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Music that fits the same mood an effect as my final choice.

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Using patterns and timing to edit.

I used the beat of the song and theme feel of each shot to move between beats and musical meaning, this takes a while as you have to negotiate which shots can afford to be cut shorter or not, also to catch the feel of the song i needed to use the concepts i had planned for my video.

This video shows great skill and patience in editing.

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I had to shorten my edit as when criticised by my lecturer we found that i was on target but my edit feature long versions of the shots i wanted, my edit was 5 mins and we agreed that i could shorten each shot at least by half, my first edit was featuring 10 second clips that could be used in the same way  just cut shorter.

I then had to cut the edit down and re arrange things so that the music still collaborated with the film. I then had a 2 Minuit edit.

Research indications-

-Bonobo Kerala was a research into time-lapse concepts and musical fitting with time lapse films.

- Koyaanisquatsi was research into time lapse reverse and diffident speeds of time lapsing. it was so influential as it is a full length film of this. it has a lot of history behind it and for me was ahead of its time.
It focusing on a concept that human has made this life style and culture without realising how we affected it. i like this idea that the public are ignorant of the world they live in.

A lot of research was into techniques of using and editing the look i wanted.

- Ishome -Adam music video is very close to my style in the Final project it is a short musical video on the same concepts as koyaanisqatsi and shows that using this short version technique works.

- Magic hour was research and one of my first main ideas this idea stayed with the project as the sun goes down and the sun comes up, isn't as noticeable as a full film only in these hours but still works.

- I took some influence from still photography and how they take shots that create texture for the rest of the film.

- Shy Fx was research into underground London and the beginning 12 second were influential to showing this culture without people, using cars and sign posts.

- Themes were set by myself when i chose to do dusk till dawn, this was a addition to my project where i had set the theme with the start and the end, it means the concept is through out the film

-Lorn Acid rain was research into music and compatibility in video.

-Skeler x Juche was a potential music choice

-Ofdream - Fallen angel was the music i used due to its dark feeling toward the night and and still works with day time shots.

- Mr.Kitty - After Dark was a potential music choice and fits with my film but i didn't like the vocal side of this track

- 007 sky fall -  is a research video into how recognisable the British culture is and how the audience portrays these traditions.

-Adult Hood was a view into the younger generations idea of where they live and without the ideas other people and the global audience has.

-Ishome - Evan was a music choice and was probably my second choice.

-Nominal -Everyday was a good music choice but also did fit when i final put the shots together.

- London travel guides were all used to research good shots of London and were  also influential into what my scene would look like  including my theme of London being iconic.

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I have a lot more shots than i expected time wise, i have around 48 mins, though i am using time lapsing in some areas still i processed each clip into if i was going to use it or not, i then bunched them into scene and clipped them down, also changing speeds to fast and some to slow or reverse, i came to the idea that using reverse in some areas inst noticeable but became a concept of tricking the audience and if not tricked looks good.

After bunched into scene and cut down i then chose the end and beginning. this all came to 7 mins and had to some more cropping down.

Some shots are shaky but work artistically and all focus or blurring is intentional, also using the DSLR to capture these shots was intentional.

I like using still shot angles, these make the film more story like rather than choppy, they are  used as transitions or pauses in the edit. The can move the audience into different scenes by  giving a aura of focus or ending a sequence.

I have 5 mins but need to to now swap and change clips to make the music fit, most songs i have are 4 mins and this may mean i have to cut some shots i desire out and make them more fluid with the music.

I have used time lapsing in its form as i am using all types, this seems to be thought over by my influences as just having speed or reverse on its own in a whole edit makes the edit seem like it isn't working and makes the audience bored quickly.

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I set off on Wednesday to shoot footage from a camera i already own, i had a strap and a mono pod to capture more still shots, this worked very well and allowed me to capture shots i couldn't on a tripod.
The weather was good. i predicted with research that the sun would set at 20:44 but the internet only tells you when the sun sets not when the light leaves the sky, this now took 50; mins to set. i took short clips each 10 mins to make it easier as my camera cant hold that much footage.

I really liked my nighttime shots as well, i have this artistic flare that i love using depth of field and non focused shots, i am drawn the the still shot creativity, i use a lot of texture shots and pans. I like shots that don't make sense in the way light reflects or buildings look futuristic

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i helped with recording and directing on my colleagues video of a trainer advert, i just had input into location use-age and discussion on how the film will work.

I also have helped someone with their animation FMP, it makes stop motion easier with 2 people as on can move the object and the other can take the picture, this makes the process a lot faster.

I have helped with another project where i used a reflector to change light and also had to take shots for them as one character in the scripts wasn't there anymore. i had to film the stand in for this character.

I used gimbals to make panning shots and shots where i follow the actor.

We played with a portable light and gels to make a really atmospheric orange and blue lighting shot.

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I set off on my scheduled filming day and found that whilst setting up rain came down on me very heavily and i had to pack up and sit in the local cafe to get out of the rain. This was a little stressful and i expected less rain fall. I predicted it would rain and had a jacket and umbrella but the rain and wind were to strong for this.

I then packet up and waited at home, the rain stopped 3 hours later and i returned on my trip. I took loads of my necessary shots.

I may schedule another day to film but in theory don't need to.

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I found weather might be a complication for my shooting slot, i checked the weather and found it may be raining, i am going to take the footage anyway and maybe shoot on the weekend as well.

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I used a court yard in college to test  the speeds time lapses need to create different effects, i found that 10 x (1000%) make a slow but effect where as the 40 x (4000%) makes a fast speed effect. When filming for a time-lapse effect it takes multiple time addition. For 30 second time-lapse you need 3 and a half minuets. I also need a smooth 3 mins that don't have the public being aware of my presence to then edit a perfect time lapse.

I need to capture the dawn, this may prove harder as the light the sun projects doesn't capture as well as when it rises.

I will shoot maybe 30 mins of the sun going down then later time lapse the best footage.

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This concept is very influential to me as it uses time passing in a different way, it uses the ideas of replying a moment but each time going a bit further, its a simple yet very effective way of conveying many audience idea experience, it appeals to many other concepts.

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I used all my research as one, i took small areas of concepts and ideas from videos and ideas. My idea developed into a time lapsed sun up sun down, the film is based around time lapsing and using iconic still photography influenced shots, i even have some clips only slowed down 10% to keep the audience from deviating from the idea of motion.

I used influence of London tours to see the use age of iconic places, i also liked the idea of slow motion and metropolis type shots.

i used these cold captures to show emotion. i can see that my final edit has a lot of emotion and brings the audience through all sorts of emotion.
cultural research gave me insight into still shot inspired images that show the rough side of London

I used non focus depth of field to capture the flow of London, a lot of my shots were shaky and this inst completely accidental i used the shake in shots to make a still/moving shot. the make the shot more alive rather then the same shot still, if it were still it would take some emotion away and look stiff.

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Time lapse -

https://www.youtube.com/watch?v=Uj2X7AwF_fg

https://www.youtube.com/watch?v=Nq-OyW9-Bgg

https://www.youtube.com/watch?v=IV_KK84r3qc

https://www.youtube.com/watch?v=9En2mLEJ6BI

https://www.youtube.com/watch?v=b6fQ_1AysPU

Colour -
https://www.youtube.com/watch?v=tMtM4fyGH70

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Koyaanisqatsi, also known as Koyaanisqatsi: Life out of Balance, is a 1982 film directed by Godfrey Reggio with music composed by Philip Glass and cinematography by Ron Fricke. The film consists primarily of slow motion and time-lapse photography of cities and many natural landscapes across the United States. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. In the Hopi language, the word Koyaanisqatsi means 'crazy life, life in turmoil, life out of balance, life disintegrating, a state of life that calls for another way of living', and the film implies that modern humanity is living in such a way.

The film progresses from purely natural environments to nature as affected by man, and finally to man's own man-made environment, devoid of nature yet still following the patterns of natural flow as depicted in the beginning of the film, yet in chaos and disarray.

https://www.imdb.com/title/tt0085809/plotsummary

Full Playlist of koyaanisqatsi ;

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-Research lens type

-Research into similar or developing concepts

-Use of the magic hour

-Koyaaniskatsi slow and fast motion

Experiments:

Test footage to compare zoom and 500 mm lens performance

-Test shots with gimbal and slider

Shooting for slow motion tests

-See if you can find a particular filmmaker you  like the work of

-Social aspect of London - underground culture, research the reality of life on London streets.

-Location Reeces. Take shots

-Research blog posts should explain in your own words what you’ve learned and then how this has helped to develop or make your film

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Depth of field is the distance between the nearest and the furthest objects that are in acceptably sharp focus in an image. A particular depth of field may be chosen for technical or artistic purposes.

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What do we mean by depth of field? The term refers to the amount of detail in the photograph that is in focus. A typical landscape photograph will will show detail over a long distance, all of which will be in focus and recognizable by the viewer.

A head and shoulders portrait will usually work best if only the face is in sharp focus. Often the background will be blurred and out of focus in order to remove any distractions.

Two questions usually pop up here:

Why is this a good thing?

How do you achieve it?

O.K., first things first. Why would you want a blurred background?

Being able to produce this effect at will is very handy and can turn a mediocre or boring photograph into something much more attractive. The landscape photograph mentioned above doesn't really have a focal point. You're not really sure of exactly what the photographer was aiming at when he took it. This works with a typical calendar landscape shot as it will be trying to present a broad, sweeping view.

The portrait example is very different. It's obvious immediately what the main subject is because it is separated from the background clutter. The main subject is the only thing you can focus on, so your eye is drawn straight to it. If you're taking a shot from a long distance it is possible to isolate the subject both from the foreground and the background using this technique known as depth of field.

What we want to do is focus on the main subject in the scene. The area that remains in focus is the 'field' in the term 'depth of field'. The 'depth' bit is the distance of the in-focus area measured from front to back.

This can all be manipulated by the photographer to suit the particular image. The landscape and the portrait mentioned above are two extremes but there are many subjects that fall between the two.

How do we achieve this effect?

There are two things you have control over that affect depth of field when using an SLR camera.

the focal length of the lens

the aperture setting

I'll go into more detail about these two settings in another article, but put simply the focal length of a lens is the feature you are changing when moving a zoom lens within its zoom range. The aperture refers to the hole the light passes through when the shutter opens. This is changed by moving the aperture ring, which is the nearest one to the camera body, and is measured in units known as f-stops. When changing aperture settings you need to keep an eye on the shutter speed. Look through your camera's auto modes and set it on one which will allow you to change the aperture settings, but will automatically set the shutter speed for you. This is often referred to as 'aperture priority mode'.

Aperture setting

The most important item to control is the aperture setting. The larger the aperture used, the smaller the depth of field range.

Free Depth of Field Calculator

At one time, lens manufacturers used to include depth of field guide marks on their lenses, but no longer do so. If you would like a handy little replacement for these marks, something that will let you quickly and easily gauge the effects of different focal lengths and aperture settings, there are a number of free utilities available on the web. A quick search via your favorite search engine will turn up a number of them.

Practice makes perfect

You need to familiarize yourself with how this technique works and how it affects your photographs. Remember that, with a digital camera there is no expense involved in shooting practice photographs. You get the results straightaway and you don't have to pay for developing any film, so there is no excuse for not practicing.

You can even practice indoors if the weather's poor. Standing a couple of items on your kitchen table and shooting them from a few feet away will soon give you an idea of how this works.

A good way to develop your feel for the depth of field effect, as well as any other techniques you may wish to brush up on, is to use a technique known as 'bracketing' your exposures. Put simply, this just means taking a number of photographs with different camera settings so that you can compare the results.

1. Stand three coffee mugs on a diagonal line near the middle of your kitchen table then stand back a couple of paces. Set your camera on fully auto and focus on the mug in the centre of the line and take your first shot. It's good to have a pen and paper so that you can make notes of the camera settings for each shot otherwise you're likely to forget how things were set up for a particular shot, especially if you take quite few.

2. Now take another shot, but focus on one of the other mugs, followed by a third focusing on the last mug.

3. Set your camera to its aperture priority mode. This will allow you to select an aperture setting and the camera will vary the shutter speed to get the correct exposure. Now take a series of three shots as you did before. Make a note of your camera settings for each one.

4. Open the aperture one stop and repeat. Do this with a variety of aperture settings, making notes as you go.

You can now load the photos onto your computer and compare the results. You should now have a good idea about how varying the aperture affects the resulting depth of field.

Go through this exercise again varying the focal length of your zoom lens if your camera has one. You will soon get to grips with the technique so try it out on a larger scale and notice the difference it makes to your work.

About the Author:
This articles was written by Mike Pepper (cashfromcameras dot co dot uk) who operates a site with guides to help you take eye catching and in-demand images, where to find them and where to sell them.

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What do we mean by depth of field? The term refers to the amount of detail in the photograph that is in focus. A typical landscape photograph will will show detail over a long distance, all of which will be in focus and recognizable by the viewer.

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The f-stops work as inverse values, such that a small f/number (say f/2.8) corresponds to a larger or wider aperture size, which results in a shallow depth of field; conversely a large f/number (say f/16) results in a smaller or narrower aperture size and therefore a deeper depth of field.

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Terence Mallick; I found this producer.

He has actors that he doesn't focus on to be the centre of the film, what interests me is the shots he uses; he has angled texture shots, he creates story you visually follow that doesn't have consistent constant acting, he is border-lining montage in the way he switches clips, i do think that my project will have this affect though it isn't desired.

I like clips of nature and its beauty.

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My idea has taken many turns and changes; My concept has stayed the same and my process into my idea has stayed the same. I have developed an understanding into what i am making; that i have a plan to create a emotionally moving and calming piece of early morning work.

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The site shows how each shot can have and make a mood due to the difference and similar colours.

The show the use of dull greys browns and blacks shades, make the image come across as a moody country side. The colours work with he foggy weather and show a wet theme.

Their are more examples on the site as well, that show other colour schemed themes.

The colour grading also is graded post production to make the colours all balance.

Standing out colours in a balanced image make the subject of the shot, the standing colour will be the audience focus on first glance.

This site also shows how complimentary colours work, either sides and opposites of the spectrum.

I found this research when trying to find the theme colours can project.

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Being able to use color to create harmony, or tension within a scene, or to bring attention to a key visual theme can be used to spectacular effect. In this article we look at 5 common film color schemes that can help you understand how cinematic color design works.
This industry of ours is great. I truly love it, the people, the gear, the creativity and energy. At the same time, as your experience grows and your expanding network of connections allows you to move up the ranks, you also find the expected, assumed level of knowledge increases. This is logical, but I have found the assumed knowledge is often rarely discussed, because, well, it's assumed that you already have it.

I want to share a few of my "ah ha!" moments that I assume some (most) of you already know, because of course it's "assumed" knowledge, but the truth is maybe it will help more than a few of you to connect some dots of your own.

If you've never really come to grips with why certain colors or combinations of color evoke or induce a emotional response, or simply just look pleasing, this explanation of basic practical color theory may suddenly cause the puzzle pieces to fall together or spark some interest in researching it further.

Planning the look

In post of course, a colorist can only work with what he (or she) is given, and so it can be argued that the overall look and feel of the image is the responsibility of the production designer. This is carefully planned by art department as a whole in consultation with the director and cinematographer long before cameras roll. While this is true, how many of us regularly work with a professional production designer?

Sometimes perhaps, but certainly not for every project. Many times I've brought on someone in a junior role, or simply used a stylist to quickly set dress a location with found existing objects, or to bring some selected items in with them if needed. The basic knowledge I am about to share helped immensely in those situations.

The Effect of Color

Color can affect us psychologically and physically, often without us being aware, and can be used as a strong device within a story. Knowledge gives you control, and control means you can manipulate and use color to give your work a powerful and beautiful edge.

Being able to use color to create harmony, or tension within a scene, or to bring attention to a key visual theme can be used to spectacular effect.

In the sense of the work of the world's greatest cinematographers we admire so much nothing is accidental. A strong red color has been shown to raise blood pressure, while a blue color has a calming effect. Some colors are distinctly associated with a particular location or place, while others give a sense of time or period.

The Color Wheel

First of all we'll look at some fundamentals that will apply equally to both design, and post.

It all starts with the color wheel. This should look familiar to anyone with experience of a 3 way color corrector.

The color wheel is the common tool you will see when it comes to color control, and it is standard in color theory in defining a number of combinations that are considered especially pleasing.

In a simplified form the color wheel comprises 12 colors based on the RYB (or subtractive) color model.

In the RYB color model, the primary colors are red, yellow and blue. The three secondary colors are green, orange and purple, and can be made by mixing two primary colors. A further six tertiary colors can be made by mixing the primary and secondary colors.

Let's make some sense of this. Firstly you'll notice warmer colors on the right side, and cooler colors on the left. Warm colors are bright and energetic. Cool colors give a soothing and calm impression.

We will quickly define the common color harmonies or color chords, each consists of two or more colors within a specific pattern or relationship on the color wheel.

All of the frame grabs used to illustrate the 5 most common schemes were created by graphic designer Roxy Radulescu from her site www.moviesincolor.com. It's worth taking some time to look through all the work she has done.

5 Common Film Color Schemes
1. Complementary Color Scheme
Two colors on opposite sides of the color wheel make a complimentary pair. This is by far the most commonly used pairing. A common example is orange and blue, or teal. This pairs a warm color with a cool color and produces a high contrast and vibrant result. Saturation must be managed but a complimentary pair are often quite naturally pleasing to the eye.

Orange and blue colors can often be associated with conflict in action, internally or externally. Often a internal conflict within a character can be reflected in the color choice in his or her external environment.

The color palette of Jean-Pierre Jeunet's "Amelie" is a great example of a complementary pairing of red and green.

Orange and Teal are readily apparent in this scene from "Fight Club." Teal is often pushed into the shadows, and oranges into highlights.

A similar look in this scene from "Drive."

A complementary pairing isn't always so obvious and the contrast between the two colors used is often relative. Another shot from "Fight Club" which at first appears just to have a strong overall teal tint to the entire image, but a closer look reveals there is still a orange touch to the skin tones relative to the deep blue green.
2. Analogous Color Scheme
Analogous colors sit next to each other on the color wheel. They match well and can create a overall harmony in color palette. It's either warmer colors, or cooler colors so doesn't have the contrast and tension of the complementary colors.

Analogous colors are easy to take advantage of in landscapes and exteriors as they are often found in nature. Often one color can be chosen to dominate, a second to support, and a third along with blacks, whites and grey tones to accent.

Reds, Oranges, Browns and Yellows in this scene from "American Hustle" fall next to each other on the color wheel forming a warm overall feel with very little tension in the image.
3. Triadic Color Scheme
Triadic colors are three colors arranged evenly spaced around the color wheel. One should be dominant, the others for accent. They will give a vibrant feel even if the hues are quite unsaturated.

Triadic is one of the least common color schemes in film and although difficult, can be quite striking.

Jean-Luc Goddard's 1964 "Pierrot Le Fou" makes use of a triadic color scheme of red, blue and green.
4. Split-Complementary Color Scheme
A split-complimentary color scheme is really very similar to complimentary colors but instead of using the direct opposite color of the base color, it uses the two colors next to the opposite. It has the same high contrast but less tension than a complimentary pair.

A split complimentary color scheme in this scene of the Coen Brother's "Burn After Reading" of red, green and teal.
5. Tetradic Color Scheme
Tetradic colors consist of four colors arranged into two complementary pairs. The result is a full palette with many possible variations. As with most of these color harmonies, one color is usually dominant.

"Mama Mia's" colorful party scene falls into the example of a tetradic choice of colors creating a well balanced and harmonious palette in a scene that could otherwise have looked like a bad disco.

Some common general looks that can be created in post pretty much regardless of what colors are in the image are the orange/teal look where orange is pushed into the highlights and upper-mids of the skin tones and teal (or blue green) is pushed into the shadows.

A scene from "Magnolia" showing another example of Hollywood's love affair with orange and teal. Blue/green has been pushed into the shadows, and orange in the midtones and highlights specifically in skin tones.

I hope that this basic breakdown can help give you control in making planned and purposeful color choices either on set when working with a designer, or purely in post in order to set your work apart. Studiobinder have a free e-book called " How to Use Color in Film " if you're interested in finding out more.

Of course I assume you all knew this already... but this was just in case you didn't ;)

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5 Common Film Color Schemes - Cinematic Color Design

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Being able to use color to create harmony, or tension within a scene, or to bring attention to a key visual theme can be used to spectacular effect. In this article we look at 5 common film color schemes that can help you understand how cinematic color design works.

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A Prime lens is one that has a fixed focal length; there is no zoom ring on the lens so the focal length always remains the same. If you were wanting to get closer to or further away from your subject you would physically have to do so. There is a wide range of prime lenses available, from wide-angle prime lenses (20 mm and a 14 mm) to medium- and long-range telephoto prime lenses like a 300 mm or 600 mm lens.

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This trailer shows the the trailer to a much longer feature. This film style uses slow speed time and fast speed time to show things happening in a speed we cant see at.
This film focuses more on deep feelings rather than a script and that's what i need my film to do as well. There are people in shots but its not a focus that becomes a story or script.

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The time and effort that goes behind a project.

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Making an Architecture Film | A Behind the Scenes Look

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A very similar approach, my film will include texture shots and this film shows this. I also wont be filming much indoors.

https://vimeo.com/32093924

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Photography lens videos are easier to find, i'm guessing the basic idea is the same.

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35mm vs 50mm vs 85mm lens comparison WHICH IS BETTER?

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This is the best representation of what i want to make. ~This edit is very well composed, especially with the time lapsing.

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The wider extent of how i narrowed down to my idea now.

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I have gone over then theme of my film with my tutor and we have agreed on a concept of early hours begin when these spectacular places are empty compared to when they are busy most of the time and day.

I need to go to these places and check what they look like and what i can shoot in in these places before i start my project based on a concept that wont or doesn't work.

I now have to capture a early morning in 3-4 different locations for my project and this will take up a lot of time for me, i have predicted 3 weeks filming and should need a lot of it.

My idea i am trying to add is the end of the day as well. The dusk and the magic hours, it will give me my initial beautiful shots i aimed for with my project.

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My proposal

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Milo U8 FMP UAL Project Proposal Template.docx

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My learning and skills i have learnt over this academic year.

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Shoot during Blue Hour and Magic Hour.

Blue hour is the short window of time after the sun goes down (or before it comes up) where the sky is still colourful, but the sun isn’t visible. And Magic Hour of course, is the hour leading up to sunset or just after sunrise. Both of these times of day are ideal for shooting as the natural quality of light outside at that time of day just can’t be beat. The trick is to  utilise these two times of day for different purposes. For example. Blue Hour is ideal when you need to shoot a short night time scene, but don’t have any lights. There is enough ambient light in the sky to provide definition on your actors while at the same time leaving the environment quite dark, giving the feeling of night time. Car headlights, houses with lights on and other artificial sources in the background will be completely visible during blue hour, helping you to sell that it is night time. Magic hour is really great for scenes that you would normally shoot in the day time (they don’t need to be sunset shots). It will simply make your life easier by providing a very soft and forgiving, warm natural light that will make your scene glow and feel somewhat, well, magical.

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Extensive research into producing a "Golden hour" shot.

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Shooting with natural light can be a very liberating way to approach the craft of film making. When done well, you can get results that in some scenarios may far exceed what you could have done with traditional lighting. With that said though, you will only get these results if you plan properly, choose the right tools and do your research when it comes to locations and day light. It’s also important that if you choose to use natural light there is a reason to do so, other than the fact that you may think it is easier to work with. A very organic, natural look using available light can be one of the best choice.

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My 2 ideas have to chosen between at this point and i am weighing my options as i like both and they are so close together film wise, i can either Film "Dawn to Dusk" a film about London in the morning hours of around  4-5 am and showing London when it is not busy ( with film concept).
or
My idea of the same clips and more to create a music video showing London lyrically.

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I am going to take film of more local places to me which i can add in later if my project moves in another direction, i would like to use and go more into this. I want to show the newer culture London has taken into; new Fashions and the daily movement of younger people.

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How to shoot a shot at night, 9 steps to aid this idea.

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Taking pictures at night can be quite challenging for beginners. It requires you to manipulate ISO, aperture, and shutter speed among many other things. Follow these eight useful techniques to help you shoot in the dark. Once you learn the basics, you'll find out that night photography is really fun. Don't be afraid to experiment and you'll be rewarded with stunning images you'll be proud of.

01. A sturdy tripod is a must

Before delving into night photography, you need a sturdy tripod. Taking photographs in dim conditions requires long exposures, which means your camera has to be steady at all times. Get one that can handle a heavy camera, preferably made of aluminum (or carbon fiber if you have more money) since it's both light and durable.

Photo by Diego Hernandez

Use your tripod's bubble spirit level to determine whether your tripod is straight or not. Alternatively, you can turn on your camera's virtual horizon (typically found in the camera menu) to make sure your equipment is leveled.

Also, consider buying a mini tripod for tricky angles. Sometimes, the best vantage points for your night shots may be in places where regular tripods can't fit. With a mini tripod, you can shoot beautiful night shots from the ground or even a table top.

02. Use manual focus

Autofocus in modern cameras may be highly reliable, but it's still not foolproof. Its weakness is especially evident when taking pictures at night, where your camera struggles to adjust because it's dark. Using manual focus ensures your camera doesn't randomly focus on any part of the scene you're photographing.

Turn your manual focus to infinity (∞ symbol on your lens). To ensure that the scene you're photographing is crisp, turn on the Live View Mode and press the Zoom-in button (the one with the magnifying lens icon). Magnify the subject you want to be in focus, then adjust until it's pin sharp.

Don't switch on the autofocus function any time during the photo shoot. Otherwise, it will override anything you did manually. This technique may take a while to get used to, but it's more reliable than your autofocus in poor lighting.

03. Use low ISO if possible

Using high ISO seems to make sense when shooting at night, but doing so also increases the noise in your images. The newest high-end cameras these days are so advanced, they allow you to take noiseless pictures at ridiculously high ISO settings (up to ISO 3200 or more). However, for most consumer cameras with limited light sensitivity range, sticking to a lower ISO is the most practical approach.

Learn the limits of your camera's ISO levels. To do this, take some low light test shots with different ISO settings. Examine the photos and find out at which ISO level it becomes too noisy. If it looks unusable at ISO 1600, then stick to settings lower than that.

Just because your camera can shoot up to ISO 25,000 doesn't mean you should use it. Since you're using a tripod, It's safe to keep your ISO low. Instead of bumping up the ISO, use slower shutter speeds and wider apertures, instead. ISO 100 may be impractical for night photography, but ISO 400, 800, or even ISO 1600 should be enough in most situations.

04. Shoot RAW

JPEG is the perfect file format for most casual photographers since they don't take up too much space on your memory card. JPEG files can also be uploaded without being converted into another file. However, this file format also compresses your image files drastically, making it problematic when you're shooting scenes with high dynamic range.

When shooting at night, switch your image files to RAW in your camera's menu. RAW files take up a lot of space on your memory card, and your images need to be edited afterward, but at least the quality of each image is preserved.

RAW is the best option to avoid grainy pictures due to low light and post-processing. Unlike JPEG, RAW files maintain their quality even after post-processing. After editing your image file, you can always convert a RAW file to any format you want, including JPEG or PNG.

05. Take test shots

Unlike taking photos in the daytime, night photography requires you to be more methodical. You can't simply press the shutter when you're shooting in low light situations. You need to know the exact settings to use for your camera, and to do that, you need to take some test shots.

Taking test shots lets you to experiment with different creative shots. If you're wondering if it's possible to photograph light streaks, then tinker with the settings to figure out how you can achieve the shot you want. You can also try various perspectives to make your image more interesting.

It also allows you to fine tune your camera settings. If your initial settings produced a dark picture, then adjust it again until you find the correct exposure. Play around with different ISO levels, apertures, and shutter speeds. First, take a regular photograph in either Aperture or Speed Priority. Take note of the aperture and shutter speed settings, then adjust incrementally until you find the ideal exposure. If you want a quicker, more refined method, you can try also try bracketing your shots.

06. Do bracket exposures

It can be challenging to nail the perfect exposure when taking pictures at night. Minimize guesstimating your settings by bracketing your shots. This technique involves taking a series of photographs at different exposure settings. Each picture you take incrementally gets brighter or darker. Ideally, one of those photos will give you the exposure that you want.

You can bracket your exposure either manually or automatically. For manual bracketing, set your camera to either Aperture Priority or Speed Priority. Take one regular photo, then use the Exposure Compensation button (the button with +/- symbol) in the subsequent images to adjust the exposure. Automatic Bracketing function is found in your camera's Shooting Menu.

Note: An example of an HDR image.

Apart from giving you a selection of exposures in-camera, you can also use the bracketed pictures to create High Dynamic Range (HDR) images. By combining several images in an editing tool, this technique recreates the exposure range and the details that a regular camera is unable to capture.

07. Shoot in Aperture Priority Mode for static subjects

Photo by Benjamin Hung

If you don't yet fully understand how Manual Mode works, then feel free to use Aperture Priority. Shooting in this mode lets you choose the aperture you want and automatically selects the shutter speed.

Aperture Priority is the quickest way to take pictures at night. Once you set your camera to this mode and choose a wide aperture, you're ready to shoot. As long as you don't have moving subjects, this mode is the safest way to take nighttime photos.

It's also perfect for shooting static scenes like buildings and landscapes. However, since it doesn't let you change the shutter speed manually, it's hard to know whether moving subjects (such as people or cars) in your photo will be blurry or sharp. If you want more control in photographing moving objects, then you need to switch to Manual Mode or Speed Priority Mode.

08. Play with different shutter speeds

If you want to capture moving objects like the cars in the image above, then switch to Shutter Priority. Just select the shutter speed, and the camera automatically selects the aperture.

This mode helps you produce impressive light streaks and dreamy landscapes at night. Once again, test shots are necessary to achieve the effect that you want to create. To shoot colorful trails, you can set your camera to low shutter speeds (from 1/30 down to 30 seconds). Just keep in mind that the slower the shutter speed, the longer the light trails.

Using the widest aperture setting for long exposures isn't necessary. Sometimes, the combination of really slow shutter speeds and wide aperture can overexpose an image. You'd be surprised how much light your camera gathers even in dimly lit environments. When you're in Shutter Priority Mode, just look at your camera's selected aperture, and you'll see that it can be as small as f/22 for an exposure of a few seconds long.

Shutter Priority is also perfect for photographing the night sky. Typical exposure times for photographing stars is between 10 seconds to 30 seconds. Remember that the stars move across the sky, so if you expose your shot long enough, you'll see start seeing star trails.

Note: Star trails can be achieved by using Bulb Mode as well.

09. Experiment with Bulb Mode

Photo by Federico Beccari

The longest shutter speed for most cameras is about 30 seconds. However, sometimes you'll find yourself in situations where 30 seconds isn't enough to make a proper exposure. That's when Bulb Mode comes in. This function allows you to open the shutter as long as you press the camera button.

In most cameras, Bulb is typically found after 30" in Manual Mode. Using Bulb Mode effectively overrides any automatic functions set by the camera, so you have to be comfortable using Manual Mode to use it. (Above, photographer Kris actually used a GoPro, setting it to 30seconds, stacking about 1400 photos, and resulting in the awe-striking photo.)

Since you'll be opening the shutter for more than 30 seconds, select a larger f-stop like f/8, f/11, or even f/22 for exposures that last a few minutes. Using a smaller aperture lessens the chances of overexposing your shot. For extremely long exposure times, you can use the lowest ISO possible for your camera. Like all the other modes discussed in this article, take some test shots and adjust accordingly until you get the shot that you want.

Bulb Mode requires more confidence to use, but it also allows you to experiment freely. Because it lets you expose an image without any time constraints, it's perfect for "light painting" where you can "scribble" or "draw" in the air using light sources such as a flashlight.

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9 night photography techniques to capture detailed scenes with limited lighting - Learn

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Taking pictures at night can be quite challenging for beginners. It requires you to manipulate ISO, aperture, and shutter speed among many other things. Follow these eight useful techniques to help you shoot in the dark. Once you learn the basics, you’ll find out that night photography is really fun.

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This is a series of bullet pointed topics that outline specific English traditions. This is a cultural observation and pushes my project from the angle that i am documenting in theory English monuments and landmarks. Some things have changed over the years and it is found to have lost some aspects of British culture.

When the audience see the clips of these places i am going to shoot they will instantly think of these things. This research document also shows a small in-depth look into exactly what traditions are

We as a nation are a lot different to these traditions.

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A similar style to what i am creating, this is more use of party scenes but has the same motivation to it.

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Shy FX - Roll The Dice feat. Stamina MC & Lily Allen (Official Video)

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i like the way this specific person has used framing texture and symmetrical shots, that all flow together.

I has the same natural light as my ideas.
This topic is the seas side and mine is more city scape based.

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Shooting at Dusk and at Dawn

"I’ve been trawling through my archives to set a theme for this month’s competition and I’m asking you to shoot at dawn or dusk. "-Phil Surbey

here is a written piece on shooting at dusk and dawn ;

https://www.lumixgexperience.panasonic.co.uk/learn/expert-advice/shooting-at-dusk-and-at-dawn/#.XJoyNij7SUk

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This is the lighting i am trying to capture for my video, this has a specific fell to it and would take a few days to get what i need from this natural lighting.

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This short film/documentary has good angles of London, they only feature for around 30 seconds in total but i think that these shots should not be there it would impact the film dramatically. This gives me inspiration toward my project.

https://www.youtube.com/watch?v=9EJEBbOw2ng

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I like the idea of a monochrome film with inter cut scenes from old classic films, i'm not sure this would show my skills enough. This could be a back up idea but i don't think i will use it.

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Pharaoh's Curse (1957) w/Mark Dana & Ziva Shapir

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I like this old American filter type shot, i would like to use this but i don't think i have the resources to be able to use in this project. A lot of 80-90's films are like this and i would like to take a newer take on it. People have done this before, it is just a theme i really would like to work with.

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More lyrical song would be more interesting to film for.

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Monochrome film catches my attention and also does original colour film.

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Deep focus is a style or technique of cinematography and staging with great depth of field, using relatively wide-angle lenses and small lens apertures to render in sharp focus near and distant planes simultaneously. A deep-focus shot includes foreground, middle-ground, and extreme-background objects, all in focus.

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This is a idea that England or English is immediately iconic. This shows the audience understands the English traditional look, this is what i am trying to capture on film, a film that instantly has a connection of London.

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Not so London based film but includes a English culture feel.

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This is the idea of London's actual side of life and not a film about tourist side of things. A insight into real London.

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ADULTHOOD OFFICIAL TRAILER - In Cinemas 20th June 2008

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AdULTHOOD the sequel to KIDULTHOOD hits cinemas June 20. Tell your friends, spread the word and get involved ! Keep supporting the Adulthood movement ! www.adulthoodthemovie.co.uk

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This song is a calming yet a mature song with adult feeling.

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Not so calming but the theme i want.

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I may use an actor in my film, but wont be using piece to camera style narration. I want to maybe also include myself as a actor to make it easier to film.

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EXPLORING LONDON! | South Bank, London Eye, Tower Bridge

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I would make and use similar shots but would not appeal to the tourist side of this video, i will use shots of restaurants places and maybe some acting.

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London Travel Guide - Weekends in London

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Famous areas that have good architecture

Berkeley Square

Cambridge Circus

Grosvenor Square

Hyde Park Corner

Leicester Square

Manchester Square

Marble Arch

Oxford Circus

Parliament Square

Piccadilly Circus

Russell Square

Soho Square

St Giles Circus

Trafalgar Square

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How film makers use scenes colours and actions to change the mood films. https://www.youtube.com/watch?v=XMJGgUvOcL8

I would like to appeal to a more deeply emotional mood of the audience, i want the audience to be engaged into the feel of being in the place the shot is taken of.

i like to use locations to also appeal to an audience that don't have access to these places.

The hour of the day is supposed to be dawn or dusk, these times of day and night are very engaging for people who wouldn't be where the shot is taken at that time.

I want the mood/theme to make the viewer to feel the actors or people in shot have a strong sense of understanding that can be personal.

I would like to use this idea towards either of my projects as i find the scene is so iconic. I would like to put a soundtrack to these shots, the sound track has to be mellow or calming in stead of up beat.

Using weather for mood :
https:/www.youtube.com/watch?v=AIEY3ixWT3M

https://www.youtube.com/watch?v=Fd3uqKIS6M0

The first idea is a Music video that will include shots of famous London as the sun rises and when the sun falls.

The second is a guide to see London's iconic places and a insight into the London vibe.

The 3rd idea is a small documentary style film on traditional London, i would be interviewing bus drivers or taxi drivers.

The music video will also include things that relate to the lyrics or feel of the song.

The guide to London idea also includes maybe a idea of a more Local to me style video.

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I created a Website that i can use professionally.

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Research - Short Analogy of "West end" London

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Research - Short Analogy of "West end" London

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When reflecting on your ongoing research try to show how you have:
- Found and used a range of relevant sources for your research
- Sustained research throughout the project
- Interpreted what you've discovered, to help you with your film
- Brought different bits of research together, to incorporate into your  own ideas for your film and help it develop
___________________________________

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When reflecting on development of your ideas try to show how you have:
- Developed a comprehensive understanding and knowledge of the type of film you're making.
- Developed complex and well thought through your ideas

___________________________________

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I liked what John Yorke said about the mid point. The establishing of an emotional connection between the audience and the protagonists aim is what I want to explore in the scene I'm shooing from my script.

"Talking on BBC Radio 4’s Front Row, John Yorke explained to Mark Lawson why the midpoint — the thing that happens halfway through the narrative that changes everything — is such an invaluable tool for storytellers:

‘I think the midpoint became more and more significant the more I went on looking at stories. And it’s not just screenwriting; in fact, if you look at A Passage to India it’s the Marabar Caves — everything builds up to the Marabar Caves incident in the middle of the book, then leads away from it…'"

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Talking on BBC Radio 4's Front Row , John Yorke explained to Mark Lawson why the midpoint - the thing that happens halfway through the narrative that changes everything - is such an invaluable tool for storytellers:

'I think the midpoint became more and more significant the more I went on looking at stories. And it's not just screenwriting; in fact, if you look at A Passage to India it's the Marabar Caves - everything builds up to the Marabar Caves incident in the middle of the book, then leads away from it...

is another really good example, because the first half of is Hamlet's journey to prove Claudius' guilt. Exactly halfway through he proves it, then the second half of the story is "What do I do with it?" And, actually, that's the shape you find in all archetypal narratives.'

So, what do screenwriting students on the online course make of John's emphasis on the midpoint?

J Michael Bradley is an aspiring screenwriter and member of Derbyshire Scriptwriters. In the first exercise in every session of the course John asks students to watch films with a specially devised prompt sheet that encourages them to look deeper and spot the elements that make up the structure of stories, from act breaks to inciting incidents.

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FOCUS ON THE MIDPOINT TO NAIL YOUR STORY | ARTICLES | PWA

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Talking on BBC Radio 4's Front Row , John Yorke explained to Mark Lawson why the midpoint - the thing that happens halfway through the narrative that changes everything - is such an invaluable tool for storytellers: 'I think the midpoint became more and more significant the more I went on looking at stories.

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From my research into the function of the mid point in 3 act structure and from analysing a few examples from films I've decided that this would be something I'd like to explore in my project because it is somewhere I can experiment with influencing how an audience feels about a character and somewhere to explore ways to plug audiences into the character's aim though use of sound and lighting to suggest emotional states and show inner change for the character

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THIS PADLET provides evidence of your ability to think clearly and productively about your ongoing work on this film. It should show:

1 accomplished and professional communication skills
2 perceptive analysis and interpretation
3 clear and sophisticated thinking
4 maturity in decision making
5 a constant focus on progressing your ideas and your film.

Refer to specific examples to explain the point you make.

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When reflecting on your use of practical film making skills try to show how you have:
- Made use of your aesthetic awareness and understanding
- Used technical skills and knowledge effectively
- Been imaginative and flexible and explored options
- Develop creative solutions

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I'm interested in finding ways to divide my frame and to communicate the emotional separation between my two leads. This shot by New York photographer Chellisse Michael uses complimentary colour and the architecture to separate his two models into very distinct spaces. His placing of the models and the stop difference between the lighting of the two also makes it very clear whose scene this is and gives us a sense of their relationship dynamic