This document provides an introduction to using digital SLR cameras for filmmaking. It discusses the advantages of dSLRs such as their compact size, high quality sensors, and affordable lenses. Basic setups, techniques and concepts are covered, including focal lengths, exposure controls, frame rates and shutter speeds. More advanced setups are also described, like external audio recording and monitoring, follow focuses, and support systems. Post-production workflows are briefly outlined. Throughout, examples are given of successful films shot on dSLRs and tips are provided for getting started on a low budget.

1. Digital SLR CinematographyAn introduction to

2. This session…Why use dSLRs for filming?With demos and big-screen blockbusters!Getting started with filming using dSLRsBasic cinematography concepts and dSLRsAdvanced setups: taking it to the next levelPost-production

3. Why shoot films on a dSLR?Compact and lightHigh-def(1080p), high bitrate(50mbps) captureAdvanced creative control (Av/DoF, Tv)High-quality, interchangeable lensesLarge, high quality CMOS sensors:Optical capture area is larger than 35mm cine filmUnrivalled low-light shooting abilityHigh dynamic range3 years ago, to get all this in a video camera, the *least* it would have cost is $50,000 (body only)

4. DemosVincent Laforet- “Reverie” – the clip that started it all. Shot on 5D Mark II – no colour grading.Shane Hurlbut, ASC – “The Last Three Minutes”. Shot on 5D Mark II.Phillip Bloom – “Sofia’s People”. Shot on 5D Mark II with just one lens, a Zeiss ZF 50mm f1.4 – no lighting or colour grading.

5. Recent big dSLR productions"if you’re [not] using the 5D [Mark II], you aren’t making your movie the best it can be.“Iron Man 2Captain AmericaBlack Swan (filmed in Australia!)AFI Movie of the Year1 Academy Award & 4 nominations including Best Achievement in Cinematography and Best Motion Picture of House – Season 6 Finale (clip), and ALL of (current) Season 7

6. Getting started…The minimum you’ll need (kits from $600!):A dSLRbodywith HD 720p or betterFull frame (35mm) vs crop sensor (“APS-C”)5d Mark II 7D 60D 550DA lensPrime Zoom

7. Sensor sizes35mm Full Frame (5D mkII, Nikon D3s)APS-C (“crop”)(7D, RED One - $25,000)Broadcast Camcorder (Sony EX3 - $10,000)Light from lens falling on focal plane“Full frame” sensor imaging area“Crop” sensor imaging area (1.5-1.6x “zoom”)

8. Why use primes“Faster” than zooms (esp. “kit” lenses)(Generally) better optics & image qualityMany primes are comparatively cheapE.g. Samyang14mm f/2.8, 35mm & 85mm f/1.4 + Canon 50mm f/1.8 for less than the price of a 24-70 f/2.8 zoom - & is optically superior in every wayZooming (while filming) is usually avoided (unless you are Stanley Kubrick, BazLuhrmann, Alfred Hitchcock, Steven Spielberg, Martin Scorsese, Andrei Tarkovsky, Robert Altman, Francis Ford Coppola, Peter Bogdanovich, Quentin Tarantino… )But… need lens changes/less convenient…so less suitable for documentary/event work which needs flexibility(for narrative filmmaking)?

9. Adapting old/cheap len$e$Many old lenses can be attached with adaptors – this is a great way to pick up a bargain lens! You will usually lose electronic control - so most adapted lenses need a manual aperture ring!This adaptor has electronic connectors… BUT…

10. Cinematography Basics 101Focal lengthExposure – Light, aperture, ISO, ND filtersShutter speed & frame rateTechnical stuff

11. Focal lengthRefers to the amount of image magnification.“Wide Angle” – perspective exaggerated“Normal” – natural perspective“Telephoto” –perspective compressed

12. Video exposure basicsExposure - controlling the recorded video image for correct brightness and contrast.Lighting is the foundation of exposure. If you can control the light, you can use the camera’s exposure controls for creativity and finesse - rather than just to get a shot.Aperture, ISO and ND filtersare used for controlling exposure in-camera. Not shutter speed(though it does affect exposure).

13. Video exposure basics (cont)Fast lenses have a large maximum aperture e.g. f/2.8, f/1.8, f/1.4 (“f-stop”). Note: f/x is a fraction! So the smaller the value of x, the larger the number “f/x” - and the larger the aperture! (e.g. f/1.4 > f/2.8)Larger apertures:Let in more lightNarrow depth-of-fieldso you canShoot in dimmer light(with good exposure)Blur fore/backgrounds [subject focus/“bokeh”]Create beautiful images! f/1.4 f/2.8 f/8 f/22More light Less light

14. Video exposure basics (cont)Doubling ISO doubles the sensitivity of the sensor and makes the image brighter.However, high ISO results in more “noise”, reducing image quality.Multiples of 160 are “real” ISOs for Canons – others aregenerated

15. Video exposure basics (cont)We can also reduce the amount of light entering the lens with a Neutral Density (ND) filter. This is useful if we want to shoot with a wide aperture on a bright day. ND4 (1-stop) Graduated ND Fader ND

16. What about shutter speed?The shutter speed of each frame is limited by the frame rate. (Shooting) at 24 fps, the LONGEST exposure possible is 1/24s.To mimic the appearance of film, shoot as close as possible to half your frame rate. E.g. at 24 fps, set your shutter to 1/50s.You can increase your shutter speed, for a stroboscopic, choppy appearance (e.g. Saving Private Ryan, Gladiator).

17. Frame RateMost standard film is shot at 24 fps. PAL is 25 fps. To mimic the look of cinematic film, use a setting as close as possible to 24 fps.The 7D can shoot at 60 fps. This can be slowed down to 24/25 fps for flawless “slow-mo” – or even further with software (demo).Video on frame rate and shutter speed.

18. Technical stuffCompression – How the original video data is reduced for storage. Currently, all dSLR video is compressed (lossy)Codec – how the video data is encoded. H.264 (Canon) is more efficient than MJPEG (Nikon)Bitrate– how much data is used to store video

19. Advanced dSLR setupsAllow mounting of additional accessoriesImprove visual & audio quality & monitoringImprove creative & technical controlLook awesome professional!

20. Advanced considerationsSupport/mounting systemsHigh quality audio capture & recordingManually controlling focusControlling video and audioMonitoring video and audio

21. Support/mounting systemsShake and blur are distracting! Sturdy tripod & fluid head – almost essentialI recommend WeiFang EI-717AH head. Sturdy “Rig” – for shoulder/handheld workWeight and/or contact points minimise shakeI use this collapsible shoulder rig.Or you can make one for a few dollars. Works fine!Stabilisers/steadicams.15mm cinematic rails for mounting accessories.

22. Basic SupportsShoulder rig with integral 15mm railsUse of rails to mount accessories (overkill for most shoots!)Steadicam stabiliserVideo fluid head

23. Supports for camera “moves”Dolly & tracking: Moving the camera in one plane. Fwd-back = dolly; left-right = tracking(Phillip Bloom “Salton Sea” demo with slider)Crane: basically, tracking up and downPan & tilt: Rotating camera on H or V axis. Don’t do this too fast (causes rolling shutter &/or strobing) or jerkily!

24. Supports for camera movesTripod dollySliderCraneFluid head for pan/tiltSkateboard as dolly(you can DIY most of these!)

25. Capturing audioAudio is arguably more important than video for quality filmmaking. Viewers will tolerate poorly-shot images; but rarely poor sound!Turn off Automatic Gain in camera (AGC)!Use external microphone (Lavalier/shotgun)Mic setup e.g. boom, shockmount, windshieldBoost S:NR - use amp/recorder (Juicedlink/Zoom)Use shielded cabling for longer cables (XLR)Sync with slate/clapper board (acrylic/iPad/DIY)

26. Capturing audio (images)

27. Controlling focusMost dSLRs cannot autofocus in video modeBut in narrative filmmaking, we use manual focus anyway for more controlFor “focus pulls”, we use a “follow focus”:Follow focus for shake-free, precise focus adjustments and “pulls” - with white marker discIndustry-standard rail mount (15mm Ørods, 60mm apart)Speed crank for fast focus pull

28. Controlling videoTo control flare from light sources, use a lens hood or matte box:Matte boxes also enable use of 4x4” filters“French Flag” – helps cut glareFilter holders: static/rotatingMatte box – should attach sturdily!Foam “donut”, snug around lensAttaches to 15mm rail mount

29. Controlling video (cont)Always shoot in M (Manual) settingNeed to White Balance - because we are shooting compressed video (not RAW).To improve final dynamic range, use “Picture Styles” (Canon) to flatten contrast. I recommend Technicolor Cinestyle(free!) Colour-correct in “Post-” (Colour Grading) with Cinestyle Look-Up-Table (LUT) (also free!)

30. Monitoring audio & videoMonitoring video: External field monitor or loupe for camera LCDUse “zebra stripes” and live histogram – not in standard camera… but…Monitoring audio:Use headphones – closed ear, flat response is bestUse level meters - not in standard camera… but…

31. Magic Lantern for Canon dSLRSome talented programmers have written free software for Canon cameras that improves control and monitoring of video & audio: http://magiclantern.wikia.com/Audio level monitor (int/ext mics)Live exposure histogram“Zebra stripes” (shows over/underexposed areas in image)Focus distanceOther data

32. Post-productionOne you have shot your footage, it needs to be edited! Some options & tips…Free, open source video editor: LightworksUsed to edit “The King’s Speech” (Winner of 4 2011 Academy Awards incl. Best Motion Picture)Other options: Adobe Premiere ProCS5 can edit dSLR video natively – saves hoursApple Final Cut ProFree plugin imports Canon files for best qualityConverts to 4.2.2 Apple Prorescolour space

33. Colour gradingShoot flat for detail in highlights & shadowsColour grading: for hue, saturation & contrast

34. Summary - and tips!To get started you just need a dSLR and lens:Install free Technicolor Cinestylepicture styleUse free Magic Lantern firmwareUse free editor (http://lightworksbeta.com/)Use free music (e.g. http://mobygratis.com/or http://creativecommons.org/) for audioShoot and practice!

35. Summary and tips (cont)If you have a few extra dollars: Buy a tripod and external shotgun microphoneMake a rig, shock mount and boom pole(even cranes, sliders and dollies if you want to!)Use a digital audio recorder (e.g. your phone)Shoot and practice some more!

36. More informationOnline dSLR filmmaker communityhttp://cinema5d.com/How-to Guidehttp://nofilmschool.com/dslr/Latest News (Blog)http://www.eoshd.com/Me!leonard.low@electricimages.org | @leonardlow