Snowy park

With the advent of digital editing, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance, in past years, picture editors dealt only with just thatpicture. Sound, music, and (more recently) visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director. However, digital systems have increasingly put these responsibilities on the picture editor. It is common, especially on lower budget films, for the assistant editors or even the editor to cut in music, mock up visual effects, and add sound effects or other sound replacements.

Snow-white

 

Chroma keying is a technique for mixing two images or frames together in which a color (or a small color range) from one image is removed (or made transparent), revealing another image behind it. This technique is also referred to as color keying, colour-separation overlay greenscreen, and bluescreen. It is commonly used for weather forecast broadcasts, wherein the presenter appears to be standing in front of a large map, but in the studio it is actually a large blue or green background. The meteorologist stands in front of a bluescreen, and then different weather maps are added on those parts in the image where the color is blue. If the meteorologist himself wears blue clothes, his clothes will become replaced with the background video. This also works for greenscreens, since blue and green are considered the colors least like skin tone.

Autochromes

The Autochrome Lumière is an early color photography process. Patented in 1903 by the Lumière brothers in France ,it was the principal color photography process in use before the advent of subtractive color film in the mid-1930s.
Although difficult to manufacture and relatively expensive, Autochromes were relatively easy to use and were immensely popular among enthusiastic amateur photographers—at least, among those who could bear the cost and were willing to sacrifice the convenience of hand-held "snapshooting" in black-and-white. Autochromes failed to sustain the initial interest of more serious "artistic" practitioners, largely due to their inflexibility.
Autochromes continued to be produced as glass plates into the 1930s, when film-based versions were introduced, first Lumière Filmcolor sheet film in 1931, then Lumicolor roll film in 1933. Although these soon completely replaced glass plate Autochromes, their triumph was short-lived, as Kodak and Agfa soon began to produce multi-layer subtractive color films (Kodachrome and Agfacolor Neu respectively). Nevertheless, the Lumière products had a devoted following, above all in France, and their use persisted long after modern color films had become available. The final version, Alticolor, was introduced in 1952 and discontinued in 1955, marking the end of the nearly fifty-year-long public life of the Autochrome

Christmas fair

If you're reading this I needn't remind you that there's a revolution happening in video, with major TV shows and even feature films being shot in whole or in part with video-capable DSLRs, in particular the Canon 5D MKII, and more recently the Canon 7D. These are pretty lousy video cameras from an operational point of view, but their shallow depth of field, great low-light capability, and high video IQ have earned them a solid reputation among both amateur and professional film makers. An entire accessory and support industry has grown up around them.

 

Black & white Christmas

Ever seen a video where everything's a lot redder than it should be? It might even have been one of your videos. Different lights are different colors - in bright sunlight a sheet of typing paper looks white, under fluorescent lights it may look slightly green and in tungsten lighting it will have a reddish cast. The "white balance" setting on your camera tells the sensor what color light you're shooting under. Most cameras have a number of pre-set white balances for sun, shade, fluorescent etc, and also an "auto" mode where the camera will try and guess what the light is. Your camera's okay at guessing, but not great. Leaving it in auto mode is a sure way to get an odd color cast to your footage

Christmas-market

There are only two kinds of films: good or bad. Anything in-between is often vague and pretentious. Now the big question is how you can make a good film when making a bad one can be just as difficult.

A good script, I believe, is the answer. However while developing a script you really believe in, it is very likely that you will lose your objectivity in the process. As parents have the tendency to believe their children are perfect and can do nothing wrong, a filmmaker can also develop the same misconception.

Pure Nature

A biography is someone else's life story. An autobiography is about your own life.

A work is biographical if it covers all of a person's life. As such, biographical works are usually non-fiction, but fiction can also be used to portray a person's life. One in-depth form of biographical coverage is called legacy writing. Together, all biographical works form the genre known as biography, in literature, film, and other forms of media.

Underwater

Today, the small size of fully automatic camcorders with large view screens and long-life rechargeable batteries has reduced the housing size and made underwater videography an easy, fun activity for the diver. Low-cost wide-angle lens add-ons are available for many cameras and some can even be fitted outside the camera housing for versatile use. This lets the photographer get closer and make the subject clearer and also with fewer focusing and depth of field problems. Today cameras are more sensitive to low light conditions and make automatic color balancing adjustments. Nevertheless, deeper water videography still needs auxiliary light sources to bring out colors filtered out of sunlight by the distance it has travelled through water. The longest wavelengths of light are lost first (reds and yellows) leaving only a greenish or blue cast in deep water.

Christmas in the city

Filminfo

Mise-en-scène  is an expression used to describe the design aspects of a film production, which essentially means "visual theme" or "telling a story" both in visually artful ways through storyboarding, cinematography and stage design, and in poetically artful ways through direction.
When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangementcomposition, sets, props, actors, costumes, and lighting.

Churches in St Petersburg

In filmmaking, video production, animation, and related fields, a film frame or video frame is one of the many still images which compose the complete moving picture. The term is derived from the fact that, from the beginning of modern filmmaking toward the end of the 20th century, and in many places still up to the present, the single images have been recorded on a strip of photographic film that quickly increased in length, historically; each image on such a strip looks rather like a framed picture when examined individually.

The term may also be used more generally as a noun or verb to refer to the edges of the image as seen in a camera viewfinder or projected on a screen. Thus, the camera operator can be said to keep a car in frame by panning with it as it speeds past.