Headline June 07, 2018/ ''' *FILMING {STUDENTS} HEROES* '''


MIRACLES AFTER MIRACLES will unfold, totally delighting the world, and that just so, and that just so, in the very years ahead. And the world will rejoice ever and more.

The world will rejoice ever and more, in the honor and accomplishments of these great heroes, these great students, these great humans, who under some very adverse living and circumstances -

Without a hope and a heave, came forward to serve humanity, and their respective countries, and their ideals for a better world. Imagine, just imagine, as Zilli, chairs the meeting somewhere, and the subject being : ''Federal Job Gurantees''

The World Students Society, with Proud Pakistan, [as its first fleeting, conceptual host], as the exclusive honor and ownership of every student in the world stands up and tall to give the students of the entire world, a standing ovation.

Not long ago, a filmmaker wouldn't dream of shooting a movie on a phone because the the quality was so inferior to what you would capture on pricier devices.

But that's changing. Consider this : The most recent project from the renowned American film director Steven Soderbergh, ''Unsane,'' was shot entirely on the iPhone.

Today, there are lots of reasons everyone from pro-photographers to amateur shutterbugs are using  phones to shoot video projects.

Like many of his peers, Christian Nachtrieb, a Boston-based corporate and wedding photographer, finds phones aren't just contributing to improve in terms of quality, but they're also extremely convenient.   

''It's the readiness factor. Having a phone right in your pocket is a huge plus,'' says Mr. Nachtrieb, who might see a stunning sunset, capture it on his phone, and then splice into a wedding video.

''No one in a million years could tell the difference between our  main cameras and the iPhone.''


What do such improvements in video quality allow you to capture? In theory, a good video. But that can mean many things : Good on technical level? Or, perhaps, a clip that's simply fun to watch?

First, let's explore some of the basic elements that make up a good video.

Technical excellence in a good video can be pretty easy to spot : We see examples of it all the time on television. During the 2018 Olympics, for instance, you could watch skilled videographers shoot breathtaking video of athletes in spectacular settings.

From a technical standpoint, here are some common elements in those and other types of video that you can apply to video captured on your phone:

To create compelling video, compose the elements in a scene or sequence deliberately. Use your phone's  LCD  the way a fine-art painter might arrange forms, colors lines and textures on canvas.

[For more on composition, visit Kyle Cassidy's article on Videomaker.com, which offers a wonderful introduction to composition and compositional devices, like the rule of thirds, as well as, valuable tips, such as focusing people's eye in your video].

Light not only defines your subjects, but also sets the mood or evokes emotion. Experiment with light and be aware of where your main light source is. For instance, noon sunlight in a cloudless day creates unflattering shades on your subjects face, while an overcast or cloudy day produces a softer, more pleasant-looking light.

And remember what the film director  Martin Scorsese once noted ''Light is at the core of we are and how we understand ourselves,''

Ask yourself : Where am I pointing my camera lens and from what angle?  Consider point of view figuratively, as well : ''How will the video's point of view help me tell the story?''

Some videos are like selfies and use a very subjective point of view to connect viewers to the story. For other videos you might want a more detached, less personal point of view. And when shooting small children or babies, get right down to the floor to shoot. 

A video can resonate for reasons other than exquisite technique. The subject might be funny,  or the story simply thrilling, and or even chaotic.

''Sometimes, a powerful video, though technically flawed, still draws us in by other means. Two film sequences come to mind that illustrate this point.

The first, the apology scene ''The Blair Witch Project,'' presents a visually awkward composition, in which the subject's face is dramatically cropped. Also the lighting and audience are lousy.

Yet, the monologue, a horror-film soliloquy of sorts, conveys intensity, mystery and a baroque quality. You can almost feel the presence of a dark force outside the visual frame.

In the second sequence, the ''I just wanna go the distance'' sequence from the movie ''Rocky.'' the video subtly elevates an ordinary moment of doubt.

It's an exceptionally quiet moment, where Sylvester Stallone, as Rocky, lied down next to Talia Shire, as Adrian, telling her he can't beat the champ. For nearly two minutes, the camera slowly pans in as fighter utters his thought.

What transfixes us is primarily the audio, since there's little action. Yet, it's visual, too. I can't help thinking of it as any updated version of the intensity and pathos you see in the ancient Greek sculpture, ''Dying Gaul.''

So good video obviously operates on a very visual level, but it can be driven in nonvisual ways, too. keep your eyes open for such opportunities. 

The Honor and Serving of that latest Global Operational Research on Filming, Film-making and Technology continues. !WOW! thanks author and researcher Terry Sullivan.

With respectful dedication to the Students of the world, and then the Leaders, Professors and Teachers . See Ya ''register'' on : wssciw.blogspot.com - The World Students Society, for every subject in the world and - Twitter - !E-WOW! - the Ecosystem 2011:

''' Assembly. Autocorrect '''

Good Night and God Bless

SAM Daily Times - the Voice of the Voiceless


Post a Comment

Grace A Comment!