The document summarizes a white balance test conducted with two cameras - a Canon AVCHD Legria HF G40 and a Panasonic AVCCAM AG-HMC41E. Footage was captured in both interior and exterior settings using the automatic and manual white balance settings on each camera. Overall, the automatic settings produced accurate color rendition, while the manual settings did not consistently produce noticeable changes. Exterior footage was more challenging due to varying lighting conditions. The document evaluates how different technical filming techniques like framing, camera movement, and coverage were applied. Areas for improvement were identified, such as considering camera angles and movement to better match actions between shots.

1. WHITE BALANCE TASK

2. WHITE BALANCE TASK
As a refresher from last year on white balance and how it works, I carried
out a simple task in order to test the white balance on the Canon AVCHD
Legria HF G40, as well as the Panasonic AVCCAM AG-HMC41E. In order to
test the Canon's white balance, I first needed to know how to use the basic
functions. After consulting the manual, I wrote some directions on how to
set the white balance, and what the different pre-sets and settings were:

3. WHITE BALANCE TASK
I was set the following task to trial the white balance capabilities of the camera:
1. Use each camera’s AUTO functions in an INTERIOR setting.
2. Use each camera’s MANUAL functions in an INTERIOR setting.
3. Use each camera’s AUTO functions in an EXTERIOR setting.
4. Use each camera’s MANUAL functions in an EXTERIOR setting.
INTERIOR ACTION: A person walks into a classroom and sits down on a chair.
EXTERIOR ACTION: A person walks towards a wall and sits down on the wall.
ADDITIONAL TECHNICAL CODES TO CONSIDER:
Editorial techniques: match on action
Camera Movement techniques: panning and tilting for smoothness of shot; framing
for headroom and nose room; anticipatory framing during movement
Camera coverage: MS and CU

4. WHITE BALANCE TASK

5. WHITE BALANCE EVALUATION
The automatic white balance in the clip was filmed first, and then the
manual. The automatic white balance makes the white appear quite true to
plain white, with maybe a darker tint to it. The other colours also appear
quite true to what they were, although perhaps a little cool toned.
I am unsure of any differences made to the manual white balances, as I
can't detect any change in colours. This may have been a mistake that I
made in setting the white balance on the custom mode, although I did
notice that the colour temperature value 'K', did change. However, in the
future I will ensure that I am setting the white balance correctly according
to the directions I wrote out, in order to get the most accurate reference
for white.

6. WHITE BALANCE EVALUATION
Outside, it was sunny, and therefore I think that the automatic white
balance picked this up and made it's reference for white quite warm toned,
as the colours in the clips definitely look more yellowish than the ones
previous to them.
Filming outside meant that I was filming in varying weather conditions, and
so the sun went behind the building, which meant that I was already
filming in a different lighting set up, which causes the colours to change
anyways. I set the white balance against a white wall, and the colour
temperature value 'K' went down, and made the colours look cooler, more
like the settings inside. Compared to the other exterior shots, the colours
were definitely more cool toned, although I can't say that this is definitely
the change in white balance, due to the lack of sun in the second set of
shots.
Overall, the automatic and custom white balances set the colours similarly,
although in the future I should look out for a clear change in the colour
temperature value 'K' in order to make sure that I am using the custom

7. WHITE BALANCE TASK
Likewise, to test the Panasonic's white balance, I first needed to know how
to use the basic functions. After consulting the manual, I wrote some
directions on how to set the white balance, and what the different pre-sets
and settings were:

8. WHITE BALANCE TASK

9. WHITE BALANCE EVALUATION
The automatic white balance in the clip was filmed first, and then the
manual. The automatic setting had a similar effect to that on the Canon
camera. It makes the colours appear quite true to what they were.
However, the clip does come across as being very cool toned and a little
dark. This might be expected because the light was coming from outside,
and there was little use of warm interior lights.
The manual setting on this camera varied to the manual setting on the
Canon. It made the colours seem warmer than the automatic setting,
giving the effect that the natural light coming from outside was from
brighter and sunnier weather. Whilst the Canon camera shows a change in
temperature value, it seems that this camera only tells the user when it has
set, and then they have to decide for themselves if the colours have
changed.

10. WHITE BALANCE EVALUATION
I was filming in the shade on a sunny day. The camera picked this up and
in the automatic setting, set the reference for white to be quite dark and
cool toned, as there are a lot of areas of the image that can hardly be seen
as a result of the light coming from the background.
The manual setting for the exterior shot being filmed in the shade looked
very similar to the automatic. As there was less light behind the camera
and on the subject, the camera was unable to pick up anything else to
change the reference for white, as it was all quite dark.
Overall, I think that the more natural light there is, the warmer the colours.
Although when there is less light, the camera can’t pick up much more
than what it can for the automatic mode. When I come to shoot my short
film, I will be considering lighting, and so I will be able to use white
balance to my advantage.

11. TECHNICAL CODES EVALUATION
EDITORIAL TECHNIQUE: MATCH ON ACTION
I feel as if my matches on action were not as effective as they possibly
could have been. The interior clips, in my opinion, cut together a little
better as there was no overlap in between the action in both clips, whereas
in the exterior shots, there is, which makes it look as if the actor is taking
longer to sit down than what is necessary/ realistic.
I also think that I could have used varying angles for the different shot
sizes to help the action flow better and the clips overall to cut together
more successfully.
When it comes to shooting my film, I will consider different angles, and I
will play with the different matches of action that I could possibly use and
the best point to cut in between.

12. TECHNICAL CODES EVALUATION
CAMERA MOVEMENT TECHNIQUE: PANNING/ TILTING
The panning and tilting of the camera was somewhat successful, as I was
able to move the camera smoothly with a lack of unsteadiness, with help
from the tripod. The only problem I ran into was when the lever got caught
on one of the tripods legs, however, I was able to rectify this by switching
its position so that it was out of the way. When shooting my film, I will
ensure that my tripod is set up so that I can continue making smooth
movements with the camera.

13. TECHNICAL CODES EVALUATION
CAMERA MOVEMENT TECHNIQUE: FRAMING FOR HEAD ROOM/ NOSE
ROOM
This was quite difficult, as when the shot began, I was happy with the head
room and nose room left for the actor. However, when she began to move,
she became closer or further away from the camera, which therefore
altered the head room, making it a shot that was less successful. In
instances like this, I feel that I tracking shot would be more effective than a
pan. Overall, I would be happy framing a static shot for head room and
nose room, although when I shoot my film, I will take into consideration
the possibilities of camera movement as and when I would need it, and
which would be the most effective.

14. TECHNICAL CODES EVALUATION
CAMERA MOVEMENT TECHNIQUE: ANTICIPATORY FRAMING
Despite my subjects becoming closer and further away from the camera, I
think that I was somewhat successful in panning to follow the actor’s
horizontal movement, keeping consistent nose room. There are several
times where the camera movement was a bit too slow for the actor,
although not enough to be cut out of the frame. The vertical movement
was a little more difficult, as there were times that my actors heads were
cut off by a fraction. To improve this, I could practise anticipatory framing
by following moving objects, such as my actors whilst they are rehearsing
the action for my short.

15. TECHNICAL CODES EVALUATION
CAMERA COVERAGE: MEDIUM SHOT AND CLOSE UP
Similarly to my framing for head room and nose room, I was happy with
my shot sizes before I began to move the camera. As the actors moved
closer or further away, the shot size was altered. For example in the first
video, the interior shot starts as a close up, which I was happy with, and as
the actor gets closer to the camera, her shoulders are cut off and the head
room becomes larger. I would be confident in considering camera
coverage in a static shot, although again, I would have to carefully think
about any camera movement when necessary, in order to choose the right
shot.