Getting a beautiful shot
Video: Getting a beautiful shotChad Perkins: In this video we're going to do something kind of unique and pretty awesome. What we're going to do is we're going to take a regular old ugly shot like this, and we are going to show you some real-world easy things to do to make it absolutely beautiful. Before we get started, let's introduce our beautiful model Kelsey. And Kelsey Tiger is a good friend of ours and she's worked with me on this iPad app that I did. She played the lead, and she's also on the cover of one of my books. And she's just an amazing model to work with.
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Join Chad Perkins, an author and videographer, as he introduces the essential concepts and techniques necessary for shooting video with a DSLR camera. Targeted at beginning videographers and anyone interested in shooting better video, this course covers cinematography basics, DSLR pitfalls, important gear, and postproduction workflow. Along the way, discover how to choose lenses, record audio, and make shots more professional.
This course was created and produced by Chad Perkins. We are honored to host this content in our library.
- Understanding aperture, shutter speed, and ISO
- Using lenses as a tool in storytelling
- Establishing focus for video
- Achieving a shallow depth of field
- Using equipment like clapperboards and matte boxes
- Editing and color correcting footage
- Using cinematography techniques to get beautiful shots
- Avoiding rolling shutter and moiré
Getting a beautiful shot
Chad Perkins: In this video we're going to do something kind of unique and pretty awesome. What we're going to do is we're going to take a regular old ugly shot like this, and we are going to show you some real-world easy things to do to make it absolutely beautiful. Before we get started, let's introduce our beautiful model Kelsey. And Kelsey Tiger is a good friend of ours and she's worked with me on this iPad app that I did. She played the lead, and she's also on the cover of one of my books. And she's just an amazing model to work with.
Brian Liepe: We started out with the subject against a wall, no lights and a 24 mm lens which shows some distortion in our subject's face. So we moved her away from the wall, moved the camera back, and threw on a 35mm lens. This gave us more depth and lessened the distortion in her face. We then turned off the practical lights, which are just the light fixtures that are built in to the building, because they just looked awful. We lit her using two soft LED lamps jelled with Lee 216 filters, and then we shot the lamps through a silk for extra softness.
We added a light behind her jelled with a diffusion material called opal, that gilded her hair and her shoulders. Chad Perkins: So the lighting is beautiful, but there is more to a beautiful shot than just the lighting. We have to worry about something called production design. Production design is basically what the set looks like, what the environment looks like. So what we decided to do is get our model all dolled up, we got her with beautiful hair, makeup, we changed her clothes. We just got her looking great.
And then we also look at our background. The background just is plain old black so let's add some lights to it. Let's put some beautiful little lights in the scene and that definitely improved the quality of our shot. Brian Liepe: After all of that, we thought, we want our out of focus area to pop a little bit more. So we backed the camera up, brought the subject even further away from the background and threw on a telephoto lens. We then opened up the aperture even more, so could get those highlights to pop. Chad Perkins: Another really important concept when getting a great shot is that you want to worry about the foreground, the middle ground, and the background.
Well we already have the cool lights in the background. We also have the talent in the middle area. We don't really have anything in the foreground. So we thought we'd add just a little bit of stuff right here in the foreground and it'll go out of focus and look all pretty like that. And now we have this great sense of depth in our shot; something in front, in the middle, and in the back. Brian Liepe: So we use those layers and thought okay, let's make this even more cool and add a slight camera move. You can see the foreground elements move and it really accentuates the depth that we made by backing up the camera, and putting the subject further away from the background, and then adding this foreground element.
And we just moved camera slightly. Then we added some blocking for our model, and voila, we got a pretty shot. We did things in this order so that our changes were obvious. In a professional environment getting the shot is influenced heavily by the amount of time it takes to set up. So usually it's more efficient to first set up framing, then light, and your team will have already taken care of things like wardrobe and production design.
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