The document discusses the history and techniques of filmmaking, including the development of film from early attempts to capture motion to the modern filmmaking process involving pre-production, production, and post-production. It covers various camera shots and angles, types of camera movement, and the roles of key crew members in the filmmaking process.

2. STILL CAM
VIDEO CAM

4. It is produced by recording
photographic images with
cameras, or by creating
images using animation

5. is the rapid display of a sequence
of images of 2-D or 3-D artwork
or model positions to create an
It is produced by
illusion of movement.
photographic images with
camera, or by creating
images using animation
Early examples of attempts to capture
the phenomenon of motion drawing can
be found in paleolithic cave paintings

6. Early examples of attempts to capture
the phenomenon of motion drawing can
be found in paleolithic cave paintings

8. MO-TI (470 BC to 390 BC),
1887
Films are made up of a series of individual images called
frames. When these images are shown rapidly in succession,
a viewer has the illusion that motion is occurring.

9. 1900 ON WARDS
 Films as entertainment.
 World War
 Political use & Propaganda
 Hollywood industry & others.(china,India,Iran)

10. HOLLYWOOD
 80s
 90s
 2000
 2012

11. FILM
 Development
 Pre-production
 Post-production

12. DEVELOPMENT
 Finding story
 Finding a writer
 Step Outlining (turning the story into a screenplay
for a motion picture.)
 Screen writing (writing story in dramatic way,
writing it again n again improving dramatization,
clarity, structure, characters, dialogue, and overall
style.)
 film distributor (is a company or individual
responsible for releasing films to the public either
theatrically or for home viewing)

13. PRE-PRODUCTION
 Creating a production company.
 Hiring crew
 Storyboarding
 production budget
 Insurance

14. PRODUCTION AND CREW
 The director = storytelling + decisions Making + Acting of the
film.
 The assistant director (AD) = shooting schedule + logistics
of the production. There are several types of AD, each with
different responsibilities.
 The casting director =finds actors to fill the parts in the
script + actors audition.
 The location manager= finds and manages film locations,
Indoor & Outdoor.
 The production manager =manages the production budget
and production schedule.+ finding financiers of the film.
 The director of photography (DoP) is the cinematographer
who supervises the photography of the entire film
 The director of audiography (DoA) who supervises the
audiography of the entire film,

15.  The production sound mixer is the head of the sound
department during the production stage of filmmaking. They record
and mix the audio on set - dialogue, presence and sound effects in
mono and ambience in stereo. They work with the boom operator,
Director, DoA, DoP, and First AD.
 The sound designer creates the aural conception of the
film, working with the supervising sound editor. On some
productions the sound designer plays the role of a director of
audiography.
 The composer =creates new music for the film. (usually not
until post-production)
 The production designer creates the visual conception
of the film, working with the art director.
 The art director manages the art department, which makes
production sets
 The costume designer
 Set Designer.

16.  Special Effects Manager.
 Camera Man.
 The make up and hair designer
 The storyboard artist creates visual images to help the
director and production designer communicate their ideas to the
production team.
 The choreographer creates and coordinates the movement
and dance - typically for musicals. Some films also credit a fight
choreographer.

17. Post-production
 Editing (Editorial, Visual effects, sound)
 Film distribution/Screening

18. Independent filmmaking
 Filmmaking also takes place outside of the
mainstream and is commonly called independent
filmmaking.

19. BASIC EQUIPMENT FOR FILMING

20. CAMERA SHOTS
 Extreme Long Shot
 Long Shot
 Medium Shot
 Medium Closeup
 Close Up
 Extreme Closeup
 Cut-In
 CA (Cutaway)
 Two-Shot
 (OSS) Over-the-Shoulder Shot
 Noddy Shot
 Point-of-View Shot (POV)
 Weather Shot

22. EXTREME LONG SHOT
 In the extreme long shot, the view is so far from the
subject that s/he isn't even visible. The point of this
shot is to show the subject's surroundings.
 The ELS is often used as an "establishing shot" -
the first shot of a new scene, designed to show the
audience where the action is taking place.
 It is also useful in scenes where the action is very
spread out. For example, in a war movie an
extreme wide shot can show the scale of the action.

23. LONG SHOT
 The Long Shot is much closer to the subject than
an extreme long shot, but still much further away
than a long. The subject is visible here but only just
(in this case it's a boy leaning against the fence).
The emphasis is very much on placing him in his
environment.
 This often works as an establishing shot, in which
the audience is shown the whole setting so they
can orient themselves.
 The LS also allows plenty of room for action to take
place, or for multiple subjects to appear on screen.

24. MEDIUM SHOT
 In the medium shot, the subject takes up the full
frame. In this case, the boy's feet are almost at
the bottom of frame and his head is almost at the
top. Obviously the subject doesn't take up the
whole width and height of the frame, since this is
as close as we can get without losing any part of
him. The small amount of room above and below
the subject can be thought of as safety room —
you don't want to be cutting the top of the head
off. It would also look uncomfortable if his feet
and head were exactly at the top and bottom of
frame.

25. MEDIUM CLOSEUP
 The Mid Closeup shows some part of the subject in
more detail, whilst still showing enough for the audience
to feel as if they were looking at the whole subject. In
fact, this is an approximation of how you would see a
person "in the flesh" if you were having a casual
conversation. You wouldn't be paying any attention to
their lower body, so that part of the picture is
unnecessary.
 The MC is appropriate when the subject is speaking
without too much emotion or intense concentration. It
also works well when the intent is to deliver information,
which is why it is frequently used by television news
presenters. You will often see a story begin with a MS of
the reporter (providing information), followed by closer
shots of interview subjects (providing reactions and
emotion).

26. CLOSE UP
 In the closeup shot, a certain feature or part of the
subject takes up most of the frame. A close up of a
person usually means a close up of their face
(unless specified otherwise).
 Close-ups are obviously useful for showing detail
and can also be used as a cut-in.
 A close-up of a person emphasizes their emotional
state. Whereas a mid-shot or wide-shot is more
appropriate for delivering facts and general
information, a close-up exaggerates facial
expressions which convey emotion. The viewer is
drawn into the subject's personal space and shares
their feelings.

27. EXTREME CLOSEUP
 The ECU (also known as XCU) gets right in and
shows extreme detail.
 You would normally need a specific reason to get
this close. It is too close to show general reactions
or emotion except in very dramatic scenes.
 A variation of this shot is the choker.

28. CUT-IN
 Like a cutaway, but specifically refers to showing
some part of the subject in detail.
 Can be used purely as an edit point, or to
emphasise emotion etc. For example, hand
movements can show enthusiasm, agitation,
nervousness, etc

29. CA (CUTAWAY)
 A cutaway is a shot that's usually of something
other than the current action. It could be a different
subject (eg. this cat when the main subject is its
owner), a close up of a different part of the subject
(eg. the subject's hands), or just about anything
else.
 The cutaway is used as a "buffer" between shots (to
help the editing process), or to add
interest/information.

30. TWO-SHOT
 There are a few variations on this one, but the basic
idea is to have a comfortable shot of two people.
Often used in interviews, or when two presenters
are hosting a show.
 A "One-Shot" could be a mid-shot of either of these
subjects. A "Three-Shot", unsurprisingly, contains
three people.

31. OVER THE SHOULDER SHOT (OSS)
 This shot is framed from behind a person who is
looking at the subject. The person facing the
subject should usually occupy about 1/3 of the
frame.
 This shot helps to establish the position of each
person, and get the feel of looking at one person
from the other's point of view.
 It's common to cut between these shots during a
conversation, alternating the view between the
different speakers.

32. NODDY SHOT
 Common in interviews, this is a shot of the person
listening and reacting to the subject. In fact, when
shooting interviews with one camera, the usual
routine is to shoot the subject (using OSS and one-
shots) for the entire interview, then shoot some
noddies of the interviewer once the interview is
finished. The noddies are edited into the interview
later.
 For more information see shooting interviews.

33. POINT-OF-VIEW SHOT (POV)
 This shot shows a view from the subject's
perspective. It is usually edited in such a way that it
is obvious whose POV it is (see the example
below).

34. WEATHER SHOT
 In this type of shot the subject is the weather. The sky takes
up at least 2/3 of the frame. This type of shot is common in
television programs where the weather is of particular interest,
e.g. sports shows.
 Although the usual purpose of this shot is to show the
weather, it is also useful as an establishing shot, for setting
the general mood or for overlaying graphics.
 A weather shot doesn't have to show the sky. Other shots
often used to illustrate weather include:
 Puddles, drain spouts or any example of rainwater flow.
 Trees or anything else blowing in the wind.
 People sunbathing.
 Snowmen, snowball fights, snow sledding, etc.

35. CAMERA LEVELS
 Eye Level
 Low Angle
 High Angle
 Over Head Shot
 Under Shot

36. 5 DEADLIEST SINS IN FILM MAKING
 Fire Hosing (Spacing above the head)
 Jogging
 Back Light
 Nose Room
 Head Room (Chin cuttings)

37. OTHERS
 Camera Handling
 While moving into the streets
 While Rain or snow
 Don’t make other conscious.
 Let the camera record.
 10 sec at least
 Keeping eyes open.

38. CAMERA ANGLES
 The Bird's-Eye view
 This shows a scene from directly overhead, a very
unnatural and strange angle. Familiar objects
viewed from this angle might seem totally
unrecognisable at first (umbrellas in a crowd,
dancers' legs). This shot does, however, put the
audience in a godlike position, looking down on the
action. People can be made to look insignificant,
ant-like, part of a wider scheme of things. Hitchcock
(and his admirers, like Brian de Palma) is fond of
this style of shot.

39. HIGH ANGLE
 Not so extreme as a bird's eye view. The camera is
elevated above the action using a crane to give a
general overview. High angles make the object
photographed seem smaller, and less significant (or
scary). The object or character often gets
swallowed up by their setting - they become part of
a wider picture.

40. EYE LEVEL
 A fairly neutral shot; the camera is positioned as
though it is a human actually observing a scene, so
that eg actors' heads are on a level with the focus.
The camera will be placed approximately five to six
feet from the ground.

41. LOW ANGLE
 These increase height (useful for short actors like
Tom Cruise or James McAvoy) and give a sense of
speeded motion. Low angles help give a sense of
confusion to a viewer, of powerlessness within the
action of a scene. The background of a low angle
shot will tend to be just sky or ceiling, the lack of
detail about the setting adding to the disorientation
of the viewer. The added height of the object may
make it inspire fear and insecurity in the viewer,
who is psychologically dominated by the figure on
the screen.

42. CAMERA MOVEMENT
 Pans
 Tilts
 Dolly Shots
 Hand-held shots
 Crane Shots
 Zoom Lenses
 The Aerial Shot

43. PANS
 A movement which scans a scene horizontally. The
camera is placed on a tripod, which operates as a
stationary axis point as the camera is turned, often
to follow a moving object which is kept in the middle
of the frame.

44. TILTS
 A movement which scans a scene vertically,
otherwise similar to a pan.

45. DOLLY SHOTS
 Sometimes called TRUCKING or TRACKING shots. The
camera is placed on a moving vehicle and moves
alongside the action, generally following a moving figure
or object. Complicated dolly shots will involve a track
being laid on set for the camera to follow, hence the
name. The camera might be mounted on a car, a plane,
or even a shopping trolley (good method for
independent film-makers looking to save a few dollars).
A dolly shot may be a good way of portraying
movement, the journey of a character for instance, or for
moving from a long shot to a close-up, gradually
focusing the audience on a particular object or
character.

46. HAND-HELD SHOTS
 The hand-held movie camera first saw widespread use during World War
II, when news reporters took their windup Arriflexes and Eyemos into the
heat of battle, producing some of the most arresting footage of the
twentieth century. After the war, it took a while for commercially produced
movies to catch up, and documentary makers led the way, demanding
the production of smaller, lighter cameras that could be moved in and out
of a scene with speed, producing a "fly-on-the-wall" effect.This aesthetic
took a while to catch on with mainstream Hollywood, as it gives a jerky,
ragged effect, totally at odds with the organised smoothness of a dolly
shot. The Steadicam (a heavy contraption which is attached a camera to
an operator by a harness. The camera is stabilized so it moves
independently) was debuted in Marathon Man (1976), bringing a new
smoothness to hand held camera movement and has been used to great
effect in movies and TV shows ever since. No "walk and talk" sequence
would be complete without one. Hand held cameras denote a certain
kind of gritty realism, and they can make the audience feel as though
they are part of a scene, rather than viewing it from a detached, frozen
position.

47. CRANE SHOTS
 Basically, dolly-shots-in-the-air. A crane (or jib), is a
large, heavy piece of equipment, but is a useful way
of moving a camera - it can move up, down, left,
right, swooping in on action or moving diagonally
out of it. The camera operator and camera are
counter-balanced by a heavy weight, and trust their
safety to a skilled crane/jib operator.

48. ZOOM LENSES
 A zoom lens contains a mechanism that changes the
magnification of an image. On a still camera, this means that the
photographer can get a 'close up' shot while still being some
distance from the subject. A video zoom lens can change the
position of the audience, either very quickly (a smash zoom) or
slowly, without moving the camera an inch, thus saving a lot of
time and trouble. The drawbacks to zoom use include the fact
that while a dolly shot involves a steady movement similar to the
focusing change in the human eye, the zoom lens tends to be
jerky (unless used very slowly) and to distort an image, making
objects appear closer together than they really are. Zoom lenses
are also drastically over-used by many directors (including those
holding palmcorders), who try to give the impression of
movement and excitement in a scene where it does not exist.
Use with caution - and a tripod!

49. THE AERIAL SHOT
 An exciting variation of a crane shot, usually taken
from a helicopter. This is often used at the
beginning of a film, in order to establish setting and
movement. A helicopter is like a particularly flexible
sort of crane - it can go anywhere, keep up with
anything, move in and out of a scene, and convey
real drama and exhilaration — so long as you don't
need to get too close to your actors or use location
sound with the shots.

50. SLIDES

51. VIDEO CAMERA FOCUS
 Soft: Out of focus
 Sharp: In focus
 Depth of Field: The range of distances from the
lens at which an acceptably sharp focus can be
obtained
 Pull focus: Adjust the focus to a different point
during a shot

52. COMPOSITION RULES
 Rule of Thirds
 Balancing Elements
 Leading Lines
 Headroom
 Symmetry and Patterns
 Viewpoint
 Depth
 Framing
 Cropping
 Eye placement
 pyramid compositions

53. RULE OF THIRDS
 Imagine that your image is divided into 9 equal
segments by 2 vertical and 2 horizontal lines. The
rule of thirds says that you should position the most
important elements in your scene along these lines,
or at the points where they intersect.

55. BALANCING ELEMENTS
 Placing your main subject off-centre, as with the
rule of thirds, creates a more interesting photo, but
it can leave a void in the scene which can make it
feel empty. You should balance the "weight" of your
subject by including another object of lesser
importance to fill the space.

56. LEADING LINES
 When we look at a photo our eye is naturally drawn
along lines. By thinking about how you place lines
in your composition, you can affect the way we view
the image, pulling us into the picture, towards the
subject, or on a journey "through" the scene. There
are many different types of line - straight, diagonal,
curvy, zigzag, radial etc - and each can be used to
enhance our photo's composition.

57. HEADROOM
 Headroom: Enough room for the subject's head.
Space around their head yet not too much. Too low
in the frame (too much headroom) makes them
appear short. Not enough headroom makes them
look tall and scrunched. Correct headroom gives
the subject just enough space around their head to
make them look comfortable.

58. SYMMETRY AND PATTERNS
 We are surrounded by symmetry and patterns, both
natural and man-made., They can make for very
eye-catching compositions, particularly in situations
where they are not expected. Another great way to
use them is to break the symmetry or pattern in
some way, introducing tension and a focal point to
the scene.

59. VIEWPOINT
 Before photographing your subject, take time to think
about where you will shoot it from. Our viewpoint has a
massive impact on the composition of our photo, and as
a result it can greatly affect the message that the shot
conveys. Rather than just shooting from eye level,
consider photographing from high above, down at
ground level, from the side, from the back, from a long
way away, from very close up, and so on.

60. DEPTH
 Because photography is a two-dimensional medium, we
have to choose our composition carefully to conveys the
sense of depth that was present in the actual scene. You
can create depth in a photo by including objects in the
foreground, middle ground and background. Another
useful composition technique is overlapping, where you
deliberately partially obscure one object with another.
The human eye naturally recognises these layers and
mentally separates them out, creating an image with
more depth.

61. FRAMING
 The world is full of objects which make perfect
natural frames, such as trees, archways and holes.
By placing these around the edge of the
composition you help to isolate the main subject
from the outside world. The result is a more
focused image which draws your eye naturally to
the main point of interest.

62. CROPPING
 Often a photo will lack impact because the main
subject is so small it becomes lost among the
clutter of its surroundings. By cropping tight around
the subject you eliminate the background "noise",
ensuring the subject gets the viewer's undivided
attention.

63. EYE PLACEMENT
 Should be in the top third of the screen (see rule of
thirds). You want the viewer not to notice the
camera-work so, make it look natural and standard.

64. PYRAMID COMPOSITIONS
 Triangles can be formed a few different ways:
 If your subject is already triangular or diamond-shaped
(like a pyramid), the viewer’s eye will automatically focus
on that shape.
 Groups of people can be posed as an irregular triangle.
This helps keep people from creating a shapeless blob
in a portrait; and an irregular (slanted) triangle makes
sure that no two pairs of eyes will lie on the same
horizontal plane.
 Different landmarks can be one of three points that form
the triangle. For instance, a person at the forefront of the
photo is the first point, a boat far behind the person
forms the second point, and an island on the other side
of the frame forms the third point. As long as no other
objects enter the frame, the eye can easily follow the
photo from the person, to the boat, to the island.

67. WHAT IS A AUDIO/VIDEO EFFECT

68. WHAT IS A AUDIO/VIDEO TRANSITION

69. AUDIO FILE FORMATS
 MPEG Layer-3 (MP3)
 The MP3 format is the most commonly used audio format for digital audio players, such as iPods, and for transferring music
online. MP3 uses a compression algorithm to reduce the size of the audio file. The file size of MP3s is typically between 1
and 1.5 MB per minute. While some loss of sound quality occurs due to the compression, most listeners are unable to notice
a difference between a high quality MP3 file and the original CD production. Most Mac CD Burning applications are able to
convert MP3 files to CD audio for burning standard audio discs.
 Wave (WAV)
 WAV files are a standard audio file format supported by most operating systems. It is used mainly on Windows PCs but may
also be used on Mac OS X. WAV files are typically uncompressed and lossless, meaning that a WAV file produced from an
original CD production. Since WAV files are uncompressed, the standard file size is approximately 10 MB per minute of
music. The large file size is a major deterrent to using WAV files for transferring audio using this format online or for storing
music on a hard drive or portable MP3 player. Most MAC CD Burning applications are able to convert WAV files for the
purpose of burning standard audio CDs.
 Free Lossless Audio Codec (FLAC)
 FLAC is a relatively new audio format, developed by Xiph.Org Foundation in 2001. It is a compressed audio file type that is
lossless, so audio quality is not lost during the compression process. FLAC is a free, open source format that can be used by
anyone. File sizes range from approximately 30 to 70% of the original audio size, so 3 to 7 MB per minute of music. Support
for FLAC is limited compared to MP3 or WAV. However, iTunes and many iPod models do support FLAC.
 Advanced Audio Coding (AAC)
 AAC is a file format designed to be a successor to MP3s. It is supported by many hardware devices, including iPods, Sony
Playstation 3 and more. Most Mac CD Burning applications also support converting AAC files to standard CD audio for
creating music CDs. The file size is comparable to MP3s, making it an attractive choice for storing audio. However, it is a
lossy format, meaning that some audio quality may be lost when a file is converted from the original source to an AAC file.
 Windows Media Audio (WMA)
 WMA is a compressed, lossy audio format developed by Microsoft primarily for use with Microsoft Windows Media Player.
The file size is comparable to AAC or MP3 files of similar bitrates. In 2003, Microsoft released a PowerPC version of
Windows Media Player for Mac OS X. However, an Intel version was not designed and further development of Windows
Media Player for Mac OS X has ceased. Flip4Mac is a plug-in for QuickTime that allows you to play WMA files on Mac OS X.
This plug-in has some compatibility issues with certain types of WMA files. We recommend that you avoid WMA files, since
other formats, such as AAC and MP3, have similar sound quality and much better compatibility with Mac OS X, Mac CD
Burning applications, iPods and other portable audio devices.

70. VIDEO FILE FORMATS
 Flash Video Format (.flv)
Because of the cross-platform availability of Flash video players, the Flash video format has
become increasingly popular. Flash video is playable within Flash movies files, which are
supported by practically every browser on every platform. Flash video is compact, using
compression from On2, and supports both progressive and streaming downloads.
 AVI Format (.avi)
The AVI format, which stands for audio video interleave, was developed by Microsoft.
It stores data that can be encoded in a number of different codec’s and can contain both audio
and video data. The AVI format usually uses less compression than some similar formats and is
a very popular format amongst internet users.
 AVI files most commonly contain M-JPEG, or DivX codec’s, but can also contain almost any
format.
 The AVI format is supported by almost all computers using Windows, and can be played on
various players.
Some of the most common players that support the avi format are:
 Apple QuickTime Player (windows & Mac)
 Microsoft Windows Media Player (Windows & Mac)
 VideoLAN VLC media player (Windows & Mac)
 Nullsoft Winamp
 Quicktime Format (.mov)
The QuickTime format was developed by Apple and is a very common one. It is often used on
the internet, and for saving movie and video files.
 The format contains one or more tracks storing video, audio, text or effects. . It is compatible
with both Mac and Windows platforms, and can be played on an Apple Quicktime player.

71.  MP4 Format (.mp4)
This format is mostly used to store audio and visual streams online, most commonly those
defined by MPEG. It Expands MPEG-1 to support video/audio "objects", 3D content, low bit rate
encoding and support for Digital Rights Management.
 The MPEG-4 video format uses separate compression for audio and video tracks; video is
compressed with MPEG-4 video encoding; audio is compressed using AAC compression, the
same type of audio compression used in .AAC files.
 The mp4 can most commonly be played on the Apple QuickTime Player or other movie players.
Devices that play p4 are also known as mp4 players.
 Mpg Format (.mpg)
Common video format standardized by the Moving Picture Experts Group (MPEG); typically
incorporates MPEG-1 or MPEG-2 audio and video compression; often used for creating
downloadable movies. It can be played using Apple QuickTime Player or
Microsoft Windows Media Player.
 Windows Media Video Format (.wmv)
WMV format, short for Windows Media Video was developed by Microsoft. It was originally
designed for internet streaming applications, and can now cater to more specialized content.
Windows Media is a common format on the Internet, but Windows Media movies cannot be
played on non-Windows computer without an extra (free) component installed. Some later
Windows Media movies cannot play at all on non-Windows computers because no player is
available.
Videos stored in the Windows Media format have the extension .wmv.
3GP File Extension (.3gp)
The 3gp format is both an audio and video format that was designed as a multimedia format for
transmitting audio and video files between 3G cell phones and the internet. It is most commonly
used to capture video from your cell phone and place it online.
This format supports both Mac and windows applications and can be commonly played in the
following:
 Apple QuickTime Player
 RealNetworks RealPlayer
 VideoLAN VLC media player
 MPlayer
 MIKSOFT Mobile 3GP Converter (Windows)

72.  Advances Streaming Format (.asf)
ASF is a subset of the wmv format and was developed by
Microsoft. It is intended for streaming and is used to support
playback from digital media and HTTP servers, and to support
storage devices such as hard disks. It can be compressed
using a variety of video codecs.
 The most common files types that are contained within an
ASF file are Windows Media Audio, and Windows Media
video.
 Real Media Format (.rm)
RealMedia is a format which was created my RealNetworks. It
contains both audio and video data and typically used for
streaming media files over the internet.
Realmedia can play on a wide variety of media players for
both Mac and Windows platforms. The realplayer is the most
compatible.
 Flash Movie Format (.swf )
The Flash movie format was developed my Macromedia.
 This format can include text, graphics and animation. In order
to play in Web Browsers, they must have the Flash Plug-In
Installed. The flash plug in comes preinstalled in the latest
version of many popular Web Browsers.

73. IMPORTANCE OF SOUND
 Demonstration.
 What is a difference between a sound effect and a
sound track.
 Select the sound according to situation.
 Selection of sound track according to culture,
environment (eastern, western)
 Follow the sound track while editing.
 Example of a radio show (when you are going to
edit voice with sound track)
 Use fade in and fade out for sound blending by
using cross fade effect.