MEDIA ARTS

LANDSCAPE ORIENTATION

PORTRAIT ORIENTATION

Convention
An established, common, or predictable rule, method, or practice within media arts production, such as the notion of a ‘hero’ in storytelling

Perspective

Principle pertaining to the method of three-dimensional rendering, point-of-view, and angle of composition

rules

The laws, or guidelines for appropriate behavior; protocols

safety

Maintaining proper behavior for the welfare of self and others in handling equipment and interacting with media arts environments and groups

Basic tips for photography

• Hold Steady to help create a clear image.
• Level Horizon
• Be mindful of distractions in the background
• Choose good light
• Set focus
• Get different angles
• Clean your lens

Basic tips for photography

• Hold Steady to help create a clear image.
• Level Horizon
• Be mindful of distractions in the background
• Choose good light
• Set focus
• Get different angles
• Clean your lens

Composition

• Principle of arrangement and balancing of components of the work for meaning and message
• How we arrange our subject within the frame

Framing

Leading lines

Leading lines

Rule of thirds.

Rule of thirds

Symmetry

Symmetry.

Centered.

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FILMMAKING REMINDERS

• Take the lens cap off
• Get closer to the action for more visual interest
• Keep the sun behind the camera to create good lighting
• Use rule of thirds to compose your shots
• Keep the camera as steady as possible don't use too much zooming or panning
• Do use a variety of shots and angles
• Pay attention to the background. Avoid trees or polls randomly growing out of heads
• Keep your audience in mind

DON'T RUSH THINGS

KEEP THE SUN BEHIND YOU

KEEP SHOTS 5-45 SECONDS

PICTURE THE MOVIE IN YOUR HEAD

CAMERA ANGLES

EXTREME LONG SHOT

• Humans appear small
• Captures a big scene.
• Epic genre pics and westerns.

Extreme long shot

LONG SHOT

• Often used as establishing shot
• Accommodates the whole body
• How humans see most of the day.

Long Shot

Full shot

Full

MEDIUM SHOT

• Most of the body from waist up
• Great for dialogue
• Most common shot for arts lab films

Medium shot

Close up

EXTREME CLOSE UP

Extreme CLOSE up

Extreme close up

Camera angles based on position

Low angle

High Angle

over the shoulder

Point of view (POV)

VISUAL LITERACY

• Show it. Don't say what you can show
• Decode images
• Visual storytelling
• Close observation
• Compelling images

WHO'S WHO ON A MOVIE SET

DIRECTOR

CINEMATOGRAPHER/director of Photography (dp)

Camera operator

GAFFER

GRIP

BOOM OPERATOR

Story telling tips

• Include conflict and resolution
• Who .....
• Wants.....
• But.....
• So.....

Who’s who on a movie crew intro.

• Making a video can be a one person production but the more elaborate your ideas get, the more likely you'll need a crew to execute your vision. In this video, we give you a rundown of the basics of how all the work is divided up on a basic crew. 03:26 Keep in mind that this focuses mostly on the on-set personnel, and even still it doesn't include every single crew member! Here's a recap of what we just learned, along with a few extra people peppered in there to round out the list. The amount of people you need to help make your film vary widely from a simple duo to many hundreds of crew members. A Producer is a key coordinator for the production. They are involved in many if not all aspects of the production from start to finish. They often have a hand in the production process, creative, financial, and administrative. An Executive Producer is usually the main investor of the project. The Production Manager works alongside the executive producer and helps to prepare the budget, oversees the preparation of the production team, and various day to day production decisions. The Director is in control of all creative aspects of the film. They are the primary person responsible for the storytelling, creative decisions and acting of the film. The 1st Assistant Director is in charge of basically running the set. As an assistant to the director, they organize the crew, prepare shooting schedules and organize the entire flow of all production activity. The 2nd Assistant Director distributes documents such as scripts and call sheets to the cast and crew. They also help supervise the set with the 1st AD. The Script Supervisor's job is to keep track of what has been shot in accordance with the script including what changes has been made and how to prevent any continuity errors going forward. The person who makes the chief lighting, framing, and composition decisions is the Cinematographer, often referred to as the Director Of Photography (or DP). The director will often tell the DP what they want the shot to look like and then they will work their magic, making sure everything looks great to help achieve the director's vision. On smaller sets, the DP will often double as the camera operator. The Camera Operator is the person in charge of working the camera to capture the scenes. The 1st Assistant Camera is often the focus puller. Their job is to make sure the shot is always in focus. On smaller productions, the camera operator will also handle this job. The 2nd assistant camera is the person who writes all of the shot information on the slate and holds it in front of the camera before each shot. The slate (or clapboard) is the device you write all of the shot information (shot number, take number, etc) as well as the clapper to help sync sound. It's the Production sound mixer's job to make sure the sound is being properly recorded and mixed on set. They will hold the sound mixer and listen with a pair of headphones to monitor the sound. A Boom Operator is the person that holds the boom microphone near the action. On smaller sets, the production sound mixer can also take on this roll. The Key Grip is in charge of supervising camera cranes, dollies, lights, platforms and all on set equipment. The Gaffer is responsible for the design and execution of the lighting plan on set. They work closely with the DP to make sure everything is lit correctly. Also referred at as the Chief Lighting Technician. The Special Effects Supervisor is in charge of the creative and technical issues of visual effects on a project. They take care of anything that will break, explode, burn, collapse, etc. and work with the director on blocking the actors' so they don't get in harm's way. The Production Designer is responsible for creating the visual appearance of the film. Working closely with the DP and Director they are in charge of the look of all settings, costumes, character makeup, and more. Also known as the Creative Director. The Art Director develops, coordinates, and oversees the overall design of the production and is responsible for everything you see on screen. On a smaller crew, this is also the Set Designer. The Props Master is in charge of finding and managing all the props that appear on screen. The Props Builder's job is to construct all custom props that are needed for production. Also referred to as Propsmaker The Make-up Artist / Hairdresser is the person that dresses and maintains the cast's hair and makeup throughout the shoot. It's the Costumer Designer / Supervisor's job to design, obtain, assemble, and maintain the costumes for a production.

Moving camera up and down

Contrast: Principle of using the difference between items, such as elements, qualities, and components, to mutually
complement them.

Contrast: Principle of using the difference between items, such as elements, qualities, and components, to mutually
complement them.

components: The discrete portions and aspects of media artworks, including: elements, principles, processes, parts, assemblies, etc. (such as: light, sound, space, time, shot, clip, scene, sequence, movie, narrative, lighting, cinematography, interactivity, etc.).