However, the new consumers behind the cameras rushed into the new technology creating technically weak content. Often the images were strong from a  composition standpoint but most of the first videos created from these devices lacked control over image movement, a concept that is understood all too well in the world of filmmaking.

The result was a glut of new material that suffered from bad camera shake and jumpiness. This unwanted camera movement draws unnecessary attention to the camera which pulls the audience out of the story. Camera movement needs to be motivated by the story. Hand held footage, although commonly accepted in the realm of documentary filmmaking, is often regarded as a stylistic mistake in fiction filmmaking unless the movement compliments the story. However, the “hand-held” look in larger budget productions is often never actually “held by the hand” at all. Although the camera operator’s hands help support the stabalization device, their shoulders or chest act as the main support for the camera.

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Message by:  Lights Film School
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Filmmakers use stabilizing devices for most of their shots (both static and motion shots). They use dollies, tripods, jibs and cranes to name only a few devices. When a filmmaker wants to free their camera of these devices they often turn to devices commonly known as steadycams. These devices are designed to increase the points of contact between the camera and the operator. The result is a much smoother image.

It’s important to understand that audience’s know the difference between “hand-held” camera shake and “stabilized” camera shake.

Holding a camera by its side with your hands is arguably the worst way to stabilize the your images. The camera will pick up your heartbeat, small jittery movements from your morning coffee and any other small naturally occurring bodily function (hickups, footsteps etc). This results in footage that looks uncontrolled. Essentially, this type of footage has an amateur or home-video quality to it. The movement on the 4 edges of the frame is too jittery and is associated with the styling of a home video maker.

On the other hand if you’re using a shoulder mount or steadycam your footage will still have a little movement which will be noticeable on the 4 walls of the frame, but the movement will be much smoother and less distracting. Cinematographers often call this “breathing” on the image. It means they want to incorporate that naturalistic look without drawing unnecessary attention to the camera. Instead of jerky, uncontrolled movements the movement in the frame is soft, controlled and feather like.

Shoulder mounts can now be picked up for very reasonable prices. The entire DSLR industry and filmmaker community have helped miniaturize these once expensive and bulky hardware systems, into inexpensive and easy to handle equipment. Thank you DSLR filmmakers!

The brands and prices for DSLR compatible shoulder mounts can be found below.

Redrock Shoulder Mount System: $826 (Shoulder rig) – 2,412 (bundle)

Zacuto – $475 (Target Shooter) – $2615 (Crossfire)

Cavision – contact for pricing

Genus Shoulder Mount kit: $875

1. Writing for Small-Budget Productions

While some of us may dream of penning the next Hollywood blockbuster, the truth of the matter is that most of us will get our first break on a much smaller scale.  Learning the craft of writing for a manageable production budget is essential for every screenwriter – whether you are trying to sell your scripts to Hollywood or plan on producing them independently.  In this session, we’ll delve deeper into the choices you must make in areas such as location, actors, special effects, and more when you are writing a script on a tight budget.  We’ll discuss how to maintain a high level of creativity without requiring 50 million dollars worth of explosions and car chases.  We’ll focus on writing character-driven stories, which are the hallmark of independent film, while also discussing examples and asking questions.  For more information on this session please send an e-mail to phil@lightsfilmschool.com.

2. Lighting- Where do I begin?

When the cinematographer arrives on the set, he or she orders the crew to place the lights on certain areas of the set. But which light does the cinematographer positions first? Where exactly in the set does he/she put the lights? What are the steps or procedure that the cinematographer observes when he or she begins lighting? The objective of this session is to discuss the relationship between the director, the production designer and the cinematographer. We will also discuss the difference between motivational lighting and glamor lighting, which basically sets the pace on where the cinematographer begins. A sample scene from a script would be sent to participants prior to the session. We will dissect the scene as cinematographers and the directors and discuss how to approach it cinematographically. The video of this demonstration would be sent to the students prior to the  lab chat.

3. Writing Tension: A Close Look at ‘Munich’

Few films capture the essence of tension as well as Steven Spielberg’s Munich.  This film ratchets up the suspense from the first frame and continues to do so throughout the duration of the film, pausing only briefly to allow the audience a few moments of introspection.  In this session, we’ll discuss this film in depth, paying specific attention to the writer’s role in orchestrating the film’s tension.  Prior to the session, it would be helpful if participants read excerpts of the script (sent via e-mail upon registration) and watched the film.  We will look at how tension and suspense influence everything in this film, from the characters, to the setting, to the political and emotional climate.  Bring your questions and comments.  For more information on this session please send an e-mail to phil@lightsfilmschool.com.

4. Camera Movement to Compliment your Story

One trait great film directors have is their intricate camera movement. It is a mistake however, to put a camera movement in a shot unnecessarily. Camera movement should always compliment your story. This session will tackle all kinds of camera movement and their purpose and when to use them.  A basic camera set-up with a dolly and a jib will be on hand for a demonstration. The video of this demonstration would be sent to the students prior to the lab chat.

Lighting- Where do I begin?

When the cinematographer arrives on the set, he or she orders the crew to place the lights on certain areas of the set. But which light does the cinematographer positions first? Where exactly in the set does he/she put the lights? What are the steps or procedure that the cinematographer observes when he or she begins lighting? The objective of this session is to discuss the relationship between the director, the production designer and the cinematographer. We will also discuss the difference between motivational lighting and glamor lighting, which basically sets the pace on where the cinematographer begins. A sample scene from a script would be sent to participants prior to the session. We will dissect the scene as cinematographers and the directors and discuss how to approach it cinematographically. The video of this demonstration would be sent to the students prior to the  lab chat.

Camera Movement to Compliment your Story

One trait great film directors have is their intricate camera movement. It is a mistake however, to put a camera movement in a shot unnecessarily. Camera movement should always compliment your story. This session will tackle all kinds of camera movement and their purpose and when to use them.  A basic camera set-up with a dolly and a jib will be on hand for a demonstration. The video of this demonstration would be sent to the students prior to the lab chat.

This blog post will focus on color and the benefits of color simplicity within a frame. However, in the future we hope to add additional blog posts covering the wide spectrum of other topics mentioned above.

Color simplicity is the process of limiting the array of colors that make it into the 4 walls of your image. Photographers spend a lot of time trying to find color simplicity in our visually chaotic world. Filmmakers have an even bigger challenge because our cameras move, which means the colors in our backgrounds and foregrounds will always be changing.

That being said, many filmmakers have found great compositional strategies that allow them to keep their frames organized from a color standpoint. The Cohen Brother’s last film “No Country For Old Men” started out with a breathtaking montage of landscape images that used a minimalist approach to color. In fact, the entire film was very well thought out from a color theory standpoint.

How to compose for color simplicity

To compose your footage for color simplicity you really need to understand what the colors “say” symbolically and how they interact together. Please look at the color wheel below.

Analogous colors are colors that are next to each other on the color wheel. These colors, when they appear together, provide a smooth and continuous tone. Colors that are located opposite to one another on the color wheel are complementary colors. When complementary colors appear next to each other they provide more of a dramatic and high contrast look.

Neither color strategy is correct over the other, but it is easy to both see and feel that the response from the viewer will be much different when they look at each image. For example, look at the following two photographs.

Example of Analogous Colors

Example of Complementary Colors

This is how you color simplify an image. You simply limit the assortment of colors that make it into your footage which allows you to control both the mood and tone of the scene as well as provide color symbolism.

To help enhance color simplicity you might also want to play around with color balance and color highlights. Look at the following photograph for example. Notice the image is predominately cool (blue) with only a warm (orange) highlight. Playing with color highlights is a great way to add interesting color components to your film footage.

If you’re a filmmaker, understanding color, color theory, color psychology, color simplicity and color balance is a must in order to be able to effectively set the tone of your scene as well as isolate your main areas of interest. Distracting colors, just as much as distracting objects, add unnecessary visual confusion and clutter to a scene. By simplifying your colors you help isolate the more important areas of your footage.

Happy Filmmaking!