Do you know about - Using a Camcorder to narrative family Events fast and legitimately
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On/Off - On some brands you positively have to find two or three switches to accomplish this. You may be required to pick between camera and Vcr or Vtr, you may have to open shutters over the lens or remove a lens cap, and you may have choices about snapshots, locked, standby, or video. You're probably ready when you see a picture through the viewfinder with no unexpected icon flashing in the middle.
Zoom - Changes the lens setting from wide angle to telephoto. You see what's happening in the viewfinder.
Red "Take" button - Rolls the tape. Commonly "Rec" shows in the viewfinder when recording and "Stdby" shows when the tape is stopped.
Beyond that all else is self-acting on most buyer camcorders. You only have to master all those other buttons if you want to take control of things like focus, exposure, shutter speed, color balance, stabilization, depth of field, ice motion, volume, and tons of other extra effects and titling. On most camcorders the default builder settings are the place to start -- they've done a very good job taming all these options. You should only need to make changes for single scenes when you see things going wrong. So let's not trail through all the buttons and menu options out there right now. Instead let's focus on you and all the problems you can create.
Let's peruse other areas that separate the pros from the beginners. It's all the time said, and frequently demonstrated, that if you put the cheapest pile of junk camcorder in the hands of a pro, the resulting footage will look dazzling. It doesn't work the other way around. It's not the tools that separate the 8-year old baking her first cake from her grandmother -- it's lots of tiny things, some of which are hard and tedious to document, and some of which fall into discussions and hot arguments that might be lumped together under the category called "style."
Let's get you started with some of the inevitable areas. As you shoot video you will plainly get contentious with and wonder why your footage doesn't quantum up to the footage you see on Tv and in the movies. This will cause you to start adding tricks to your trade consciously and unconsciously. Most of us are very essential viewers of Tv and movies.
The first sign that there is a rank amateur running the camera comes when you comprehend it is being hand-held because the picture bounces nearby (and may positively make some viewers seasick, watch out!). The proper write back to this is to lug a tripod nearby with you. This is great if you are going to be positioned in the same place for more than three minutes filming a game or stage performance, but if you are zipping nearby like a fly on the wall you have to take other measures. Here are some:
Lean on things while filming to stabilize yourself. Find a tree, a wall, a table, a friend . . .
Take a deep breath and hold it. Dig your elbows into your inflated rib cage creating a triangular bracing law between the camcorder and your carport chest. Do not write back any questions thrown at you and stop filming before your whole body starts convulsing trying to purge the stale air.
Zoom out (going to a wide angle setting) and then move yourself and camera in close to the subject. Wide angle shots are much easier to hold steady. Zoomed in telephoto shots positively need a good tripod.
Practice, practice, practice. While rolling tape, pick a stationary object near the projection of the viewfinder, lock in on it, and don't let it move nearby in the viewfinder. This turns your whole nervous and muscular law into a self-correcting stabilization machine. It becomes second nature if you work at it adequate just as a waitress can carry a tray of drinks without spilling any.
Push the "take" button to stop rolling tape when you comprehend you are about to lose stability. You'd be surprised how many shots run until the cameraman bumps into something, loses attentiveness or positively falls off a step.
Be sure the camera's built-in request for retrial stabilization highlight is turned on. On some brands the stabilization highlight reportedly snaps and jerks the picture too much as the camera is moved around. You'll hear that the highlight should be turned off. Don't accept this advice as gospel -- play with it for a while first because this objection is true on only a small division of camcorders.
Don't dismiss using a small mono pod or very light conveyable tripod for those "on the go" shots. These won't serve you well when shooting a long event but may be just the ticket when involving nearby like a fly on the wall.
Another rule to consider is how long your shots should be. Watch Tv and count how long their shots run. You'll observation that the midpoint 30-second industrial may have 20 distinct shots. Pretty much the same with Mtv. Now watch situation comedies and cops and robber stories -- maybe shots stay on 3 to 5 seconds. Ensue up with slow running talk shows on Pbs. Even there they switch the camera before 10 seconds have gone by.
Back when you were getting advice with your home camera movie film from Kodak, the advice they gave was to count to 7 and shut the shot down. They advised against lots of jerky short clips. While that was in a slower and more graceful duration of time, it's still a rule to seriously consider. Tightly edited sales pitches, activity packed movie clips and music videos may question one to three second clips, but this is too fast for normal house footage. We find that when habitancy put photographs together in a video presentation, six seconds for each photo is about the right time.
On the other hand, you'll lose your audience if you make your shots too long. I can't tell you how many times I've seen shots of a baby being fed in its high chair that a proud parent lets roll for over a minute. It's equivalent to a 3-hour sermon in church or a filibuster in congress.
Even though you and I may have no interest in a "feed the baby" sequence unless we know the baby, it might keep our attentiveness if broken up into manifold shots such as an establishing shot showing where we are, feed the baby, look at the mother, close up of the mess, close up of mother's stress, picture of baby wiggling feet in the air, mom leaning back in exhaustion . . . . All of this puts you the videographer to work. You have to move nearby and originate some shots telling a story. Some shots may be long, some short, but the allembracing impact is dramatically improved.
Closely linked to this is rule #3: avoid "hunting" with the camcorder. We've all seen shots where the camera is panning to the left surveying the scene only to change direction and pan back to the right again, then no, maybe what it is finding for is down, let's zoom in for a second, darn it moved out of the shot, let's Ensue it putting all out of focus, well heck, we seem to be finding at a blank wall, and with a shake of the camera, it's turned off finally, followed by a totally unrelated shot taken hours later.
You avoid hunting by following rule #2: shut the camera off when a shot falls apart. Also you avoid hunting by getting your head out from behind the camera before you start the shot and planning out what you are going to shoot. If you want positively good footage, you might practice the shot a integrate of times before you push the red "take" button. Does it stay in focus, is the movement too extreme, is there a involving light or window that comes and goes as you pan causing the camera to change the color and radiance of the subject, etc., etc.?
Paint your scenes with shots that move in one direction, then quit. Don't backtrack in the same shot. This applies to all three movements you control: panning, tilting, and zooming. This seems so simple and yet this indecisiveness shows up all over the place in the work of amateurs. You "hunt" before you "roll." A few seconds of planning pays big dividends.
Rule #4 builds on the two previous rules -- vary your shots. Some shots should be from a distance to originate where we are and some should be very tight so we can positively see the subjects in your video. Some shots should be long and some short. Here's what to avoid: lots of mid-range shots with three or more habitancy posing in them.
Tv is an "in your face" medium -- watch it closely. It sits across the room from you. The pros cut the tops off of heads with impunity. You need to be "tight" on a lot of shots to make it involving but you want to vary it so as not to be too invasive.
Also you need to be sensitive as to whether you are above the subjects you are shooting manufacture them look small and dominated or you are below the subjects manufacture them look lordly, controlling, and terrifying. If you get down on the floor with kids they look a lot more like tiny human beings when finding right at the camcorder than if you are all the time shooting the tops of their heads.
Rule #5: let the request for retrial come to you -- be careful how much you zoom, pan and tilt. Watch what the pros do and you'll be surprised how tiny zooming you see. Any pans or tilts (looking from side to side or up and down) are generally very slow. When you do see the pros chase the subject, you'll Commonly then see a series of carport shots to let you get your bearings again.
The pros hate zooming in and out. Instead they lay a track, bring in a crane or rent a well-trained Steadycam operator to Ensue the branch nearby smoothly. This technology is beyond the casual user's reach, so we zoom. Best advice, zoom slowly and zoom less than every third shot. Use the zoom highlight to frame in a shot correctly before you push the red "take" button, and keep your fingers off it while rolling. Fast or inordinate zooms cause nausea and disorientation of your poor audience. You don't want to have to contribute air sick bags at your showing.
These rules barely scratch the surface. Start by following them and when your footage looks more respectable, you'll be ready to study the hundreds of other things you see the pros do in great movies and on Tv that makes their footage dazzle.
Now let's take on some of the many buttons on your camcorder. You should have a large owner's manual that explains what they do and I don't intend to duplicate that. (Most owner's manuals were written in Japanese first and then are translated into dozens of languages, possibly by a computer. Legal warnings probably fill the first two pages and the positively involving stuff is frequently buried away in tiny-typeface footnotes. Don't get discouraged, you are not alone when wondering if you no longer know how to read.) If you've studied photography a lot, the facts that follows may be old hat, but I've got to cover it to show you why you may want to peruse some of the buttons from time to time.
Basically you are plainly managing light and motion. Start with light: too much light and all is blistered out, too tiny light and details get lost in the shadows. The human eye has a much wider range from involving to dark in any given scene than does any video equipment. A video shot of your "true love" that looks Ok to you standing there may play back later with white splotches and blisters all over his or her face. How can something like this happen, you ask? You assumed the camera would "close down" automatically when the branch got too bright.
The automation in the camera can fail you if there are extremes in any one shot. It adjusts for the midpoint brightness. Hot areas are averaged with dark areas. The range it can handle is limited. The middle or midpoint of the range you are trying to shoot may not be the setting you want for a strict exposure where the true branch is very "hot" surrounded by a lot of dark holes. You have to take charge choosing to throw away the details in the dark holes in order to get proper exposure of the main subject. Shots of person on a stage in a spotlight is the most typical example of having to manually take charge of the exposure setting in your camcorder.
The other greatest occurs when details of your true branch are crushed into a gray mess because your branch is surrounded by a very involving background. You need to open up the exposure, throwing away the details in the involving background so you can brighten up and see your branch correctly. Some camcorders have a button called "backlighting" that does this for you.
This doesn't mean your camera can't take pictures in very involving or very dark places: it can if the whole scene is involving or the whole scene is dark. The thing you have to be sensitive to occurs when there is a mix of involving and dark, your true branch is not in the middle of the range of lighting intensity, and your camcorder is calculating an midpoint radiance setting that is wrong for what you want to capture.
What do you look for to adjust exposure? If your camera is whatever like most of ours, there are some ways to adjust exposure -- some are redundant and others handle greatest situations beyond those discussed above. How do you sort it all out?
If your camera has a wheel or dial called exposure and the picture gets dark and light as you turn it, then that's where to start. You will need to "turn it on" telling the camera's automation that you are taking control of exposure and to butt out. This may require you to read the manual -- distinct manufacturers have distinct ways to block you from tampering with their self-acting settings. Once you are in control, here are some things to consider and some words of advice:
Be sure you trust what your camcorder's viewfinder is telling you. In an ideal situation, you want to play with your camcorder in some very tough situations taking and reviewing throwaway footage before you "go live" on location. The viewfinder may have its own settings which if set wrong will mislead you. For example, if the picture in the viewfinder looks dark and dingy, but it looks great when played back on a Tv, brighten the viewfinder setting, not the exposure setting of the footage you're taking.
Flip out screens are a breathtaking invention in any place except exterior on a sunny day. Because it's so hard to see whatever on them when it's too involving outside, you may be tempted to crank nearby on the radiance setting of the flip out screen. Fine, but this may seriously mislead you when you come back inside again -- be careful. Try to remember the setting before you changed it exterior and go back to that point as soon as possible.
Once you trust what you are finding in the viewfinder, learn what to look for that clues you when to switch off the camcorder's automation and change to manual exposure control. Then you need to know how to set the exposure manually. Set it wrong and all will come back too dark or too involving -- sadly it's easy to do.
There is a trick I use when going to manual exposure at an event such as a stage performance or a wedding. Let the automation help you! Before going to manual exposure, zoom in tight on an prominent face that is lit pretty much as you expect will be coarse throughout the event. The camcorder should adjust its exposure to a nice mid-point of the light on that face. Then flip the manual exposure highlight on. Commonly this will "lock-in" the self-acting setting that you trust is Ok. Do not turn the manual exposure knob -- the camcorder is set to the desired value. You are now free to zoom wide and pan nearby the room knowing that a involving window in the background won't close the camera's lens down and black holes won't cause the faces of the main stars to blister out.
As I mentioned earlier, many cameras have other ways to accomplish the same results when working with uneven lighting situations. Many have a "backlighting" button that will take faces out of the shadows in a scene with lots of hot spots in the background. Solving the other problem, some have a extra features setting that shows an icon with a face in a spotlight. This highlight will help eliminate blistered out faces in your video where the main characters are surrounded by dark holes in the background.
You may find these settings are easier to use that trying to adjust the exposure manually. Just be sure to turn them off when no longer needed. We see videos shot with the backlighting highlight turned on during normal shots -- they are all washed out.
The camcorder engineers didn't stop there. Lurking behind every senior male electronics engineer is a immature boy who wants to originate the perfect camcorder that will shoot good footage in near darkness. The race is on between vendors. This means you will likely find still more exposure settings that address this issue. Most of these settings Ensue in footage with horrible color, jerky motion, and grainy images. Go there if you must but all of these features are exterior the scope of this booklet.
The next basic issue centers on focus. Most cameras have a very good auto focus feature. This highlight probably does a best job by far than you can do manually if you lack contact or just use the camcorder from time to time. Some situations confuse the automation, however, and to get decent footage you will have to jump in and take charge.
There are two things to look for: 1) the camera is focusing on the wrong thing, and 2) the camera is confused and is hunting back and forth for something to focus on. Most camcorders today look for a sharp vertical edge in your picture. Once found, they very speedily focus in and out picking which direction best sharpens this edge in the picture. It's the same process the eye physician uses: "Which is better, A or B"?
No edge in the picture: the camera is lost. A clear edge close by and an additional one in the distance: the camera is confused which one to select. Most of the time you can help your poor camcorder by just centering in on a sharply defined object that you want to film. If it's positively lost and is focusing on the dust on its own lens when you want to shoot a sunset, you can move things along by aiming the camera at a tree or something else in the distance before you push the red take button. Once it's focused for distance shots, it will Commonly stay there.
If none of this works you are going to have to learn how to turn off the self-acting focus highlight and take charge of focusing yourself. This is not complicated. One switch or button gives you control and Commonly the ring nearby the lens moves so you can change focus. Some camcorders let you go to manual but have a button or spring loaded switch setting that lets you tell the camera's auto focus highlight to speedily do its job and return to manual operation.
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