…or, more commonly these days, a drone
OK Go – “I Won’t Let You Down” music video
shot with drone (look for shadow)
BTS—how it was shot—”real speed”

31. Camera Movements Zoom not technically a camera “movement”
The camera does not move, but the glass inside the lens does, thus giving the FEELING of movement, not actual movement through space.
Remember, the camera represents a viewer…can a viewer zoom his/her eyes?

32. How can you achieve these moving camera shots?
Moving camera in your projects makes them much more “professional.”
Why?
The answer is theoretical and artistic.
We move.
We move through space.
The camera represents a viewer.
Moving camera allows us to move through the movie as though we were in it.
Zoom VS the dolly shot
And an opinion list of “best” camera moves.

33. Remember: The Camera Represents “The Viewer”
Camera “Angles”
The term camera angle means slightly different things to different people, but it always refers to the way a shot is composed.
We will use it to specifically mean the angle or relation between the camera and the subject.

34. Camera “Angles” A neutral shot
Eye Level
A neutral shot
The camera is positioned as though it is a human actually observing a scene
The actors' heads are level with the camera.
The camera is placed approximately five to six feet from the ground (lower if sitting).

35. Camera “Angles” Camera is ABOVE eye level
High Angle
Camera is ABOVE eye level
A high angle shows the subject from above with the camera angled down towards the subject.
This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive.

36. Camera “Angles” Camera is ABOVE eye level
High Angle
Camera is ABOVE eye level
A high angle shows the subject from above with the camera angled down towards the subject.
This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive.

37. Camera “Angles” Bird’s Eye View or Top Angle
Camera is ANYWHERE WAY ABOVE the action/eye level
This is a completely different and somewhat unnatural point of view
Can be used for dramatic effect or for showing a different spatial perspective.
In drama it can be used to show the positions and motions of different characters and objects, enabling the viewer to see things the characters can't.
The bird's-eye view is also very useful in sports, documentaries, etc.

38. Camera “Angles” Camera is BELOW eye level
Low Angle
Camera is BELOW eye level
A low angle shows the subject from below with the camera angled up towards the subject.
This shows the subject from below, giving them the impression of being more powerful or dominant.

39. Camera “Angles” Camera is looking almost straight up at subject
Bottom Angle
Camera is looking almost straight up at subject
This shows the subject from below, giving them the impression of being more powerful or dominant.
Very stylized.
“Birdman,” “Gravity,” and “The Revenant”
Cinematographer, Emmanuel “Chivo” Lubezki
Won three consecutive Oscars for the films above.
Used only natural light to film “The Revenant.”

40. Camera “Angles”
Oblique/Canted Angle – Dutch Tilt
Camera is tilted (ie is not placed horizontal to floor level)
suggests imbalance, transition and instability (very popular in horror movies).
This technique is often used to suggest Point-of-View shots

41. Camera “Angles”
Almost NEVER like this—characters rarely look directly at the camera.
POV (Point Of View)
Called such for the idea of the camera acting as the “view” of a character in the movie.
Watch this video on Point Of View
Shots and how they are used.