Transcripts
1. Introduction: The chances are high that you want to make
your own feature should sandwiching food
doesn't tell a story to tell, or you just want to
start a YouTube channel. But all those yourself, judge, sanely making this
amazing videos, travel swims, movies,
documentaries, and so on. Thinking that that's
too expensive, Eigen do that, it's
impossible to achieve. Well, that's not the
case. My friend. Everyone has to
start with something and that something
is called basics. Take a look at this part now, don't have to when
artists to draw this or have vast knowledge
about our dislike, brushstroke, painting,
perspective and so on. All you need is to know
the three basic shapes that creates all of the
shapes are art in the world. Triangle, rectangle and circle. Let's say you're going to
get basically anything in the world with some
modification combination, and it just made up these
two primary shapes. This bird is not an exception. Now there is the show
thinking about numbers like big numbers,
millions, billions. Now, you do not need to know all these numbers
by yourself to, to know that the numbers are generated from ten
digits zero to nine. So you know the basics, we
can call any number it count. You'll see there's my
point you guys to make you realize that it's about the
basic that comes first. Then what is scaling up your basic to the next
level? Hi everyone. My name is Sam M to
underserved or so a filmmaker, at least electrical that myself. I've been on this
journey for over four years now and it all started with the smartphone and my passion towards
making videos. Currently I work as a freelancer and run my own YouTube channel. As a filmmaker, your
video should be engaged. You should have the
ability to tell the viewers about the story you are telling or presenting. It should have tells
you to connect your viewers of the videos
and everything is editing. I'll see no auto-fill
for us in this class. I will walk you through the very basics of film making and cinematography basics
with a certain techniques from framing your
subject camera movement, slow motion bureau, and
how to create depth with the halo object, their video. And at the end of each lesson, I'll be highlighting the
key points and take us up that lesson so that you can
take notes and follow along. This class will help
you not only film promotional videos,
but photos as well. Use photography and
video record closely related and some of the
lessons like rule of thirds framing frame is a
secondary object to create depth at always used
in photography. And all the resources that I will be using this class will be available in the
project and for you to download them and use them. I'm going to use
my smartphone when showing us something
in person because it's the basketry steroid
plus a runner has access it. It's not for at least
like they always say, it's not about the camera. Just a person behind it is going to an amazing
journey, guys. I can't go to its target. So if any of this sounds
like the food on your plate, I would love your dive into
the class. Seem to the side.
2. Rule of Thirds: Hey everyone, thanks
for joining with me. In our first lesson of
cinematography basics, we'll learn about
the rule of thirds. But first of all, you should know that this
isn't actually a rule, but more of a convention to put your subject or rarely mean
so many important thing in the video into some
specific portions so that the viewers would
look into that at first. Okay, so the first thing to do is to turn your grade done. So if you go to a smartphone
and in the video offshore, will we showed this great
line at Han disagreed on a great line guides you to
put your elements ourselves. It'll remain important
characters into some positions that
viewers are watching. Two first, so anytime this
grade on your skin gets divided into nine equal segments or blocks with four
intersection points. And if you keep your most
important element or subsidy in any of this for intersection or veto, the more eye-catching, natural or aesthetic,
whatever you wanna call it, this is important because
framing or composition, whatever you wanna call it, is the most important
part in our video. So surely don't want
to mess with it. As you can see,
I'm trying to keep myself in this
intersection points, leaving the other side
of the frame more open for viewers
to see and engage with me and they store it that person in a park or
inside a garden. These open areas can also be
called a breathing space. Now, if I don't do that and place myself in the
center of the frame. There is no breathing
in noise test for reverse to see
my surroundings. It fails like kinda suffocated. Hence no chance for the viewers
to engage with this tree. Now take a look at
this shot where I'm always placing her on the top-right intersection
so that there is space left on the other side
for viewers as well. In this shot where
she's reading a book, there's much space left on the left side showing that
this might pay college. There's a pedestrian as
you get more engaged with the scene and you
start to feel like the veto is
communicating with you. When I'm filming her
from the opposite side, I'm simply keeping
her on the left side, leaving a space for the viewers. On the right side where
she is facing into, you can say to her and
listen to the novel She's rooting, that's
communication. Same story goes with
this shot as well. When she's holding the book, we said the college
campus in this shot where she's pulling the
petals off from the ground. She's in the perfect spot, which are slippers
on the left side and leaves you with a
more natural sharp. But there are times
when you would like to have your subset or main eliminating the center
or middle of your frame, like in the talking
head videos, tutorials, reviews, or exclusive
class like this, where you're only
looking through the camera and talking
towards saved the time. We'd like to keep yourself that in the middle of your frame. The background is to
base your crowded. This is actually the case
when you shoot outside. And by keeping our
subject in the center at that time makes the shot
more balanced and natural. The rule of thirds is more of a psychological
human behavior to capture images like this rather
than a mathematical term. But rules are often
made to be broken. But that's another story, guys. It's time to jump
into the next lesson. But before we do that, take some time and look at the
key points of this lesson, which I'll put on the screen.
3. Stabilization: I hope you guys have finished the previous lesson when I talked about the rule of thirds. In this lesson, we'll talk
about destabilisation. Now, after turning the grid on, you would like to turn on this stabilization
in your phone. Now, what is
tribulation does is to keep her famous table
or a stationary point, there's a movement and keep your eclipse mode if you don't
turn this on your video, we say keen on
replacing towards, take a look at this shot
where I'm walking from one side of the garden
to another side. So there is obviously
some moment as I'm holding the camera, the video will be shaky. But if you keep
this demolition on, your camera will counterfeit the movement and making
sure it is steady. Now, here two side-by-side
videos for you to compare. Not tiny establishing on go to your phone's camera settings
and just turn this on. Now there are two types
of establishing oils, and the IS, the OS stands for optical
image stabilization. It's the harder best
solution to detect the movement in
your phone's camera and this table, your images. Let's say you are
holding with this phone. So if I just move
slightly to the left, the OS system will pick up on this and it will
move to the right. My phone though, a
system inside it. So it basically refers to
movement in your camera. If I go up, the OS
system will pick up on it and go down and
make the shortest table. And since this is a
harder best solution, there is no cropping process. Record. Your phone's
camera isn't a full sensor of it and you get a
wide shot than an EIS. Now, EIS is transfer
electronic stimulation. This is a software solution
that drawback of EIS is it crops your
images with ES animal. You no longer see the enter
sense or in the output. The HSL crop to keep the frames inside is stationary
to produce this shot, but it can also produce
some unnatural distortion enough footage if
you walk or run, which is also known as the
jelly or jittery effect. But it works absolutely
fine with normal shorts. And then we'll movement
gives us two the short. That's it for today's lesson
guys see in the next one.
4. Pan and Tilt: Now as you know how to frame your video and it's stabilized, it is time to learn about Penn until and start Peter Pan guys, Trust me, banning is like moving from left to
right or right to left. In filmmaking or cinematography, painting is ILS to
fall a subset or we need to make such soy
across the frame or to reveal new details are hidden objects or
something so big in white that is not possible to present in a static
shot like a stadium. Take a look at this
shot. Rather than keeping my camera locked
in a single position, I'm simply moving the camera from left to right
to give a full view of the stadium and introduce the viewer sent me to
the ground as well. Want to know guys horse
wider than a stadium? River. Now, tilting is moving from top to
bottom or bottom to top. This technique is useful to reveal things that are so tall and can pass the only be captured in a frame from
the lower distance, like in this
overhead water tank. So we need to move your camera from the ground to the top. Tilt is often used to give more emphasized the importance of
the subset or its activity. Like here in this shot, she's reading a book. So both the subject here
and her book are important. So I'm revealing
the information and giving the importance
from the coal, from the ground to the top, then finishing it, completing
it but towards the sky. And it produces, accomplish. Very simple. It's cinematic. And remember that when
you're panning or tilting, try to keep the anchor point
in the center of your frame. That means don't
accidentally when you're panning or don't accidentally
pen and you're tilting, it will give it to charity or jittery effecting your veto, which will live in
and I shall short, but often time in movies
and cinematography panning and tilting are
used at the same time. Again, it always
depends on the story you are telling.
There are no rules. It's all the credit process.
5. Frame in Frame to Create Depth: This one is interesting. Framing is the most
important thing in photographing videography. It decides the high
ionic capture the visible inside this
rectangular screen, like here in this building, we have this nice
little hexagonal shape and I want to film the
query inside of it. Now, I could simply
let the camera roll and filming this
corridor and take the shot. Or I can just take a step back. M does the external frame take this shot
from the corridor? What a timing of his arrival. Again, we're creating
more depth in a short. The more depth you can create, the more cinematic
shot you will have. And if you do not know
what is debt, debt, debt simply means layers between your foreground or
subset and background. The more depth and layer you can create between
these two things. The more cinematic
shot we'll be, we'll be talking about
depth in our next lessons. So try finding frames
in our surrounding to create depth. So
in the next frame.
6. Camera Movement to Follow The Action: Even though we have talked every civilization is material
short, blah, blah, blah. But there'll be times when you don't want that your camera needs to be moved back and
forth up and down here. And they're like you'll see
in action scenes in movies, the camera follows the actions of the scene and move
according to it. Now let's take are
some examples. I'm inside this Billings, the garden and I'm
trying to find a rose. I'm looking here and there
and searching for it, but can't find one. Notice that the camera
is also shaking, no stabilisation this time
it gets to the tension and urgency that the subject
badly need zeros right now. And when you find
sons suddenly it costs to a pleasant
and is steady shot, which expresses that shipment. Now let's move to the next
example of camera movement. The batsman hit the ball. The ball isn't this guy and going on the
age of the field, the fielder is
trying to catch it. So the camera has to move
from the pitch to the h, falling or the ball, is, this movement is very subtle, but ****, yes, cinematic. In our next example, I had this dog running
inside the campus. So all I had to do was to give him centered and
follow it section. And notice that even stopped for a moment and then backwards. So it may camera
this way the short becomes more engaged and
tells a better story. Now, in our final example
of camera movement, again, she's plugging the flowers and the camera is just
falling. Her movement. Giving the viewer is
the field that they're also watching it from there. Subtle camera movement
can add solving a fellow and Chris
spacing or editing room. Next time you watch a movie theater productions is mopeds, see if it makes any difference.
7. Slow Motion: In our previous lesson,
we moved our cameras so much following the
subject and section. But for this lesson, we'll be talking about
slowing down your footage. And it's time for you to
know a bit about FPS. Fps stands for
frames per second. So usually your video is a
combination of still images. The more the number of
these still images. There's contrary if it looks
like easily the Internet, Internet is 30 FPS, which is available in
all the smartphone, DSLR, and mirrorless cameras. But if an irregular
slow motion video, you at least need to record
that in 50 or 60 FPS, I believe to this one I
want to enter two foot or even 960 FPS in
Samsung S-series. Less the film that we
did on 20th peers. So capturing four
times more frames, then you require to play
it back in real time. So let's say Iran 20th
Prince video is 10 s long, so you bring it down at 30/42 long and it's
quite easy to do. Actually just go to a camera, select the slow-mo and
then select the FPS. Mine is only 120 FPS supported. Then in our editing, bring the clip to your timeline. Hit right-click your
mouse grid edition and desperate and
then make it 25 per cent on more trick to follow is that you get involved
in slowing things down. So let's say on a heavier
slow motion video of a flower that is on the move gripped
by the wind. Nice, right? But what if that is the
wind will just simply make a movement with their hand and regulatory vivid
in slow motion. Well, don't create too
much shake or movement. Otherwise it'd look unnatural and wouldn't be so
pleasing to watch it. But perhaps it seems like I did a bit more movement,
scandal looking shaky. But either way, you got
the idea and just to remind you guys that don't
forget to take the notes. But the key points of each
lesson and everything, or every video or
resources I'm using in this class will be available
in the project tab.
8. Secondary Objects to Create Depth: Alright guys, we have come a
long way in this journey and learned a lot about film making and cinematography basics. In this lesson,
we'll learn how to create depth with the help
of secondary objects. Now, what is taped? Deaths simply means the layers between your foreground
and background. The more number of layers or tape you can create
inside your shot, the more or the better the video quality to
it will be there. So we keep things purposely in the background
so that you can separate the subject from the background and created
the EPA pollution. Like here you can see
on my right side, there's a tungsten bulb. And on my left side, there's the already stripe. I purposely kept this too
late there so that I can be separated from the background
and creative solution. You can also put
some foregrounds is in some natural objects. Now let's say on a
film, this video, which is cool, but it'd
be more collegial. Some say in that object
like grass petals, it might sound funny, but it's actually not as real
key with depth in a shot. Let me show you. So right now you're just filling this building without any
depth, which is flat. But if you just hold a leaf
on the right side in front of your camera or on the left
side, it doesn't matter. You're creating depth separating the building from the leaf. And it feels like
you're shooting this from behind a bush or
something like that. But you can also use grass or petals, something like that. And grass is my
favorite because it's available and we can
find it everywhere. Let me show you one realtime
example of creating depth. So I have my winter
clots or scarf here. As you can see on
the edge there. I don't know what's it called, but let me create
some depth with this. So if I just keep those things
just close to the camera, you can see there is a depth. The sharp end of face-like, more cinematic and
no more dramatic. Alright, so go
creative as you can, but try not to keep this object in the
middle of your frame. It blocks the visual and
not very pleasing to watch. How do you think these
photos had been shot? Let me know in the comment.
9. B-roll to Narrate A Story: Hey everyone. I hope you
have enjoyed the class so far and learned all Leptis
from this previous lesson. In this lesson, we'll be
talking about petals. Now there are two
kinds of shots, whether you're filming Rosanna
movies or documentaries. One is arrow and it is B-roll. The arrow indicates
the main shot, the main footage
of your scene or wholly story or movie
or documentary. It has all the
action the suspends the person talking for an
interview or documentary. The core shot or the payroll is something that's
not a main short, but is a supplement to the main shunned barrels
are used for many reasons, like height cards,
covering errors, character, a buildup, narrating history, breaking mount Tony, set the tone of our
history and Gibson much more flexibility
to zoom in or editing. Now, bureau side is a
landscape birds, nature, railway, anything
you can fit to match or a story like
here in this chart, I'm posing like an interviewer, documentary style shot where I'm talking about this campus
building and may old days, you need Beatles to
cover up my mistakes. Narrative building and story. Sam basically filming
flowers, trees, small details, and
all the corners of the building to
tell their story. It was 1967, first
came to this campus. So beautiful. It was all just one belly. Like one boss. There's only one
boss at the time. And I remember that the color of the past wasn't what
it is today right now, which is quite elbow bank then there's just
white pale white. So I can't remember so
much of it because what, like 50 years from now, seven days long lays the
campus is beautiful. It is so flowering. Flowers. You know
what I mean here? So flush to the flower,
to flower petals. It's always better and a good practice to
use relevant petals. Do not use any beetles. There's nowhere
relevant to your story.
10. Long Pause or Static Shot: If you're shooting B-roll, Let's just pause for a moment
and let the camera roll. Well, you didn't move
actually jokes aside. So far we have moved
our cameras so much to follow the subset
and resection. But in this lesson, we're
not gonna do anything, but let the camera roll and fill everything in front of it. This is called a long pause in cinematography
and filmmaking, usually a long pause is imposed at the end or
complete of something. Or maybe someone is thinking
so deep labor something, it will help you to put, emphasize or give
importance to a sub z or the character or the
story you're working on. Long pause gives the audience some more room and
enough time to think and get a
chance to engage with the story and feel
the taste of it. Now in this example, what I've just finished my storytelling and what
Maryland Campus Life. At the end, it's just one long single
shot where it shows I'm being nostalgic
about the past. Thinking about those tails
in the campus is beautiful. Flowery strike the flowers. You know, you know what I mean? Yes, the front of the flowers. The flowers, red roses. So much a wonderful day is
we have this amazing thing as a VOR insert to
feel that emotion and take a look at
another example. I filmed this video of a college campus a
couple of weeks ago, which you can find on YouTube. Shorter whole video. I'm showing the inside of
the campus, the pathway, the barns ladies
academic buildings. My friend reading our book by practicing cricket
flowers and so on. But he never showed
the main entrance or front or the cover
on the campus. And it'll land and let the
camera roll for a moment. And it did it purposely to complete the video,
to wrap it up, to give the viewer some
more time to think that this campus
toward the whole time. That's the beauty of
cinematography or a storytelling, whichever you want to call it, there similarities
lesson guys are almost at the end
of our journey. And I guess I'll say
in the next one.
11. Multi Angle Shot (Close-up, Medium, Wide): Okay guys, so we're
in the endgame now and this will be our last
lesson for this class. I hope you have enjoyed the
journey so far and grab all the idea and method and tricks from those
previous lessons. In our last lesson of
cinematography basics, we will learn about
different kinds of shots from different angles. And at the end of this lesson, I will share an extra
tape we took guys, which you can use tear film
to tell history as easily. You do need to have one
long shot, medium shot, and on close-up shot of
a single scene so that viewers know what
you're actually showing them in cinematography. Each scene, each shot
from different angle, which is called coverage, close-up, medium,
long or wide shot, or even sometimes
to close a toy. Depending on the story, these different shots from
different angles or useful, mostly going to hide cuts. And it also creates a
transition between two shots, which you can realize. Because our brain can process that it
creates an illusion. Take a look at this short mock documentary interview
that I stitched up. See if you can find
this different shots. So I had one close up to medium shots from two
different angles. And on longshore to wrap the
documentary or interview, it gives more room in the
editing and heights cards and mistakes plus some
different perspectives of a single story. The close-up is equals to
focus on the subsidy itself, giving all the
attention to him and his expression
makes the shot more serious in the medium shot, you get to say a bit more
Saronic to yourselves it, and get familiar with
the environment. It's more relaxed, the notching, handling the close-up shot, but it's still don't know
where it is for seven years then comes the long shot to reveal everything that
needs to be revealed. Next time you go watch a movie, Tropic campus, different shores, see if you can count them. But either way, that's
all for this class guys. I hope you have
enjoyed the journey. But before I'm gone, let me share you an extra tip, which I promised
earlier in this lesson, which is a timeless
video. Super cool. It very simple but yet
important technique to enhance the beauty
of your filmmaking. Every smartphone comes
with this feature now. And even if you don't
have this by any chance, you can just regular, usual 31st and then make it as
timeless in the post. Just keep your camera
into a flowerpot or Greenfield and see the way
it captures the building. It staff, was it a slow
motion saying this case, you don't increase the speed
of your video in the post.
12. Conclusion: Hi guys. Officially completed our shiny and a genuinely hope
that you have learned all the cinematographer basics and now are ready to start
making your own videos. All the resources that
I have used so far in this class will be available
for you in that project tab, which you can download
for free and use them, you're gonna get a lot of
ideas if you try all this out, you don't have to spend
hundreds of dollars to learn all this stuff at once and buy fancy gifts
at the beginning. Just to grab the basic core
site and show yourself, trust me. Do trust me. You will learn a lot more. Practice. Just go to your smartphone. That's all you need is Taylor is totally so
calculate like you want. And do you think
would be the best way to tell their story
to your audience? I hope you have enjoyed
the class as a whole. And if you do refer to follow him and his future and
leverage it to the class. And if you need any help
regarding the class, just drop a comment and I'll be there all our data.
This is fine. Dalvik, catch you in the
next lesson. Bye bye.
Fahim Nirob, Filmmaker, YouTuber
