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标题: 图片编辑及摄影、视频学习笔记 2022 [打印本页]

作者: gzhjb 时间: 22-8-2019 20:32
标题: 图片编辑及摄影、视频学习笔记 2022
本帖最后由 gzhjb 于 23-6-2022 18:07 编辑

Sunny 16 rule

The basic rule is, "On a sunny day set the aperture to f/16 and shutter speed to the [reciprocal of the] ISO film speed [or ISO setting] for a subject in direct sunlight."[1] For example:

On a sunny day and with ISO 100 film/setting in the camera, one sets the aperture to f/16 and the shutter speed (i.e. exposure time) to 1/100 or 1/125 seconds (on some cameras 1/125 second is the available setting nearest to 1/100 second).

On a sunny day with ISO 200 film/setting and aperture at f/16, set shutter speed to 1/200 or 1/250.

On a sunny day with ISO 400 film/setting and aperture at f/16, set shutter speed to 1/400 or 1/500.

For video setting on a sunny day, plus a 180-degree rule:

F/16, ISO 100, 1/100 for a good exposure photo.

F/16 to F/2.8, there are 5 full stops. (1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32)

So 1/100 (1/125) to 1/4000, there are 5 full stops. (30, 15, 8, 4, 2, 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000)

So the new proper setting would have to be F/2.8, ISO 100, 1/4000.

In order to bring 1/4000 back to 1/125, that is 5 full stop down, a 5 full stop ND filter is required on a sunny day.

With a 5 full stop ND filter in place, the final proper setting on a sunny day for video purpose is F/2.8, ISO 100, 1/125 for 60 FPS recording.

Youtube Thumbnail Tips

- file size less than 2 MB
- 1280 x 720 Pixels, 300 Pixels/Inch (16:9)
- Select Subject
- Ctrl + C
- Ctrl + V
- Hold Ctrl + Mouse to move around
- Ctrl + T to bring up Transform (for photo or text)
- Ctrl + T to bring up Character Box (for text)

作者: gzhjb 时间: 22-8-2019 20:40
本帖最后由 gzhjb 于 22-8-2019 19:47 编辑

Cheat Table

作者: gzhjb 时间: 22-8-2019 20:43

作者: gzhjb 时间: 22-8-2019 20:44
The Minimum Shutter Speed Rule for Shake-Free Photos

When not using a tripod or another type of support, photos tend to have ‘shake blur’ if the shutter speed falls below a particular number. This has been calculated and is given as:

1/focal length or 1/100, whichever is faster

Therefore, if you are using a full-frame camera with an 85mm lens, the minimum shutter speed you need to keep is 1/100 (because 1/100 is faster than 1/85). However, if you are using the same camera with a 300mm lens, the minimum shutter speed is 1/300.

作者: kevin妈妈 时间: 23-8-2019 09:25
全英文啊

作者: yearshappy 时间: 23-8-2019 11:50
wow,

a new field to explore

作者: ukphd 时间: 23-8-2019 15:43

kevin妈妈发表于 23-8-2019 08:25
全英文啊

官方语言不就是英文吗？干嘛哭

作者: kevin妈妈 时间: 23-8-2019 15:54

ukphd 发表于 23-8-2019 14:43
官方语言不就是英文吗？干嘛哭

我英文差

作者: ukphd 时间: 23-8-2019 17:48

kevin妈妈发表于 23-8-2019 14:54
我英文差

还不抓紧学

作者: gzhjb 时间: 24-8-2019 20:47
本帖最后由 gzhjb 于 24-8-2019 19:50 编辑

Edit your first photo

Bring out the best in your photos with these fundamental photo-editing techniques.

Crop and straighten

Using the Crop tool, you can trim edges, change the shape and size of a photo, and even straighten a crooked shoreline or horizon.

Improve lighting and color

Brighten a photo and make its colors pop using adjustment layers.

Remove unwanted content

Easily eliminate distracting elements with the Spot Healing Brush tool and the Patch tool.

Add creative effects

Convert color to black and white, add an old-fashioned tinted look, and play with focus using the Tilt-Shift Blur filter.

Sharpen and save

Apply a sharpen filter to give your photo a finishing touch. Then save your edited file in PSD format to preserve your layers for future editing. To share your photo online or by email, save a copy as a JPEG.

作者: gzhjb 时间: 24-8-2019 21:57
本帖最后由 gzhjb 于 30-11-2019 22:59 编辑

6

For the last step which is Sharpening the photo before exporting, here is one way to try:

1. Add a new layer on top of the rest. (Ctrl-Shift-Alt + N)
2. Image - Apply image - Layer (Merged) / Blending (Normal) - (Preserve Transparency and Mask - unticked) - OK
3. Rename this layer to "Sharpen"
4. Desaturate this layer: Image - Adjustments - Desaturate. (Shift-Ctrl + U)
5. Right-click this layer, Convert to Smart Object.
6. Choose the layer blending mode from Normal to Overlay at its pull-down window.
7. To apply High Pass filter: Filter-Other-High Pass, zoom a little bit for a close look on the details, adjust the Radius (Pixels) to get the sweet spot.
7.1 Adjust the Opacity in order to change how strong the effect you want to get.
8. This is sharpening on the entire photo.
9. To only sharpen a part area of the photo, see another tutorial.
10. Ctrl-Shift-Alt+E: To merge everything below into one new layer.
11. Delete the rest old layers.

作者: kevin妈妈 时间: 26-8-2019 09:17

ukphd 发表于 23-8-2019 16:48
还不抓紧学

你说得这么容易

作者: gzhjb 时间: 26-8-2019 21:14
本帖最后由 gzhjb 于 29-11-2019 22:06 编辑

4

Sharpening Eyes Method One
B: Brush

Brush Size Adjustment:

Keyboard shortcuts:

Decreasing [
Increasing ]

1. Make a copy of the background: Ctrl + J.
2. Convert the new copy into Smart Object: Filter-Convert for Smart Filters.
3. On this new layer, Filter-Sharpen-Smart Sharpen.
4. Adjust: Amount-500%, Radius-4~8px, Reduce Noise-45%~100%. All figures are relevant, try to find the sweet spot for your photo.
5. Every Smart Filter comes with a mask.
6. Select the mask (in white at the moment) of Smart Filters, Ctrl-I to invert mask from white to black.
7. Mask: black hides, white shows up.
8. Dig a brush, adjust the Flow to 10~15%.
9. For tablet, choose brush - Soft Round Pressure Opacity and Flow.
10. Decrease the brush size to suit the object you are going to work, like eyes, face or lips. (Keyboard: [ or ])
11. Slowly and gradually using the brush to paint on the area where you wanna sharpen, like eyes.
12. If using a tablet, you can increase the Flow setting a little bit more, because you can control the real Flow by pressing the stylus.
13. If you need to remove some area out of the sharpening, change the white and black background icon once, by pressing X once.
14. Remember to press X again to bring white to the front.

作者: gzhjb 时间: 27-8-2019 21:29
本帖最后由 gzhjb 于 27-8-2019 20:34 编辑

Ctrl-Shift-Alt-E: To create a merged layer of everything you see on the canvas.

Ctrl-W: To close the present photo.

Ctrl-O: To open a photo.

作者: gzhjb 时间: 27-8-2019 22:08
Photoshop CC Camera RAW Trick

When opening a RAW file in Photoshop, it will automatically bring the RAW file into Camera RAW, where you are able to do some pre-adjustment on the RAW file before it is opened in Photoshop.

Trick: once you finished the pre-adjustments on the RAW file and you are about to click the button "Open Image", press and hold Shift button, the "Open Image" button will change to "Open Object". Click the "Open Object" button, you can open the RAW file in Photoshop without fixing all those pre-adjustment and you are able to bring everything back to original.

作者: gzhjb 时间: 27-8-2019 22:29
本帖最后由 gzhjb 于 30-11-2019 22:21 编辑

1

What to do in Camera RAW:

Keep eyes on the photo and find the sweet spot.

Tab Basic:

1. Bring Highlights down. -60
2. Bring Shadows back. +45
3. Add Clarity. +30
4. Adjust Temperature if necessary.
5. Adjust Tint if necessary.
6. Boost Contrast. +10
7. Whites. +20
8. Blacks. -15
9. ......

Remember click and hold "Shift" then "Open Object".

Quickest Way to White Balance a Photo:

If the photo has a colour cast, we need to remove the colour cast so that we can neutralize the image.

You can use either the "Levels", or the "Curves Adjustment Layer". Both have an "Auto" button which can be used to adjust the photo automatically.

We are going to use "Curves" this time.

If I simply hit the "Auto" button, you'll notice that Photoshop will make an adjustment, and that adjustment won't necessarily be the best adjustment.

Photoshop actually has different algorithms that it uses to determine how to colour correct the image automatically.

You can access those algorithms by holding Alt and clicking on the Auto button to bring up the "Auto Colour Correction Options".

Another way to get to that is by clicking on the fly-out menu, and selecting "Auto Options".

You'll notice that on the top of the window, you'll have four different algorithms. By default, Photoshop selects "Enhance Brightness and Contrast", and you have different algorithms that you can choose from.

The algorithm that I prefer is the "Find Dark & Light Colours" algorithm. I believe that it gives the best results in most cases. I also like to check the "Snap Neutral Midtones", and you can see that by simply doing that, I've colour corrected this image.
https://www.youtube.com/watch?v=B-W44JJToG8

How to Remove Colour Cast
https://www.youtube.com/watch?v=Rz7moRbqEpc

Fix Skin Tones Fast / Removing Colour Casts with Photoshop
https://www.youtube.com/watch?v=slANYHkrRjM

Strong Colour Cast Removal
https://www.youtube.com/watch?v=UAQsOeCCrAY

1. Drag the thumbnail of a background image layer to the "Create a new layer button", the blank sheet of paper, at the bottom of the layers panel. This will create a background copy layer.
2. Filter - Blur - Average, which will average all of the pixel values together to create a single colour representing our colour cast. Obviously, I don't want to apply this colour to the image. I want to apply its opposite.
3. Image - Adjustments - Invert, to invert this colour to its opposite. I want to use this inverted colour cast to offset the colour in the actual image. Since I only want to affect the colour. I'll change the blend mode using the pop-up at the top left of the layers panel for my background copy layer to the colour blend mode. This will cause the background copy layer to only affect the colour in the underlying image.
4. As you can see it has offset the colour cast but the effect is a bit too strong. So I'll simply reduce the opacity setting until I find a more appropriate value that offsets the colour cast allowing the original colours to show through.
5. I can then continue adjusting the image for example by adding a hue/saturation adjustment that will boost the colours in the underlying image to produce a more natural result.

Easy Fix for White Balance in Photoshop

https://www.youtube.com/watch?v=MUh3vZT0tbo

1. Create a new layer: Ctrl-Shift-N.
2. Fill it with 50% gray: Shift-Backspace, Contents: Use: 50% Grey, Blending: Mode: Normal, Opacity: 100%.
3. Select the layer and change the blending mode to Difference.
4. Add a new Threshold adjustment layer.
5. You can see the histogram and a slider, drag the slider all the way to the left and now the image should be completely white.
6. Dragging the slider slowly to the right, you will see some dark areas starting to show up, drag it a little bit more to the right around the 20,25 or so Threshold Level.
7. Choose the Eye Dropper by pressing the I letter on your keyboard and zoom into the dark area by holding Z and clicking that area.
8. Hold down Shift and click on the dark area, you will notice a little marker, that means you just pinpointed that area.
9. Ctrl-0 to fit your image on the screen and we are going to hide the threshold layer and grey layer for now.
10. Select the bottom layer and I will add a curves adjustment layer.
11. You can see there are 3 eye droppers.
12. Choose the grey eyedropper, zoom in close again to the marked area by holding Z and click exactly on that mark.
13. And that should fix your white balance.
14. Ctrl-Shift-Alt-E: To create a merged layer of everything you see on the canvas.
15. If you like, you can delete the threshold layer, grey layer, the curves adjustment layer and the background layer.

作者: gzhjb 时间: 27-8-2019 23:33
本帖最后由 gzhjb 于 29-11-2019 21:56 编辑

2

After Camera RAW:

Remove Blemishes first:

1. Create a new layer: Ctrl-J.
2. Name the layer Blemishes.
3. Select "Healing Brush Tool".
4. Take a sample of the clean area near the blemishes by pressing Alt and click the sample spot.

In order to see blemishes clearly, we can create another adjustment layer called "Black & White" on top.
- take down the Reds all the way.
- take down the Yellows just a little bit.
- Increase the Blues.
Now you can see clearly where the blemishes are.

5. Select back to the layer "Blemishes".
6. Select "Healing Brush Tool". (Can also use Patch Tool - J, with which you can circle the defective spot and drag it towards to nearby area)
7. Make sure the Sample: "Current & Below".
8. Then Alt-Click Sample, Click Paint, Alt-Click Sample, Click Paint, ...

After finishing removing all blemishes, remember to delete the adjustment layer of "Black & White"

After deleting the adjustment layer and removing all the blemishes, remember to add a merged layer before entering the next step.

This merged layer is a layer of everything you see on the canvas, or for this case, is a merged layer with blemishes removed.

To do that, press Ctrl-Alt-Shift-E.
WACOM and keyboard short cut:

J: Patch Tool
Z: Zoom In
Z, then hold Alt: Zoom Out
Ctrl+0: Display Photo in FullHold Space: Palm Move or Hand Tools

`

作者: gzhjb 时间: 27-8-2019 23:44
标题: z
本帖最后由 gzhjb 于 6-9-2019 22:39 编辑

Z: zoom
Under zoom, left-click and hold then drag to zoom in or zoom out.

J: Healing Brush Tool

Space: Hand Tools

作者: gzhjb 时间: 27-8-2019 23:58
本帖最后由 gzhjb 于 29-11-2019 23:07 编辑

Frequency separation.

Separate the high frequencies from the low frequencies.

In the high frequencies, we have skin texture. In the low frequencies, we have skin colour and skin tone.

By separating the two frequencies, we can work on them separately. You want to soften the skin, at the same time, we can retain the skin texture.

Add another layer (copy): Ctrl-J.

Name the previous merged layer: Colour.
Name the new copied layer: Texture.

Turn off the layer of Texture.

Select the layer of Colour.

Filter-Blur-Gaussian Blur.

Decrease the Radius all the way to 0.1 Pixels, take a sample on an area where there are many wrinkles. Now you can see a lot of wrinkles as the Radius is set 0.1 Pixels. Just increase the Radius to the point that the skin textures go away. You can sample a couple of places, just make sure all skin textures go away. Click Ok once you are happy with the setting.

Turn on the layer of Texture.

Select the layer of Texture.

Image-Apply Image.

Select Colour for layer, RGB for Channel, Subtract for Blending, 2 for Scale, 128 for Offset. Click Ok once that is done. (Make sure: 100% for Opacity, unchecked for Preserve Transparency and Mask...)

Change the blending mode of the layer of Texture into Linear Light.

Now make a group of both of these.

Click one of the two layers, then Ctrl-Click another one to select both layers. Ctrl-G to make a group of both.

Create another layer between these two layers. You can create as many layers as you wish, each layer might work for a single part of the photo, such as Nose, Wrinkle, Lips... For each layer, you can adjust its Opacity from 100% to whatever you like in order to bring the effect down a little bit.

Now we start to work on one layer, for example, we name it Nose.

Take the brush, make sure the Flow is very low, under 10 or even under 5, this time we adjust Flow to 2%.

To work on the colour repainting process, you can turn off the layer of Texture for now.

Now, ask yourselves what do I want that area to be coloured in, how do I want that area to look like.

Zoom out to see the photo as a whole in order to tell which colour is right.

Make sure you sample enough pixels.

Select the tool of Sampler (Eyedropper). Change the Sample Size from Point Sample to 11 by 11 Average.

Come back to the Brush. Start Sample, Paint, Sample, Paint, .... on the layer of Nose. (Use the keyboard shortcut to toggle: I and B)

作者: gzhjb 时间: 30-8-2019 21:13
本帖最后由 gzhjb 于 6-9-2019 19:19 编辑

Frequency Separation

Makes two new layers on top of the original photo: Ctrl-J and Ctrl-J again.

Name them as Colour and Texture.

Turn off the layer of Texture first.

Select layer of Colour.

Filter-Blur-Gaussian Blur.

Turn down the Radius all the way to 0.1%, then increase it slowly up to where the texture of skin is about to show up. Normally it is around 5~8%.

Then go to the layer of Texture.

Select the layer of Texture.

Image-Apply Image...

If the image is 16 BIT:

Select the layer: Colour, Channel: RGB, Checked Invert, Blending: Add, Opacity: 100%, Scale: 2, Offset:0, Unchecked Preserve Transparency, Unchecked Mask... Click OK.

Then change the blending mode to Linear Light for the layer of Texture.

Group these two layers of Colour and Texture: Select one layer, then press and hold Ctrl, select another layer, Ctrl-G.

If the image is 8 BIT:

Select the layer: Colour, Channel: RGB, Unchecked Invert, Blending: Subtract, Opacity: 100%, Scale: 2, Offset:128, Unchecked Preserve Transparency, Unchecked Mask... Click OK.

Then change the blending mode to Linear Light for the layer of Texture.

Group these two layers of Colour and Texture: Select one layer, then press and hold Ctrl, select another layer, Ctrl-G.

Once the above steps finished, go to the layer of Texture first.

Select the layer of Texture.

Pick up the Patch tool from Toolbox.

Use the Patch tool to remove all the blemishes first. Remember to drag the circled the defective area to where has a better texture, normally the nearby area.

After removing all blemishes, go to the layer of Colour.

Select the layer of Colour.

Make sure working on the layer of Colour from now on.

Pick up the Brush tool from Toolbox. Select Brush type: Soft Round Pressure Opacity and Flow. Mode: Normal. Opacity: 100%. Flow: 3~6%.

Sample the colour from the area has good colour, then paint the colour to the area you want to change its colour.

After all above steps finished, if you feel the photo look like too even, you can add some contrast by using Curves.

Select the layer of Group.

Add a new adjustment layer of Curves...

Normally just drag the left corner point towards the right side a little bit in order to increase the contrast a little bit.

You can also move this adjustment layer of Curves on top of the layer of Group.
After finishing the Curves.

Ctrl-Shift-Alt-E to add a merged layer of everything underneath.

Name it Merged Layer.

Image-Adjustment-Shadows/Highlights.

Under Shadows, Tuning (increasing) Amount, Tone, Radius in order to brighten up a little bit on Shadows.

Under Adjustments, bring Colour up in order to add some colour to the Shadows.

作者: gzhjb 时间: 31-8-2019 10:56
A Complete Guide to Retouching Portraits in Photoshop for Free

https://fstoppers.com/bts/comple ... hotoshop-free-98236

作者: gzhjb 时间: 31-8-2019 11:09
Camera Raw

People often confuse Camera Raw as the place where special effects and filter adjustments are made. However, CR helps create a foundation for which to continue editing on Photoshop. CR is not where amazing results happen. It’s used to make RAW adjustments like, bringing back some detail in the highlights, adjusting the white balance.

With that in mind, it is important to avoid making global adjustments like using the exposure and contrast slider. Adding contrast is something that can be done manually in the editing process, if you add contrast in CR you will notice toning issues on the skin and eyes becoming dark and unrecoverable. If there is something small that is bothersome, for example the skin is on the darker side, there are methods to brightening that without using the exposure slider which over brightens the background in the process. Hit up the luminosity slider, the orange and red slider can be used to brighten the skin and leave everything else alone. Clarity is frowned upon but about 10 usually makes the image pop and makes dodging and burning easier. It will make flaws such as pimples stand out more but that's ok since you will spot heal that later anyways.

作者: gzhjb 时间: 31-8-2019 11:34
How to Remove Eye Bags in Photoshop

https://www.youtube.com/watch?v=R6UInKDb54A

作者: betsy520 时间: 3-9-2019 18:45
路过拿点经验

作者: gzhjb 时间: 5-9-2019 09:38

betsy520 发表于 3-9-2019 17:45
路过拿点经验

欢迎常来看看。

作者: gzhjb 时间: 6-9-2019 20:22
本帖最后由 gzhjb 于 29-11-2019 23:00 编辑

3

Add a merged layer of everything you see by now: Ctrl-Shift-Alt-E.

To brighten up a specific area of a photo.

Duplicate the original photo: Ctrl-J

On the newly added layer, Image-Adjustments-Shadows/Highlights.

Normally don't adjust Highlights here. Leave it alone.

Under Shadows, you can increase the Amount, Tone and Radius in order to light up the photo's Shadows.

Under Adjustments, you can increase Colour a little bit in order to bring some colour to the Shadows.

Now add some contrast to the photo by using a Curves adjustment layer.

Skin Tone

Layer-New Adjustment Layer-Curves.

Drive the middle part of the curve up a little bit. Then invert this layer by Ctrl-I, and paint white with our brush, right over the top of the subjects face or skin.

Notice that it's gonna brighten everything at the same time, we really don't want that. We just kind of want to focus on the highlights. So double clike on our curves adjustment layer and we'll hold Alt and click and drag from the left to the right on Underlying Layer Bar, it is gonna focus this on just the highlights and darker part is kind of being ignored. So what this is gonna do is add a little bit more interest and a little bit of brightness to the highlights of the photo.

To finish this off we're going to increase the Saturation and then fine-tune the colour in her skin tone.

Layer-New Adjustment Layer-Hue/Saturation.

Bring up the Saturation just a little bit.

To target the skin tone.

Layer-New Adjustment Layer-Selective Colour.

Choose Red at Colours, then give it just a little bit less Yellow, give a little bit more Magenta and a little bit more Cyan. Just take that like yellowish tone out of the skin and we are done.

To remove purple edge.

Layer-New Adjustment Layer-Selective Colour.

Choose Magentas at Colours, then give it More Cyan give a little bit less Magenta, a little bit more Yellow, more Black.

作者: gzhjb 时间: 6-9-2019 23:10
本帖最后由 gzhjb 于 6-9-2019 22:52 编辑

B: Brush

Brush Size Adjustment:

Keyboard shortcuts:

Decreasing [
Increasing ]

作者: gzhjb 时间: 10-9-2019 21:11
这几天太忙了，根本没有时间搞电脑和摄影。

作者: gzhjb 时间: 10-9-2019 22:02
本帖最后由 gzhjb 于 11-9-2019 20:51 编辑

5

Darken a Background and Make Your Subject Pop.

0. Add a merged layer of everything you see by now: Ctrl-Shift-Alt-E.
1. On this new layer, add an adjustment layer of Curves.
2. Grab the middle of the Curve and drag this down. You can drag straight down (more gradually) or bend a little bit to the right lower corner (more dramatically).
3. Make sure its Mask is selected, it is in White at the moment.
4. Hit B for Brush tool, adjust the Opacity: 100%, Flow: 100%, Smoothing: 10%
5. Make sure the Brush is in Black mode.
6. Remember the Mask: Black hides, white shows up.
7. For tablet, choose brush - Soft Round Pressure Opacity and Flow.
8. Adjust the brush size to suit the object you are going to work, such as the whole body of the model.
9. Slowly and gradually using the brush to paint on the area where you do not want to darken.
10. Hit Q to visualise the mask you already painted.
11. Hit X to toggle the Brush between Black mode and White mode.
12. Decrease the Opacity to 20~30% if you want to lessen the effect on some areas.

作者: gzhjb 时间: 11-9-2019 23:17
How to Correct Skin Tones.

https://youtu.be/-2tgiZ3zn0I

作者: gzhjb 时间: 5-11-2019 20:45
好久没有更新了，这一段时间忙飞了。

今天是 Melbourne Cup Day，白天去一位同学家 House Warming 聚餐。晚上回来赶紧抽时间搞搞PS。

作者: gzhjb 时间: 29-11-2019 21:21
白天工作，晚上要还能有时间用用PS，真是不容易。

作者: gzhjb 时间: 14-12-2019 22:39
What’s the Best Way to Share Photos with Clients

https://expertphotography.com/be ... hotos-with-clients/

作者: gzhjb 时间: 27-12-2019 12:49
DaVinci Resolve 16

作者: gzhjb 时间: 27-12-2019 12:54
本帖最后由 gzhjb 于 27-12-2019 16:06 编辑

DR16

I / O: cut in and cut out, better no longer than 4~5 seconds per clips.

L and multi L key: speed up playback.

B: Blade tool

T: Trim tool

Del: Ripple Delete

Look at Audio Scope for beats.

Shift-Del: delete and pull the rest up to the place.

Workflow:

0. Set project timeline resolutions and fps.
1. Import all videos and BGM.
2. Rough cut.
3. Import BGM.
4. Add title.
5. T- Trim Edit mode: adjust clips length to the beats.
6. Fade in and Fade out.
7. Cut or speed up the clips in order to hit the beats.
8. Playback-Render Cache-User: in order to get the playback smooth.
9. Colour Grade the entire timeline.
10. Deliver.

作者: gzhjb 时间: 27-12-2019 12:56
Free Music

https://www.bensound.com/

作者: gzhjb 时间: 12-7-2020 20:01
To get a perfect white background

Camera Settings: F11, ISO 200, 1/125 (Turn on Histogram)

1. Take a photo of the white background in order to get a perfectly white background.

2. Increase ISO to remove any shadows. (For example ISO 200 -> ISO 400)
F11, ISO 400, 1/125

3. Increase ISO to light up the face from shadows to mid-tones. (For example ISO 400 -> ISO 800)
F11, ISO 800, 1/125

Now, you have created a perfectly white background for a portrait.

作者: gzhjb 时间: 2-3-2021 21:20
本帖最后由 gzhjb 于 2-3-2021 22:38 编辑

Flash photography for beginners

Your shutter speed is much slower than the duration of the flash, so think of it as just controlling your ambient light. This is because no matter how slow or fast the shutter speed is up to the sync speed of course, it won't be as fast as the flash, so whenever the shutter is open, it'll take in all of the flash light.
But the longer you leave your exposure, the more ambient light you'll let into the camera.

Your ISO and aperture controlled both flash and ambient light. This is because with the aperture you're increasing or decreasing the size of the hole that the light can get through and with the ISO you're changing the application of the signal from the sensor, so these control the overall exposure of your photograph.

And then we have the flash power setting, this comes in fractions one over one being full power, one over two being half power, one over four being quarter power and so on and so forth, right down to one over 128th.

The lower the power, the longer the batteries will last in your flash, and also the quicker the recycle time.

One other thing to take into consideration is that for each fraction change that you make in the power on the flash, this changes the flash brightness by one stop. So one quarter to one half would be the same as F5.6 to F4, or ISO 100 to ISO 200. And one quarter to one eighth on the flash would be the same as F5.6 to F8, or ISO 100 to ISO 50.

You might be wondering why I haven't included shutter speed and the reason for this is that the really short duration of the flash, no matter how long or short the shutter speed is, as long as you're below the sync speed, it'll take in all of the power of the flash. So it doesn't matter what shutter speed you're at, the flash power will be exactly the same. And for now this is all you need to know about your flash. You can have it in manual mode and you're gonna change the fraction of power that you're going to use. So as long as you understand stops of the light and you know how aperture, shutter speed and ISO work together, thhis fractional change should be seem quite familiar.

One other thing to take into consideration is the flash duration, especially if you have things moving fast through your frame, the closer to full power that you are on your flash unit, the longer the duration of the flash. So if something's moving fast through your shot, it's more likely to blur. Just know that if your subject starts blurring due to motion when you're using a flashing, you may have to reduce the power, which will reduce the duration of the flash, more likely freezing your subject. And do remember to increase your aperture or ISO to compensate for this decrease in flash power.

Those flashes do have a zoom function, they tend to go from about 24 mm right through to around about 100 to 105 mm. All this is doing is widening or focusing that light. You don't have to worry too much about this for now, just make sure that the zoom follows what zoom you're using on your camera.

I start off with the following settings. I put the shutter speed at around about 1/100 of a second, my ISO at 100, aperture at F5.6 and I set the flash to manual and 1/4 of the power, I set my white balance to flash. If you're using a mirrorless camera, you'll have to turn the live view display off to see what you're shooting. Once you've done this, take a test shot.

One quick tip to get much better light from your flash instantly is to tip the head of the light up towards the ceiling, as long as you've got a white ceiling, it'll give you a really nice light. This will bounce the flash off the ceiling, making the flash a much bigger light source and making the light a lot softer. It will dissipate the intensity, so you may have to increase the flash power if needed.

Then you want to play around with your shutter speed and flash power to get the right ratio between the two sources of light, once you've got this you can adjust your aperture to get a good overall exposure and this is where personal taste comes into play.

You might like more flash or you may prefer more ambient light. But knowing how to change each light source is critical to get what you want. If I want more ambient light, I'll lower my shutter speed. If I want less ambient light, I'll increase my shutter speed. You just need to make sure when increasing your shutter speed, you don't go faster than the sync speed. If I want just the flash to be brighter, I'll increase the flash power. If I want the flash to be darker, I'll decrease its power. So very quickly, you can dial in your settings by just thinking of shutter speed for ambient lights and flash power for flash.
I try to keep my ISO at 100 and when you're using a flash, this is pretty easy to do, because there are lots of lights about. And obviously the lower the ISO, the less noise in your photographs.

So when dialing in my settings, if I want there to be very little ambient light and all flash lights, I'll have my shutter speed at the max sync speed of the flash, for example, 1/200 second, then I'll increase the power of the flash and then control the overall exposure with aperture.

If I want to blend ambient and flash light, what I'll do is I'll decrease my shutter speed and then play around with both shutter speed and aperture. If I then need to increase or decrease the flash compared to the ambient light, what I'll do is change the power on the flash. At last, I'll change my aperture to change my overall exposure because I've balanced the ambient light and the flash light together to where I want them to be. It does take a while to get your head around this, but once you do, you'll be able to dial in those settings really quickly and then you'll have ultimate control over your flash and ambient light. You'll also be able to get really consistent results that you wouldn't do in auto mode or TTL mode.

作者: gzhjb 时间: 20-3-2021 18:53
White Balance Setting

Daylight 5600 K
Sunset 2500~3500 K
Tungsten 3200 K
Twilight / Blue hour 8000~10000 K
Florescent 4000 K
Shade 7000 K
Cloud / Overcast 6000 K
Flash 6000 K

Australia: PAL

Exposure:

1. Histogram
2. Waveform
3. Zebras
4. Exposure Assist (False Colour)

Aspect Ratio:

16:9

1920 x 1080
3840 x 2160

1.89: 1

4096 x 2160

作者: gzhjb 时间: 20-3-2021 19:06
10 RULES OF COMPOSITION

1. FILL THE FRAME
2. RULE OF THIRDS
3. SYMMETRY
4. CREATING DEPTH
5. LEADING LINES
6. DIAGONALS
7. PATTERNS
8. FRAMING
9. DOMINANCE
10. FOCUS

作者: gzhjb 时间: 20-3-2021 19:12
CAMERA ANGLES

- WIDE SHOT
- TIGHT SHOT
- MEDIUM SHOT
- LONG SHOT
- EXTREME TIGHT
- DUTCH ANGLE
- HIGH SHOT
- LOW SHOT
- CUTAWAY SHOT
- COWBOY SHOT
- POV
- OVER THE SHOULDER

作者: gzhjb 时间: 20-3-2021 20:44
本帖最后由 gzhjb 于 20-3-2021 20:52 编辑

Cinematic Glidecam shots

1. Push in – using a wide scope lens 24mm, keep something in the foreground. Used as intro shot.
2. Pull Out – start in tighter on subject gradually pull out, ending the scene.
3. Parallax – moving the glidecam around the subject, keeping subject in same point everything else around her moves.
4. Rise up – you can combine with parallax, start really low and move high
5. Reveal
6. Tilt down reveal – start facing the sky or trees and then reveal to subject
7. Tilt up reveal – start from ground or a rock
8. Focus shot – mimic subject walking keeping safe distance where focus remains, can also use the parallax, memorize where focus is set image is blurred and then move glidecam into focus (music video alex boyet)
9. Moving continuous focus
10. Tracking – three types lead tracking the subject walks in front of you and you lead them in front, follow tracking subject leads the way you track from behind, side track maintain good head space and more space towards where the subject is looking.
11. A) Transition moves – lead tracking to whip, when whipping how you end the whip to right, left, top or bottom the next scene follows likewise ie whipped right following scene goes from left to right whip out of subject to right whip into subject left to right.
B) Reveal shot using masking using the tree to mask out and the pole to mask in
12. Low Mode – same principles used catching the feet or lower to ground.

作者: gzhjb 时间: 21-3-2021 19:13
Audio Level:

Low End: -18 DB ~ -12 DB
PARK: -6 DB

作者: gzhjb 时间: 21-3-2021 19:55
PRE-PRODUCTION PROCESS

1. IDEA CONCEPTION
2. ROUGH SHOT LIST
3. AVAILABLE RESOURCES
4. MUSIC CHOICE
5. FINAL SHOT LIST

作者: gzhjb 时间: 25-3-2021 22:27
FACEBOOK VIDEO MARKETING

1. Upload to FaceBook Directly.

2. Short Captions, No External Links. (Short and Enticing)

3. The 3 Second Rule.

4. Mute Friendly.

5. Square Video.

作者: gzhjb 时间: 27-3-2021 20:59
10 Tips to 10x Productivity

1. PERFORM HIGHEST VALUE ACTIVITIES

2. DELEGATE / OUTSOURCE LOW VALUE ACTIVITIES

3. SET A SCHEDULE OR TIME LIMIT

4. FOLLOW THE 80/20 RULE

5. GET IN THE MOMENTUM ZONE

6. TAKE RECHARGE BREAKS

7. ELIMINATE DISTRACTIONS (TURN OFF SOCIAL MEDIA NOTIFICATIONS)

8. STAY ORGANIZED

9. LEARN HOW TO SAY NO

10. REDUCE TECHNOLOGICAL BOTTLENECKS

作者: gzhjb 时间: 27-3-2021 21:34
7 HABITS THAT ARE DESTROYING YOUR MOTIVATION

1. PERFECTIONISM

2. COMPARING

3. WAITING TO WORK

4. MULTITASKING

5. ALLOWING DISTRACTIONS

6. SAYING YES

7. INDECISIVENESS

作者: gzhjb 时间: 2-4-2021 23:21
3 Point Lighting Set

1. Key Light: 45°
2. Fill Light: 50% of key light
3. Back Light: 50% of key light

作者: gzhjb 时间: 3-4-2021 11:10
本帖最后由 gzhjb 于 3-4-2021 11:12 编辑

WEDDINGS

1. SHOOT TO EDIT: KNOW WHAT YOU NEED FOR EDITING BEFORE YOUR SHOOT.

2. 2ND SHOOTER: FOOTAGE BACKUP AND COVER MULTIPLE ANGLES, REACTIONS AND SO ON.

3. FOCAL LENGTHS: 70-200, 50 AND 85 FOR 2ND SHOOTER, 24 FOR WIDE SHOOT.

4. LIGHTING: IS EVERYTHING.

5. AUDIO: ELEVATES YOUR STORY.

6. VENDORS: WEDDING PLANNER, GOOD RELATIONSHIP TO REFERRALS, PHOTOGRAPHER, DJ

7. POSING COUPLES: FIRST LOOK, CEREMONY AND BRIDALS.

作者: gzhjb 时间: 3-4-2021 21:22
Camera Settings for Shooting

1. FRAME RATE: 24 FPS FOR SPEAKING AND DANCING PART, 60 FPS FOR SLOW MOTION PART.

2. SHUTTER SPEED: 1/DOUBLE OF FPS.

3. APERTURE: DEPTH OF FIELD.

4. ISO: QUALITY OF IMAGE, AS LOW AS POSSIBLE.

5. WHITE BALANCE: MANUAL.

作者: gzhjb 时间: 6-4-2021 22:07
BASE PACKAGE

- 5 minutes film, delivered in 4K
- 8 Hours of Coverage
- 2nd Videographer
- 4K digital download of Final Film and 1080P digital download for Mobile
- Drone coverage (Coverage depends on venue and weather)
- Vows and Speeches will be recorded and intertwined into the final video
- Final Video will be edited and delivered within 6 weeks.

- 7 minutes film

- 10 minutes film

- 15~20 minutes film

作者: gzhjb 时间: 8-4-2021 20:23
Sharpness 0

Contrast 0

Saturation -2

Colour Tone 0

作者: gzhjb 时间: 16-4-2021 22:07
本帖最后由 gzhjb 于 16-4-2021 21:13 编辑

1. SNAP ZOOMS

2. PUTTING ELEMENTS IN FRONT OF THE LENS

3. SHOOT AT A HIGH FRAME RATE & SPEED THE MUSIC UP

4. CREATIVE CAMERA MOVEMENTS

4.1 FRONT TO BACK SHOT
4.2 THE BARREL ROLL
4.3 THE HALF-CIRCLE
4.4 THE TILTED HALF-CIRCLE
4.5 THE FRONT TO BACK HALF-CIRCLE

作者: gzhjb 时间: 23-4-2021 00:21
How To Interview Someone for a Documentary

Prepare your questions
Think ahead about the type of questions you want to ask your interviewee. What kind of information are you looking for from this particular person and what are the type of questions that will best get them to give you the information you’re looking for? No need to go crazy. 5-10 questions is usually enough.

Avoid “yes” or “no” answers
Your questions should be asked in such a way that you won’t get “yes” or “no” answers. You need your documentary interviewees to give you substantive answers that you can use in your video edits. Instead of “Are you happy with the outcome of the court case?” Ask, “What is your response to the outcome of today’s court case?”

Prepare, but be spontaneous
Even though you have prepared questions in advance, allow yourself to veer off from questions if the interviewee says something interesting or unexpected that you’d like to explore further. Sometimes the unplanned “spontaneous” questions & answers create the best moments.

Get the interviewee comfortable
When the video camera rolls, ask easy questions to warm them up. Ask them what they had for breakfast, where they are from, how many kids in their family.. anything to get them talking and comfortable. This is a key interviewing tip!

Don’t give out specific questions in advance
I cannot stress this point strongly enough. It’s perfectly acceptable to give someone a general idea of what the interview will be about, but do not give them your list of questions. If you do, they will try to memorize their answers in advance and you will lose spontaneity and freshness. Your interview will end up feeling stale, unauthentic and rehearsed.

Have them repeat your question
This is a great idea, especially if you plan to have no narration for your documentary. Get the person to repeat back your question in their answer. This will help you with the video editing and storytelling later during the editing process. For example, you ask, “How are you feeling?” The interviewee says, “How am I feeling? I’m feeling excited!”

Proper positioning of interviewee
If you are the person both shooting AND interviewing, the person may end up looking into the video camera, which gives the feeling of a personal and direct connection with the person talking. However, the off-camera approach is most common. The interviewer sits or stands right next to the camera so that the interviewee is looking just off camera. You get your best results if the interviewer (you) is standing right next to the camera, that way you can see the full face of the person you’re interviewing and not a profile, which can be unattractive and distracting to the viewer because you can’t see their eyes and facial expressions very well.

Keep your mouth shut
Stay quiet when the other person is talking. You don’t want to hear yourself in the background. (Watch out for the “hmmmm”, “Oh right..”) Just ask the question and then keep quiet. It’s good to nod, and make gentle facial expressions, just no sound. Unless of course, YOU are part of the story and the camera has both of you in the shot.

Ask for final comment
Here's a great video interviewing tip: at the end of the interview, always ask the person if they have any final thoughts. Ask them if there was anything you missed. This can sometimes bring out some great information you hadn’t thought to ask about.

Don’t stop filming when the interview is “over”
Especially when you have someone who is nervous and never got quite comfortable with the interview. When you’re done with your official questions, say “OK, that’s the end of the interview.” Make sure the camera continues to roll at this point because often the conversation will continue. Psychologically, the person no longer feels the “pressure” of the interview and will loosen up. This is the time I have often gotten the best quotes of the interview!

作者: gzhjb 时间: 23-4-2021 00:41
How to Ask Good Documentary Interview Questions

1. Avoid Yes or No Answers
The first rule of documentary filmmaking questions is to avoid yes or no answers. Just as the rules of good conversation, asking yes or no answers provides no insights. And it can also quickly work you into a corner. Here are two examples:

Q: Where you watching TV when man landed on the moon?

A: Yes

As compared to…

Q: What were you thinking the moment you saw the moon landing on TV?

A: I was in amazement, it never seemed real until that moment…

You not only want to avoid yes or no questions, but you really want to push for open-ended questions with a “tell us more” or “tell us in your own words” style approach to encourage the telling of a story.

2. Repeat the Question in the Answer
For those perhaps more interested in television or digital news style documentary content, this is a cardinal rule of the trade. In many instances, the documentarian or the person asking the questions won’t be included in the shot or on video camera.

As such, the audience won’t always know what the question is being asked. So, it will require for you to explain upfront, and remind your interview subject, to repeat the question in their answers. You can give an example like this:

Q: What were you thinking the moment you saw the moon landing on TV?

A: In the moment I saw the moon landing on TV, I was in amazement, it never seemed real until that moment…

This will also often help the interview subject stay on topic and focused on the actual purpose of the question as it pertains to the documentary and the story that you are building.

3. Assume You Know Nothing
Many documentarians and interviewers can be guilty of this simply because they know too much – and want to appear knowledgeable in their questions. However, at the end of the day, unless you’re making something for a highly informed niche audience, most documentaries will need to at least cover the basics of any subject before they get too in-depth.

Therefore, you’ll always need interview quotes that explain things in the most basic terms and without all the insider language and terms. To do this, it can be helpful to ask simple, easy questions at the beginning of an interview. From there, you can ask more nuanced follow ups, but always try to remind your interviewee to speak as if they were talking to someone who knows no more than the average person on the street.

4. Let the Answers Develop
Another mistake many documentary filmmakers may make early on in their careers is an overzealous approach to asking question after question looking to rush through a shoot. A good documentary interviewer knows to let answers breathe and develop.

People talk and think at different paces and speeds. Sometimes, if you let an answer hang there and give the subject a moment to think over what they just said, they often will continue on in a new approach and with a little more direction than before.

5. Explain Why Your Asking
Unless you’re working in some sort of expose-style of documentary filmmaking, your interview subjects are most likely going to be your best sources and biggest allies in helping you develop your project and tell the story. The more you can explain to your subject about the documentary project, it’s message and why you’re interviewing them (and what you’re looking for out of the interview), the better they will be able to help.

If you’re asking a long questions or sense that the interviewee is struggling to understand the question, take the time to backtrack and explain why you’re asking the question in the first place. Their ultimate goal is the same as yours – to tell a great documentary story.

作者: gzhjb 时间: 23-4-2021 22:23
本帖最后由 gzhjb 于 23-4-2021 21:36 编辑

Shot List Plan

Title: Shot Description

Subject:

      What to shot.

Camera:

      Cam A, Cam B, Cam C...

Shot Size:

- Close-ups
      Close-up
      Medium Close-up
      Extreme Close-up
      Wide Close-up

- Medium Shots
      Medium Shot
      Close Shot
      Medium Close Shot

- Long Shots
      Wide Shot
      Extreme Wide Shot
      Full Shot
      Medium Full Shot
      Long Shot
      Extreme Long Shot

Shot Type:

- Camera Height
      Eye Level
      Low Angle
      High Angle
      Overhead
      Shoulder Level
      Hip Level
      Knee Level
      Ground Level

- Framing
      Single
      Two Shot
      Three Shot
      Over-the-Shoulder
      Over-the Hip
      Point of View

- Dutch Angle
      Dutch (left)
      Dutch (right)

- Focus / DOF
      Rack Focus
      Shallow Focus
      Deep Focus
      Tilt-Shift
      Zoom

Camera Movement

- Static
- Pan
- Tilt
- Swish Pan
- Swish Tilt
- Tracking

Equipment

- Mechanism
      Sticks
      Hand Held
      Gimbal
      Slider
      Jib
      Drone
      Dolly
      Steadicam
      Crane

- Direction
      Forward
      Backward
      Left
      Right
      Up
      Down

- Tracks
      Straight
      Circular

Lens

- Angle of View
      Normal
      Telephoto
      Wide Angle
      Fish-Eye
      Zoom

- Primes

      10, 12, 14, 16, 18, 20, 24, 25, 28, 30, 32, ... 135, 150, 180, 200

Frame Rate

      24, 23.98, 25, 30, 29.97, 48, ... 240

Sound

Lighting

Location

~

作者: gzhjb 时间: 23-4-2021 23:20
本帖最后由 gzhjb 于 23-4-2021 22:27 编辑

Storytelling

1. Know your ending.
2. Create a character with a need.
3. Write an outline.
4. Divide into 3 acts.
Act1 (Set up), Plot Point 1 (Turn of events into unexpected),
Act 2 (Solve the problem), Plot Point 2 (Another twist),
Act 3 (Conclusion).
5. Write a dialogue with emotion.

作者: gzhjb 时间: 8-5-2021 22:20
本帖最后由 gzhjb 于 9-5-2021 12:47 编辑

Flash Basic

Shutter speed is much slower than the duration of the flash, so think of it as just controlling your ambient light, this is because no matter how slow or fast the shutter speed is, up to the sync speed (normally 1/200 second), of course, it won't be as fast as the flash. So whenever the shutter is open, it'll take in all of the flash lightings, but the longer you leave your exposure, the more ambient light you'll let into the camera.
Your ISO and aperture controlled both flash and ambient light. This is because, with aperture, you're increasing or decreasing the size of the hole that the light can get through, and with ISO, you're changing the application of the signal from the sensor. So these control the overall exposure of your photograph. And then we have the flash power setting, this comes as fractions, 1/1 being full power, 1/2 being half power, 1/4 being quarter power, and so on and so forth, right down to 1/128. The lower the power, the longer the batteries will last in your flash, and also the quicker the recycle time.

One other thing to take into consideration is that for each fraction change that you make in the power on the flash, this changes the flash brightness by one stop. So 1/4 to 1/2, would be the same as F5.6 to F4, or ISO 100 to ISO 200, and 1/4 to 1/8 on the flash would be the same as F5.6 to F8, or ISO 100 to ISO 50.

Now you might be wondering why I haven't included shutter speed and the reason for this is that really short duration of the flash, no matter how long or short the shutter speed is, as long as you're below the sync speed (normally 1/200 second), it'll take in all the power of the flash, so it doesn't matter what shutter speed you're at, the flash power will be exactly the same. And for now, this is all you need to know about your flash. You can have it in manual mode and you're gonna change the fraction of power that you're going to use, so as long as you understand stops of light, and you know how aperture, shutter speed, and ISO work together, this fractional change should seem quite familiar.

One other thing to take into consideration is the flash duration, especially if you have things moving fast through your frame the closer to full power that you are on your flash unit, the longer the duration of the flash, so if something's moving fast through your shot, it's more likely to blur. If your subject starts blurring due to motion when you're using a flash, you may have to reduce the power, which will reduce the duration of the flash, more likely freezing your subject, and do remember to increase your aperture or ISO to compensate for this decrease in flash power.

I start off with the following settings. I put the shutter speed at around 1/100 second, my ISO at 100, aperture at F5.6 and I set the flash to manual and 1/4 of the power, I set my white balance to Flash. If you're using a mirrorless camera, you'll have to turn the live view display off to see what you're shooting. Once you've done this, take a test shot, one quick tip to get much better light from your flash instantly is to tip the head of the light-up towards the ceiling, as long as you got a white ceiling, it'll give you a really nice light. This will bounce the flash off the ceiling, making the flash a much bigger light source and making the light a lot softer. It will dissipate the intensity, so you may have to increase the flash power if needed, then you want to play around with your shutter speed and flash power to get the right ratio between the two sources of light, once you've got this, you can adjust your aperture to get good overall exposure and this is where personal taste comes into play. You might like more flash or you may prefer more ambient light, but knowing how to change each light source is critical to get what you want. If I want more ambient light, I'll lower my shutter speed, if I want less ambient light, I'll increase my shutter speed. You just need to make sure when increasing your shutter speed, you don't go faster than the sync speed (normally 1/200 second). If I want just the flash to be brighter, I'll increase the flash power, if I want the flash to be darker, I'll decrease its power. So very quickly you can dial in your settings by just thinking of shutter speed for ambient lights and flash power for flash.

When dialing in my settings, if I want there to be very little ambient light, and all flashlights, I'll have my shutter speed set at the max sync speed which is 1/200, then I'll increase the power of the flash and then control the overall exposure with aperture.

If I want to blend ambient and flashlight, what I'll do is I'll decrease my shutter speed (so getting more ambient light) and then play around with both shutter speed and aperture. If I then need to increase or decrease the flash compared to the ambient light, what I'll do is change the power on the flash. All I need to do now is change my aperture to change my overall exposure because I've balanced the ambient light outside and the flashlight inside together to where I want them to be. It does take a while to get your head around this but once you do, you'll be able to dial in those settings really quickly and then you have ultimate control over your flash and ambient light. You'll also be able to get really consistent results that you wouldn't do in maybe an auto mode or TTL mode.

The next thing to think about is how you use the flash head to disperse that light. If you have it pointing directly at your subject, it'll be a really harsh hard light, because that light source is really small. If you have one of these flash units with a moveable head, what you want to try and do is bounce it off different surfaces in the room that you're in, as long as the surfaces aren't black, they will bounce that light back and they'll normally create a much bigger light source, so in using the basic principles that I've just taught you, try tilting the head of the flash towards to a big wall or a big ceiling, just to see how the light changes, you can grab a family member and use them as a subject or if you have a remote shutter, you can take photos of yourself.

作者: gzhjb 时间: 9-5-2021 14:12
F-Stop Chart Infographic

作者: gzhjb 时间: 9-5-2021 20:21
本帖最后由 gzhjb 于 9-5-2021 19:42 编辑

8 STEPS TO CINEMATIC LIGHTING

1. SHOT SHADOW SIDE

2. LIGHTING DIRECTION (45 DEGREES ANGLE, REMBRANDT LIGHTING)

3. DEPTH (LOW APERTURE, AWAY FROM BACKGROUND, COLOUR DIFFERENCE - ORANGE AND TEAL, MAKE BACKGROUND DARKER, BRIGHTER SHIRT - DARKER BACKGROUND, DARKER SHIRT - BRIGHTER BACKGROUND)

4. MOTIVATED LIGHTING (NATURAL MOTIVATED LIGHT)

5. BACKGROUND LIGHTING

6. TIME OF DAY (GOLDEN HOUR)

7. CATCH LIGHT / EYE LIGHT

8. TEXTURE (FOG OR HAZE)

作者: gzhjb 时间: 17-5-2021 20:58
The Hero's Journey (Every Single Movie)

Introduction

Inciting Incident (11:00~14:00)

Call to Adventure

Hero's Denial

The Adventure Begins

B-Story (New Character - funny)

Midpoint (Everything Falls Apart)

Dark Night of the Soul (About to Give Up)

Breakthrough

The Final Battle

Resolution (The Hero Wins or The Hero Sacrifices Himself)

New Normal

Ending (Back to The Beginning to Show the Changes)

作者: gzhjb 时间: 17-5-2021 21:13
Basic Characters Archetypes

Hero
Protagonist

Shadow
Villain

Mentor

Herald

Shapeshifter

Threshold Guardians

Trickster

作者: gzhjb 时间: 21-5-2021 10:30
Screenplay / Script

#1 Slug Line

#2 Action

#3 Character Name

#4 Dialogue

#5 Parentheticals

作者: gzhjb 时间: 21-5-2021 10:36
G - General

S - Scene Heading

A - Action

C - Character

P - Parenthetical

D - Dialogue

T - Transition

作者: gzhjb 时间: 22-5-2021 22:29
Filmstro Pro

Compose Your Own Music

作者: gzhjb 时间: 22-5-2021 22:43
本帖最后由 gzhjb 于 22-5-2021 21:59 编辑

FACING THE GIANTS

FIREPROOF

COURAGEOUS

WAR ROOM

ME BEFORE YOU

NOAH

EXODUS - GODS AND KINGS

LEFT BEHIND - THE END BEGINS

作者: gzhjb 时间: 23-5-2021 10:55
本帖最后由 gzhjb 于 23-5-2021 11:15 编辑

FACING THE GIANTS

FIREPROOF

COURAGEOUS

WAR ROOM

ME BEFORE YOU

NOAH

EXODUS - GODS AND KINGS

LEFT BEHIND - THE END BEGINS

GUY AND MADELINE ON A PARK BENCH (DAMIEN CHAZELLE)

WHIPLASH (DAMIEN CHAZELLE)

LA LA LAND (DAMIEN CHAZELLE)

JAWS (STEVEN SPIELBERG)

SIGNS

作者: gzhjb 时间: 23-5-2021 11:18
本帖最后由 gzhjb 于 23-5-2021 10:31 编辑

Film Crew

EXECUTIVE PRODUCER

PRODUCER

DIRECTOR, WRITER, LOCATION MANAGER, LINE PRODUCER, AND THEIR ASSISTANTS

1ST ASSISTANT DIRECTOR

PRODUCTION DESIGNER (ART DEPARTMENT)

HAIRDRESSER - MAKEUP ARTIST - VFX MAKEUP ARTIST

COSTUME DESIGNER - KEY COSTUME - CUTTER

PROPS MASTER - SET DESIGNER - SET DRESSER

DIRECTOR OF PHOTOGRAPHY (DP, CINEMATOGRAPHER)

CAMERA OPERATOR (CAMERA DEPARTMENT) - 1ST ASSISTANT CAMERA (FOCUS PULLER) - 2ND ASSISTANT CAMERA (2ND AC, CLAPPER LOADER) - STEADICAM OPERATOR

GNE (GRIP AND ELECTRIC DEPARTMENT)

GRIP DEPARTMENT (CRANE, STANDS AND GRIPS)

KEY GRIP - BEST BOY GRIP - GRIP

ELECTRIC DEPARTMENT (LIGHTS)

GAFFER - BEST BOY ELECTRIC - ELECTRIC LIGHTING TECHNICIAN

SOUND DESIGNER (SOUND DEPARTMENT)

SOUND MIXER - BOOM OPERATOR

EDITING DEPARTMENT

FILM EDITOR - VFX SUPERVISOR - COLORIST

MUSIC DEPARTMENT

MUSIC DIRECTOR - COMPOSER - FOLEY ARTIST

作者: gzhjb 时间: 29-5-2021 17:08
本帖最后由 gzhjb 于 29-5-2021 16:16 编辑

ASPECT RATIOS

1.33 = 4:3 = 800 X 600

1.78 / 1.85 = 16:9 = 1920 X 1080 / 1920 X 1038

ANAMORPHIC ASPECT RATIO 2.39 = 1920 X 803

作者: gzhjb 时间: 1-6-2021 20:11
Kelvin Scale

7000 K shade
6000 K cloudy
6000 K strobe/flash
5200 K daylight
4000 K fluorescent
3200 K tungsten

作者: gzhjb 时间: 16-5-2022 18:49
本帖最后由 gzhjb 于 16-5-2022 20:34 编辑

如何确保每张照片都锐利超清

Settings:

Shutter Speed
Focus

Scenarios:

Still Subject
Moving Subject

Still Subject:

Shutter Speed = 1/ (1~3 times your focal length minimum)

For example:
16 mm = 1/16 sec minimum
200 mm = 1/200x3 = 1/600 sec minimum

Autofocus Single (AF-S)
Manual

Moving Subject:

Shutter Speed = 1/400 sec or faster (The larger and faster your subject moves through the frame, the faster the shutter speed you need)
Autofocus Continuous (AF-C)

作者: gzhjb 时间: 23-6-2022 19:09
本帖最后由 gzhjb 于 15-7-2022 14:04 编辑

False Color

Red: White clipping
Yellow: Just below white clipping

Pink: One stop over 18% gray
Green: 18% gray (medium gray)

Blue: Just above black clipping
Purple: Black clipping

作者: gzhjb 时间: 23-6-2022 19:34
R5C Assignable Buttons

1. Tracking
2. Magnification
3. DISP
4. False Color: All
5. Face Det. & Tracking
6. AF Lock
7. Audio Status
8. Shutter
9. Digital IS
10. REC
11. FUNC
12. Slow & Fast Motion
13. Set White Balance

作者: gzhjb 时间: 19-8-2022 17:15
SCRIPT

1. GRAB ATTENTION

2. STATE PROBLEM

3. ESTABLISH CREDIBILITY

4. STATE SOLUTION

5. CALL TO ACTION

Google "script timer" and check the time required for those script.

作者: ploughman 时间: 26-9-2022 11:20
楼主能否推荐几款免费的功能比较强大的视频编辑软件，尤其是游戏录屏及后期处理的。

作者: cdreader 时间: 26-9-2022 18:50

ploughman 发表于 26-9-2022 10:20
楼主能否推荐几款免费的功能比较强大的视频编辑软件，尤其是游戏录屏及后期处理的。

你可以试一下剪影，tikitok出品，用户基数大，教程也多

作者: gzhjb 时间: 28-9-2022 20:19

ploughman 发表于 26-9-2022 10:20
楼主能否推荐几款免费的功能比较强大的视频编辑软件，尤其是游戏录屏及后期处理的。

其它免费的视频编辑软件我还真没有什么经验，我做视频以来，一直都是使用达芬奇，目前使用是其收费正式版。欢迎其他朋友上来提供建议。谢谢。

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