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Digital Filmmaking Secrets! |
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The success of The Blair Witch Project shows that video is indeed a viable medium for feature film making. The amazing thing about this movie is that it was shot on Hi-8 (a low level video format), rather than state-of-the-art digital video (DV). The camera had one color chip instead of the three found in professional equipment. In addition, the filmmakers used only a simple camera mounted light. They pushed the envelope with this approach, yet it takes audiences only a few minutes to adjust to the movie's grainy look and minimalist shooting style. As you probably know, it went on to make cinema history by earning over two hundred million dollars!
Today, state-of-the-art digital equipment is capable of stunning quality. The typical audience often doesn't know whether they are watching DV or film, and there are several interesting production strategies that capitalize on this. Some filmmakers originate on DV and transfer to 35mm film for theatrical release, while others shoot on 16mm film, transfer to DV for editing, and then transfer to 35mm for release (no match-back to the 16mm negative). Inexpensive
broadcast quality equipment has democratized both production and
distribution, but interestingly, it has opened the floodgates for
substandard movies. The Independent
Feature Project (IFP) reports that entries are at an all time high,
with 50% of last year's entries originating on digital media; HOWEVER,
quality has fallen dramatically. Why this sudden drop in quality? Why can
one movie become a Blair Witch and another fall by the wayside? The
answer to these questions is what this filmmaking website is all about... |
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Cinematography |
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making a movie you must pick a format to work in. In this section we'll
examine the different DV formats and aspect ratios, as well as how DV
rates next to film. There are many digital cameras on the market, spanning
a wide range of formats and features. Because of the competitive nature of
the industry, some manufacturers are less forthcoming about certain specs
than others. This makes comparisons somewhat difficult. (more) |
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Sound |
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working on a DV production of some significance (e.g., a feature), the
question of how to record sound invariably comes up. Specifically, do you
record sound directly into the camera or use a separate audio recorder?
The knee-jerk response is often to use a separate audio recorder because
the quality is better. Is this true, or are you just creating extra work
for yourself? (more) |
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Editing |
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Through editing,
shots are combined like building blocks to create the
movie. Once the audience grasps the meaning of a
shot, it is time to cut to the next shot in the scene to keep the story
moving forward. If a shot is too long, it will bore the audience; if
it is too
short, it will frustrate the audience. Several factors
contribute to determining proper shot length. (more) |
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Producing |
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Whatever happened to the French New Wave? The technology of the late 1950s promised to free filmmakers from the constraints of cumbersome equipment and overly complex production techniques. This freedom was supposed to push creative boundaries in cinematic storytelling. Indeed, it started that way, spearheaded by a group of young French filmmakers; but despite lighter and more compact equipment, the technical liberation did not continued. (more)
This material
was adapted from
Film School
Online! Filmmaking Website |
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