Digital Video - September 2008 - (Page 14)

BIRD’S-EYE VIEW opposite end. Make sure the gears move freely and that the camera is mounted correctly. Rarely will it fall off when it’s a foot off the ground — only when the jib is extended to full height! Jimmy Jibs are ideal for getting shots just above the ground and moving to an extreme overhead view. As our actress walks, the jib slowly moves upward. In our script, the actor is walking along the length of a house looking for its number. The camera (a Sony HVR-Z1 HDV) is a few inches above the grass as she walks to the front door. Her horizontal movement is from right to left, and the camera’s vertical movement from her feet to her head is a nice contrast. The viewer may find this shot more appealing because of contrasting camera and actor motion. When she reaches the front door and knocks, the camera frames her and the door in a medium shot. Remember, the jib also allows control of the camera’s zoom. After spending a few moments at the door, the actors go inside and walk to the right toward a window. The jib moves to the right also and pans the length of the building (seeing only wood siding as the actors walk inside), stopping at the window the same time the actors arrive. With good blocking and timing, this constant movement accentuates the story. Reflectors, bounce cards and daylight-balanced lights all help fill in shadows created by the sun. This is a great opportunity to have all of your crew assist in holding or erecting items to get the lighting even. This is not a story on lighting, but the warm glow from the tungsten lights inside was visible through the window. As the scene played out inside (as observed from our vantage point outside), the camera slowly pulled back, jibbed up and tilted to the sky. What does this shot mean to the viewer? The camera follows the actress as she walks (we are a nosy observer); she talks with the owner of the house (the camera stays in one place as we listen to the dialogue); the actors walk inside and head to their seats (since the camera cannot see through walls, it pans right, looking for some way to see inside); the camera stops at the window (at last we can see what’s going on); then, as if disinterested in the action, the camera tilts and jibs up to the sky (the story no longer interests us, and we are leaving). The story is always the most important aspect of any production, but the right use of a jib may add much to it by engaging the viewer and drawing them into the action. DV You’ll find an extended version of this story on our site. Visit DV online. 14 dv september 2008 www.dv.com http://www.sachtler.us http://www.dv.com http://www.sachtler.us http://www.dv.com

Table of Contents Feed for the Digital Edition of Digital Video - September 2008

Digital Video - September 2008 Contents Discproducer PP-100 Frameforge 3D Studio 2 First Cuts Expodisc Bird's-Eye View Instant Expert Inside Outsource Red in Combat Tools & Technology My Studio DV101 Production Diary

Digital Video - September 2008

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