Nissin 466

I'm teaching a unit on bounce flash techniques, so I needed a snap of my little, teensy-but-useful Nissin Speedlite Di 466.

(Yes, they make them for Canon and Nikon and they even have a Micro Four Thirds model in White.) Inexpensive, powerful enough, very lightweight in the camera bag, and a Gary Fong Collapsible Lightsphere fits on top.

Seriouslyish

I'm much better looking in person. So much for the funhouse mirror.

On Thursday night, I taught Session One of my six-week Seriously Fun Photography course. We covered the basics on the three elements that make up photographic exposure, then touched on ways we can use these elements to control the look of our images.

Here are my notes from the session:

Aperture:

The f/stops to memorize are:

f/1.4 - f/2 - f/2.8 - f/4 - f/5.6 - f/8 - f/11 - f/16 - f/22

If you forget these, make two columns, and at the top of the left one write 1.4 and at the top of the right one write 2.0. Now double each number as you go down the column (rounding off when needed).

Changing one stop lets in twice as much light (or half as much, depending on which direction you go. f/2 lets in a lot of light, f/22 lets in very little light. If you take a picture using f/8 and it seems a little too dark, switch to f/5.6. If you take a picture using f/8 and it is too bright, switch to f/11.



Shutter Speed:

The common shutter speeds:

1/1000th of a second
1/500th
1/250th
1/125th
1/60th
1/30th
1/15th
1/8th
1/4th
1/2
1 second.

Notice that the relationship of these shutter speed settings is also doubling (or halving) the amount of light that hits your sensor.

Sensitivity:
This is the ISO "speed" of a digital sensor or of film. ISO 100, 200, 400, 800, 1600 and 3200 are available on many cameras (but not all), and you should take some test shots with yours to find out if the higher ISO settings are usable or not. Figure out the fastest ISO speed you find produces acceptable shots on your camera -- you'll need to switch to it sooner or later. Notice that each ISO speed is twice as sensitive (or half as sensitive) as the next.

MODES:

P = Program
A = Aperture Priority
S = Shutter Priority
M = Manual

We also addressed confirming exposure by viewing the Histogram.

Above: an iPhone snapshot taken in a subway mirror.

Lavalier Fail

By the end of a term in my TV Production class, everyone is able to successfully put a lavalier on an interview subject. We did 13 shows this semester, and used lavs in most of those, meaning there was a chance for everyone to get some practice.

So I was really surprised to see the above disaster during our skills test. I'm still not sure what happened. People get nervous, I guess.

I refrained from making any Viagra jokes, but had to take a snapshot for the "don't" file. Unless your subject is on the show for the ability to speak through his nipple, you might want that microphone aiming at his mouth, not hanging limply toward the ground.

(The student in question passed everything else, but clearly lost points here. Of course, the ironic thing is always that when a student makes a mistake like this and gets corrected, they end up never forgetting the right way.)

Like The Boomtown Rats Said

It's a venerable tradition: the in-camera edit assignment.

Students in production classes all over the country do it, and it's been assigned for decades. A production team is asked to shoot a subject, but with no post-production: they shoot exactly what they'll show. It forces you to plan ahead, to know your story before charging in, and to get the essential shots.

Today, I was the subject of one of these. I had a reasonably good time. I'm generally a willing subject, and will usually do what the director suggests (unless it goes against my nature or ethics). Someone gives me a cue, I talk. Tell me to, and I walk. Pretend to teach someone here. Okay.

In a way, it was a good reminder how forced and acted documentary can be: I gave the crew what they wanted, I attempted to project my idea of myself, and it went the way it went. Nothing surprising will be revealed, I expect, and nothing outside the plan will emerge.

A good exercise, but a view into what is often the essential problem of documentary work: the mechanism includes a camera or two, a small crew, and an expectation of what will happen. Often, that's really a strange and ineffective tool -- if your goal is to find subtle insights into human nature.

Nothing To See There

My students are cutting a scene from a cancelled TV show. It's straightforward: a character walks into an office, talks to two other characters, is introduced to a guest, delivers a few key lines. It's shot in "single-camera" style, meaning the camera is generally on one character in one framing while all the characters run the scene. Next framing, repeat.

So the idea is fairly clear: assemble meaning from shots that are generally ready to cut together, but watch out for the inevitable small problems. Then find ways to keep the scene flowing nicely, to have it hit its key emotional points, and -- in this case -- to make the editing essentially invisible.

They seem to be enjoying it.

Above: my students are amused that I photograph banal details, like the floor.

Last Call, 6-Week Advanced Photo Class

Sorry to be all commercial-like, but this is probably the last chance to register for my Advanced Seriously Fun Photography class at Hunter Continuing Education. It's scheduled to start November 5th, and held at 94th Street and Park Avenue, fairly close to the 6 train.

The way to see the listing and register is to go to this interface and type "photography" into the search box.

"SERIOUSLY FUN PHOTOGRAPHY ADVANCED
Ready to stretch your creativity, and master the techniques you need for your photography? In this advanced photography class, we will address three topic areas of intermediate / advanced photography technique -- chosen by the students during our first session -- and we will have three special class photography sessions. (These sessions may include a class photo shoot, a museum / gallery / auction house visit, and a studio lighting shoot.) Students will also prepare a small portfolio project over the six weeks of the course, with a critique session in our last week.

Course/Section: SERFUNII/1 6 Session(s) 12 Hour(s) Tuition: $250.00
Day(s) Meet: Thursday Date: 11/05/09-12/17/09 Time: 06:00PM-08:00PM
Location: CS, 71 E 94 ST./
Instructor(s): FISHER, TED

In A World Something Something, One Man Stands Alone

Today I'm giving a lecture on editing structure in film trailers. There's more to it than the text below, with lots of examples and ideas and such, but here are the basic background notes. For what they're worth.

Editing Film Trailers

A film trailer combines storytelling with persuasion.

Editing a film is about story structure.

There's a beginning, that brings us into a new world. It usually starts with a hook -- a short, very interesting part, like a well-told joke, that sets the tone for the film and shows us it will be good. Then we meet the characters, and learn about this world and begin to care about it. The beginning usually ends by revealing a big problem.

The middle usually involves the characters trying to solve this problem. Usually their struggles pull us into greater complications -- and usually raise the stakes or lead to even more critical problems.

The end is usually a showdown: we move toward the moment when a character's struggle -- internal or external -- reaches a major test or confrontation or decision. Usually there's some resolution after this, as the world settles after all the upset.

A trailer, however, has a different goal and different rules. The goal is to get people to buy a ticket to a film (or buy the DVD, or order the film on-demand) so we can't use "pure" story structure -- that would give away the ending -- and we have to use persuasion techniques to “sell” the film to the audience.

Persuasion techniques go back thousands of years. Aristotle identified three basic persuasion techniques:

• Appeal based on authority.
• Appeal based on reason.
• Appeal based on emotion.

There are others that work -- and you've seen all types of them in commercials. These three are still the main persuasive appeals, though, and show up in film trailers.

When you see elements that tell us who the actors, director or producers are -- this is persuasion based on the authority of the filmmakers.

When you see lists of awards a film has won, or quotes from great reviews, that's an appeal to your reason.

When the trailer itself makes you feel a certain way, that's a persuasive appeal.

A typical trailer structure:

• A hook - gets our interest, reveals the style of the film.
• Reveal a new world. Now show us the big problem.
• Show us the characters -- and the problem gets deeper.
• 60 percent in, there’s a big reveal, often character motivation.
• Then we drive toward a big showdown.
• We end on a “final note.”

Advanced Photo Class, Register Now

My Advanced Seriously Fun Photography class starts at Hunter Continuing Education starts November 5th. So, register now.

They've changed the Web site, so the way to see the listing and register is to go to this interface and type "photography" into the search box.

"SERIOUSLY FUN PHOTOGRAPHY ADVANCED
Ready to stretch your creativity, and master the techniques you need for your photography? In this advanced photography class, we will address three topic areas of intermediate / advanced photography technique -- chosen by the students during our first session -- and we will have three special class photography sessions. (These sessions may include a class photo shoot, a museum / gallery / auction house visit, and a studio lighting shoot.) Students will also prepare a small portfolio project over the six weeks of the course, with a critique session in our last week.

Course/Section: SERFUNII/1 6 Session(s) 12 Hour(s) Tuition: $250.00
Day(s) Meet: Thursday Date: 11/05/09-12/17/09 Time: 06:00PM-08:00PM
Location: CS, 71 E 94 ST./
Instructor(s): FISHER, TED

Ted's Ideas On Editing Chase Scenes

On Wednesday I'm giving a lecture in one of my classes on editing chase scenes. I've given it a few times before, and it's usually a pretty big hit -- it seems to really help students get a handle on some basic editing concepts.

They may never edit a chase scene, but the bigger point is that they learn to develop a rational plan to make an otherwise complicated and confusing set of shots seem completely coherent, comprehensible, and clear.

We look at clips from about a dozen films, and illustrate the ideas below.

BIG IDEAS OF CHASE EDITING -- AND HOW THEY APPLY TO ALL EDITING

1. IDENTIFICATION
How do we know which character is which? Does one wear a white cowboy hat and the other a black one? Does one have a red car and the other blue? Is the pickup basketball game shirts versus skins?

2. LANDMARKS
If we see the leader pass the big red building, then ten seconds later the other, we know how far apart the characters are. Often, a camera will stay at a landmark position, and pan from one character to another.

3. ADVANTAGE
If a car is chasing a moped, the car has a clear advantage. But when the moped goes into the subway and the car driver follows on foot, now the moped has the advantage.

4. STATUS AND STRENGTH
Is a character gaining or falling behind? A shot where the camera is pulling away, or where the character is catching up to the camera may tell us. A shot with both characters in it might reveal the relative status as well.

5. EMOTIONAL STATE AND ATTENTION
We want to know what the character is thinking, feeling and doing -- so a cut to a shot through the windshield might reveal the character's expression. Or a cut to the foot on the brake might tell us what's happening. Or a closeup on the gear shift. Make careful note of where the character looks -- the next shot might be their "point of view."

6. CAMERA POSITION
A camera can be low in the front of a car, can look out the rear window, can sit in the passenger seat, can look down at the brake pedal -- and all of these shots are useful. It can run alongside the moped as it plunges down the stairs. It can turn to watch the car streak by. It can shake, float, or fly.

7. SCREEN DIRECTION
If a car goes from screen left to screen right, we expect it to keep doing that unless we some change -- a shot where it turns, or where we "move" into the car before coming back out. And we expect the car chasing to also maintain consistent screen direction -- unless we see a change happen.

8. SOUND
If we cut from the big black car to the little red sports car -- should the sound change right on that cut? Or should it change in other ways? Do we want to hear the sound of the car coming toward us, then going away?

9. TAKE A PACING BREATHER
Even in a short chase, all go-go-go action wears thin. It's usually more exciting to have a lot of action, then a tiny pacing "deep breath" before the big finish.

10. CUT TO THE CONSEQUENCES
That tank chasing the laser-guided skateboard just knocked over every fruit stand in aisle 19. Maybe we could cut back to see what happened, and the angry manager shaking her fist at us? Or maybe our wheel can't take much more and is starting to wobble -- maybe a closeup to reveal that?

Parallel Eye-Jabbing Action

Today I taught my editing class, emphasizing smart and fast technique. When the students came in, each computer was ready to edit -- but the mouse was hanging off the desk, useless.

"Don't touch it," I told them. "The mouse is for weak-minded people. Today we edit like adults."

Which was true, and by the end of the class even the most hesitant students were able to make subclips and perform insert and overwrite edits with keys-only technique. It was very .... grown up.

Except for one thing: we were editing clips from a Three Stooges movie.

Good News

My Seriously Fun Photography class is a go. We meet for our first session Thursday night.

It's walking distance from my apartment, and we keep everything low-stress and high-fun. So I'm looking forward to it. (An advanced class is scheduled to start in six weeks, also, if enough people enroll.)

Above: an iPhone snap from today.

Linear Schminear

Today was the last day teaching linear editing. We're moving on to those newfangled computer thingies. Now the real fun begins.

Linear

Today I taught a class in linear editing. That means tape decks, not computers. It's a good step in the learning process: it forces people to organize and think before cutting. It's slow, though, and challenging, and leaves little room for changing your mind or experimenting. At one time, that was video editing.

Sign Up, Seriously

My six-week Seriously Fun Photography class starts at Hunter Continuing Education September 17th. That's this upcoming week, so sign up today. Tell your friends.

Go to this interface and type "photography" into the search box. (That will also reveal the advanced class I'll be teaching later in the season.)

"SERIOUSLY FUN PHOTOGRAPHY
Build on the basics and master the skills and ideas advanced photographers use in a fun, low-pressure class. Open to anyone able to shoot a photo and import it into a computer (and welcoming advanced students as well), in this class we'll use the digital camera as a fast way to learn the essentials of photography. We'll learn-by-doing, exploring professional techniques while creating a portfolio project (on any topic of your choice) to show your advanced skills. If you've always been interested in photography, but have put off becoming great at it, this is your chance.

6 Session(s) 12 Hour(s) Tuition: $250.00 Meet: Thursday
Date: 09/17/09-10/22/09 Time: 06:00PM-08:00PM
Location: CS, 71 E 94 ST./ Instructor(s): FISHER, TED"

Above: an iPhone snap.

The Killers: Editing Made Hard

When I teach, my main goal is to take complex ideas and make them much more difficult.

Oh, don't get me wrong. I try to demystify, and I try to clarify, and I try to put things into a framework people can work with and understand. I want to deliver a comprehensible version of difficult material. I just don't think the idea of "making things simple" is very helpful, especially in editing.

Tomorrow I have to teach my editing class at Bronx Community College. I'm going to be looking into how the same scene can be shot and edited in completely different ways. I'm showing three scenes from films that use Ernest Hemingway's short story "The Killers" as basic source material:

The Killers (1946)
Ubiytsy (1958)
The Killers (1964)

It's a great opportunity to demonstrate that the mechanics of filmmaking -- shot selection, camera movement and editing -- are malleable in the hands of artists. The same scene, made into three very different experiences by the choices of the director and editor.

(These are all available on the Criterion Collection disk below.)

Update on Books on Editing

It turns out there's a new edition for "Grammar of the Edit" so I want to update my list of the editing books I'm teaching from. The change means my students have to read more. They were quite upset to hear that, but I think they'll be okay.

Ted's 10 Ideas on Editing

A new term has started, and while things are cut way back this year, it is again the time to think about the ideas behind editing. So here's a short list I use with my students to discuss the main concepts.

Ted's 10 Ideas on Editing

At each edit in a work, an editor should consider the following checklist. Not every edit can fulfill each "check," so part of the editor's job is to weigh the importance of each concern and decide what "works."

CONTINUITY CHECKS

1. New Information
The main concern at any single cut, if one is really going to use the language of moving images, is that the cut give the viewer new information. Otherwise, why cut?

2. 3-D Continuity (Matching)
To create a believable action, a cut must "match." That is, if one cuts from a wide shot of a baseball pitcher to a close up during a pitch, the position of the throwing arm at the cut must "match" between the two shots, even if the shots are filmed months apart.

3. 2-D Continuity (Eye Trace)
No one takes in a frame all at once; the eye moves around the screen. Take this attention into account when making a cut -- one may wish to cut so that the focus of attention is at the same place on the screen, or at a different place, moving the same direction or moving in opposition, depending on the effect desired.

4. Composition
It is generally less jarring to the eye and brain when a cut is made from a well-composed shot to a well-composed shot.

5. Camera Angle
It usually helps if one is cutting to a camera angle that is different enough from the current one so as to be easily understood as a new shot; also it is generally better to cut from a good camera angle to a good camera angle rather than when at a "messier" point in a shot.

6. Audio
Cut in such a way that visuals work with audio and vice versa. Also, maintain sensible audio continuity (e.g., if we cut from a shot inside a speeding car to a close up of a helicopter following it, the audio may need to change with the cut based on where we "are" in relation to the sources of sounds).

THE "R.E.S.T."

7. Rhythm
We can set up "expectations" in a viewers mind by setting up a rhythm; this can also mean making edits work with the beat of a piece of music or with a certain pace of action.

8. Emotion
If a character is in a certain state of mind, editing may reflect their perception, or if the viewer is expected to feel a certain way then editing may amplify that state of mind, sometimes purposefully breaking the "rules" of the six continuity checks. For example, it may make sense to cut a fight scene in a discontinous manner.

9. Story
Each edit ultimately serves the telling of a story; the idea here is that one may cut on a certain frame or to a certain shot to serve that story rather than the conventional continuity concerns.

10. Timing
Sometimes an edit is motivated by that intangible idea of timing -- the point where it just feels right.

Editing Books

I'm teaching an editing class this term and we're using three good books for editors. Which means I'll be rereading all three....

Seriously Fun Photography September 17th

My Seriously Fun Photography class starts at Hunter Continuing Education starts September 17th. So, register now.

They've changed the Web site, so the way to see the listing and register is to go to this interface and type "photography" into the search box. (That will also reveal the advanced class I'll be teaching later in the season.)

"SERIOUSLY FUN PHOTOGRAPHY
Build on the basics and master the skills and ideas advanced photographers use in a fun, low-pressure class. Open to anyone able to shoot a photo and import it into a computer (and welcoming advanced students as well), in this class we'll use the digital camera as a fast way to learn the essentials of photography. We'll learn-by-doing, exploring professional techniques while creating a portfolio project (on any topic of your choice) to show your advanced skills. If you've always been interested in photography, but have put off becoming great at it, this is your chance.

6 Session(s) 12 Hour(s) Tuition: $250.00 Meet: Thursday
Date: 09/17/09-10/22/09 Time: 06:00PM-08:00PM
Location: CS, 71 E 94 ST./ Instructor(s): FISHER, TED"

Seriously

Know anyone looking for an intermediate photo class in NYC? My Seriously Fun Photography begins Thursday. I believe you can still register today.