Panasonic AG-HMC150 Benutzerhandbuch - Seite 22

Blättern Sie online oder laden Sie pdf Benutzerhandbuch für Camcorder Panasonic AG-HMC150 herunter. Panasonic AG-HMC150 35 Seiten. Avchd camcorder
Auch für Panasonic AG-HMC150: Broschüre & Specs (8 seiten), Menü Information (20 seiten), Broschüre & Specs (12 seiten), Broschüre (16 seiten), Produkthandbuch (22 seiten), Grundlegende Anweisungen (20 seiten)

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Lead room / Nose room. Give your subject some

space to talk into. If someone is speaking there

should be more space in front of them than

behind them.

• Cropping - crop at joints, allow for over-

scanning (still important to consider)

• Foreground / background: think about what's

behind your subject, the environment provides

context. Everything in the frame will be

interpreted by your viewers. Be careful not to put

in associations you don't want your audience to

make. You are framing both your subjects and

their surroundings.

• Move with subjects / subject pushes frame. Move

with your subjects when it makes sense, but have

them "push" the edge of frame, don't just move

with every subject movement. It's OK for the

subject to leave the frame in many circumstances.

Shot selection

• Types of shots: XLS, LS, MS, MCU, CU, XCU

(each of these has a distinct meaning)

• Motivation: why are we shooting what we're

shooting?

• Light: lighting creates mood, enhances emotion.

Good lighting and exposure are not a luxury.

• Composition: how you balance the frame is

important. ere's a notion similar to subject and

predicate in each frame. Position within the

frame implies many things. Bruce Block's

wonderful book, e Visual Story, covers a lot of

ground in terms of composition.

Remember to shoot to edit with these basic

principles. It may be necessary to experiment with

several clips in Final Cut in order to learn how best to

apply these principles in a shoot to edit situation.

We'll discuss the concept of coverage.

Audio

• Handheld - Omnidirectional

• Lavaliere

• Shotgun

• Mic Cables

• Boom Pole

• Pistol Grip or other mount

• Microphone Stands

• Wireless system (avoid if you can, but oh so

convenient, interference can be a problem)

• Mixer (optional)

Introduction to the Panasonic AG-HMC150 AVCHD camcorder (rough draft)

Lighting

• Re ector ( ex- ll)

• Light Kit (soft/open/fresnel)

• Gels

• Diﬀusion material

• Re ective umbrellas to use w/ Tota lights

• Light Stands

• Clothes pins (a.k.a. C-47s), gloves, gaﬀer tape

• Extension cords (a.k.a. stingers)

Location Pre-Production Check List

Permissions

• Obtain permission to shoot location or event if

needed.

• Obtain release forms from subjects.

• Shot List, think about transitions and cover

shots, you want to express your idea visually, not

just with people talking

Location

• Scout location prior to shoot if possible

• Check for power outlets, lighting and audio

issues.

• Verify set-up time with location and crew.

• Ask about a convenient unloading/loading area if

you have more gear than you can easily carry in

one trip

• Inform any security or PR staﬀ of your schedule

if shooting in an institutional setting

• Have any release or location release forms that

may be needed, especially when working in a

school or institution that may have particular

concerns with cameras in their space, and usually

you'll need to get permission to use the location

in advance.

Things to Have on the Shoot

• Camera

• Tripod

• Tapes

• Batteries

• Extension cords, extra audio gear, gels, trick-line,

gloves, tools, gaﬀer (not duct) tape

• Forms, subject and location releases, parking

permits, admittance waivers, etc.

• Garbage bags

• First aid kit

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