For all the failures of the authorities to implement the laws the blame is invariably palmed off to the masses and their ignorance of the laws. This is a fraud. The performance of the authorities can be easily seen to be indifferent, incompetent and wayward by just studying their functions objectively. Whether it is the judiciary or the quasi judicial organisations they can all be seen most brazenly violating the laws which they are tasked, empowered, equipped and paid to enforce. The experience of those who know these laws is sufficient to indict these authorities.
From survey responses on a rough cut of a short film, the filmmaker learned:
- 5 out of 7 people understood the storyline while 2 wanted more explanation of why the character was in the darkroom. The filmmaker plans to add a library scene for context.
- Respondents liked the editing style but noted it was rough since unfinished.
- Depth of field was effective but could be improved.
- Genres identified were thriller and drama as intended.
- Speed of one sequence was too long and could be a montage using close-ups to add depth of field.
- Effectiveness average was 70/100 but feedback will help increase this in the final edit.
The documentary is filmed in Detroit using a single handheld camera. Shots include establishing scenes of empty streets, close-ups of homeless people, and interviews with Stacey in the back of a car. Natural lighting is used since extra equipment would add weight and slow them down. The documentary style prioritizes quickly capturing relevant shots to illustrate the lives of those suffering from homelessness over perfectly lit, professional shots.
For all the failures of the authorities to implement the laws the blame is invariably palmed off to the masses and their ignorance of the laws. This is a fraud. The performance of the authorities can be easily seen to be indifferent, incompetent and wayward by just studying their functions objectively. Whether it is the judiciary or the quasi judicial organisations they can all be seen most brazenly violating the laws which they are tasked, empowered, equipped and paid to enforce. The experience of those who know these laws is sufficient to indict these authorities.
From survey responses on a rough cut of a short film, the filmmaker learned:
- 5 out of 7 people understood the storyline while 2 wanted more explanation of why the character was in the darkroom. The filmmaker plans to add a library scene for context.
- Respondents liked the editing style but noted it was rough since unfinished.
- Depth of field was effective but could be improved.
- Genres identified were thriller and drama as intended.
- Speed of one sequence was too long and could be a montage using close-ups to add depth of field.
- Effectiveness average was 70/100 but feedback will help increase this in the final edit.
The documentary is filmed in Detroit using a single handheld camera. Shots include establishing scenes of empty streets, close-ups of homeless people, and interviews with Stacey in the back of a car. Natural lighting is used since extra equipment would add weight and slow them down. The documentary style prioritizes quickly capturing relevant shots to illustrate the lives of those suffering from homelessness over perfectly lit, professional shots.
The document describes the cinematography of a scene from the sitcom Modern Family. It is filmed in a loose and amateur style with a single camera to capture the action quickly on a strict schedule. Reaction shots of the characters use mid and close up shots with deep depth of field. The characters sometimes break the fourth wall and talk to the camera, enhancing the reality TV feel of the show. Filming this way saves money for the producers while still catching all the important moments.
This document contains notes from the filming of a movie, listing shot numbers, timecodes, and brief comments on each take. The comments note issues like actors breaking character by laughing or looking at the camera, technical problems like poor lighting or focus, script changes, and whether each take was ultimately used in the final cut.
This document is an edit decision list for a film that contains 22 shots. It shows the timecode for the in and out points of each shot, and whether the take is marked as good or bad. Shots 1, 3, 4, 5, 6, 10, 11, 14, 15, 17, 19, 20, and 22 are marked as good, while shots 2, 7, 8, 9, 12, 13, 16, 18, and 21 are marked as bad.
Alima witnesses a man jump to his death from an apartment building and photographs his fall. She later develops the photos and sees something strange in one of the images. At school, she tells her friend Oscar about the incident and how seeing the photos has given her an itchy eye. Later, in the darkroom, Alima notices something behind her in one of the photos but knocks the film into chemicals by accident. She has a panic attack in the bathroom and sees a strange creature that transports her to the rooftop where she witnessed the suicide.
Alima photographs a man falling to his death from an apartment building. She later experiences disturbing visions related to the photograph when looking through her camera viewfinder. While developing photos in the darkroom, she notices something strange in one of the images and accidentally ruins the film. She has a panic attack in the bathroom and sees a strange creature that transports her to the roof of the apartment building where she originally witnessed the suicide.
This promotional video for a new machine uses a single-camera setup to demonstrate the machine's effectiveness for players and coaches. It begins with a creator introducing the machine in a static wide shot. Footage then shows players using the machine through a montage of shots, maintaining audience understanding without breaking perspective. Demonstrations display correct and incorrect machine use, shot handheld to involve the audience. Throughout, varied angles and editing styles like cutaways illustrate the machine's benefits for feedback and training. While a multi-camera shoot could have provided alternative views, a single camera was a simpler and cheaper option for this promotional video.
The music video starts with a flashback and montage introducing Brendon running into a white mist. Brendon is then shown falling into complete darkness while wearing a white shirt. The video then features a single continuous shot smoothly following Brendon as he transforms into the devil through lighting changes. Finally, the video cuts to show Brendon's full devil transformation through a series of close up and wide shots set to fast pacing to emphasize his change. The overall video uses visuals and cinematography to tell the story and progression described in the song.
The document provides a summary and analysis of a McDonald's Christmas advert featuring Santa and his reindeer. It describes the various shots used in the advert's montage of Santa delivering presents, including close-ups showing the tired reindeer and long shots displaying their hard work. Santa then notices the brightly-lit McDonald's and goes inside to talk to a cashier using shot reverse shot. The ending shows a hungry reindeer being fed carrots from McDonald's before the logo and quote appear. The document analyzes the advert's purpose to promote McDonald's food and discusses production choices like using a single camera over multiple cameras.
The document contains scheduling information for the filming of a movie over two days. On the 28th, filming will take place at the Library from 11:00 am to 6:30 pm and at the Darkroom from 3:20 pm to 5:40 pm. On the 29th, filming is scheduled at the Studio from 12:00 am to 3:00 pm and at Auther Greenwood court from 7:10 pm to 7:40 pm. It provides the arrival times, locations, lighting set up times and shot details for each filming session.
The document contains a shooting script listing 32 shots to be filmed using a Canon 750D camera mounted on a tripod. Most shots will use a 50mm lens at f/1.8, shutter speed 150, and ISO 200 with daylight white balance. A few shots specify using an 18mm or 70-300mm lens for wide or extreme close-up shots under the same settings. The script provides technical details to achieve consistency across the various shot types including over the shoulder, close up, mid, and wide shots.
Alima photographs a man falling to his death from an apartment building. She begins experiencing strange visions related to the incident when looking through her camera viewfinder. While developing photos later, she notices an unexplained figure behind her in one of the images. She has a panic attack in the darkroom bathroom and sees a strange creature in the mirror that transports her mind to the rooftop where she witnessed the suicide.
George is a young boy who cares for his ill mother and younger sister after school each day. At school, his teacher notices he is withdrawn and doesn't socialize with other students. When George tries to leave class quickly, the teacher stops him to ask if anything is wrong, but he refuses to open up. At home, George cooks dinner and cares for his family, while hiding his mother's worsening condition from his sister. After getting a concerning call from the hospital about his mother, George worries for her health while she tries to reassure him.
This document records 60 shots taken over the course of a film shoot that began at 7:30pm and ended at 7:36pm. The shots vary in camera movement (m/s for moving shot, w/s for wide shot), number of subjects (one, two or three), and duration (ranging from 2 to 30 seconds).
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