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What do you think? Is television good or bad? I loved it when I was a kid. My eyes were glued to the TV screen for hours and hours. I watched cartoons and other kids' shows non-stop. It was good at the time, but maybe I should have been outside playing or doing something more useful. There's a lot of rubbish on TV. There are so many programmes that you watch just because you're too lazy to do something useful. A lot of people turn on the TV and sit in front of it all day or all night. What a waste of time! I think television programmes are getting worse. Reality TV and celebrity chat shows are the worst. The only good things on TV nowadays is the news, live sport and comedy shows. Plus an interesting documentary or two.

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Try the online quiz, reading, listening, and activities on grammar, spelling and vocabulary for this lesson on Television. Click on the links above or see the activities below this article: Your browser does not support this audio player. What do you think? Is television good or bad?

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Listen A Minute: Free 9-Page lesson plan / worksheet on Radio - Handouts, online activities and mp3.

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Try the online quiz, reading, listening, and activities on grammar, spelling and vocabulary for this lesson on Movies. Click on the links above or see the activities below this article:

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I love watching movies. At the cinema, on TV or on my computer. I'm a big movie fan and love all the news of my favourite movie stars. I like all kinds of movies - Hollywood blockbusters, black and white movies from the 50s, independent movies... They're all good. Recently I've got into watching foreign movies. I like the films that come out of Bollywood - they're very different. The first film I saw at the movie theatre was Star Wars. I was amazed at the special effects. Nowadays, so many movies have such good computer graphics that we forget how special the effects are. One of my favourite ways of relaxing is to rent the latest DVD and sit on the sofa with a big bag of potato chips. The sound has to be up to the max and the lights have to be off.

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I think I have the greatest friends in the world. They are just as important to me as family. In fact, they are my family, really. My best friends and I all grew up together and shared so many experiences together. We know everything about each other. I would do anything for my friends and I'm sure they'd do anything for me. I'm sure there's nothing in the world that could stop us from being friends. I've also made lots of other good friends from university and the different places I've worked. They are also important to me. We are now all over the world and it's sometimes difficult to meet each other, but we stay in touch. One day I'd like to get all of my friends together for a big party. That'd be great fun.

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A FREE 9-page ESL Lesson Listening plan on Friends. A graded article, two online quizzes, a printable worksheet and a 60-second mp3 listening on this topic.

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Try the online quiz, reading, listening, and activities on grammar, spelling and vocabulary for this lesson on Job Interviews. Click on the links above or see the activities below this article:

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Job interviews are always hit and miss for me. Sometimes I have a great interview and get the job. Other times, my interview bombs and I don't get the job. It's really important to prepare. You must also be confident and make sure the interviewer knows you really want the job. The trick is to make the interviewer think you are the best person for the job. I always wear my best suit and arrive early. I always smile when I walk into the interview room. First impressions are very important. It's also a good idea to talk about your experiences - sell yourself. Make sure you have a few good questions to ask at the end of the interview. Interview technique is something we learn over time – you get to relax more the more interviews you have.

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Try the online quiz, reading, listening, and activities on grammar, spelling and vocabulary for this lesson on English. Click on the links above or see the activities below this article:

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I'm a bit shy when I have to speak in English. I'm a little worried about making mistakes. I also still lack confidence. Many of my friends don't worry about mistakes. They just talk and talk. They always get their message across, even if their grammar is wrong. I think this is the best thing to do. My teacher always says it's best to learn by doing. If I don't try to speak English, I'll never be able to use it when I need it. One thing I started doing recently was talking to myself. I have short conversations with myself. I think it works. I also make short stories about people and say them aloud. I do this in my room, of course. People would think I'm crazy if I did it in class or on the train.

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Photography Terminology: A Glossary of 71 Photographic Terms

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A Post By: Darlene Hildebrandt

If you've ever been a little lost while reading your camera's manual, or a photography magazine it could be that you just need to learn to speak "photographer" language. In this article I'll go over some of the most common technical terms, as well as some less common slang or photographer jargon. By the end I promise you will have a better grasp on the language and be able to have a conversation with a seasoned pro and hold your own!

Speaking "Photographer" - the Basics

These are the terms you'll find in your camera's manual and in most beginner tutorials on how to use it. Hopefully this will help you get a better grasp on them so the manual isn't quite so foreign.

Photography - the word photography comes from two old Greek words "phos" meaning light and "graph" meaning to draw. So photograph literally means to draw with light, or a drawing made with light. So photography is the art of drawing with light.

Aperture - the variable opening in the lens through which light passes to the film or digital sensor. Measured in f-stops. I like to compare it to your pupil which opens and closes to allow more or less light to enter your eye depending on the brightness level of the room. Learn more about Aperture and how to use it here.

Bracketing - taking a series of images at different exposures or EV. You may see a setting on your camera that says AEB (auto exposure bracketing). This is often used when creating HDR images or in difficult lighting situations where you may want to have a range of exposures from light to dark.

Bulb - the "B" setting on your camera where the shutter remains opened as long as the button or cable release (remote trigger) is pressed. On a Canon it may be on your mode dial on top of the camera, or at the low end of the shutter speed settings (also where it is on a Nikon)

DSLR - digital single lens reflex camera. Any digital camera with interchangeable lenses where the image is viewed using a mirror and prism, and the image is taken directly through that lens. What you see in your viewfinder is what the lens sees.

EV - Exposure Value is a number that represents the various different combinations of aperture and shutter speed that can create the same exposure effect.

Exposure compensation - modifying the shutter speed or aperture from the camera's recommended exposure to create a certain effect (over or under exposing) - usually used in the Shutter Priority or Aperture Priority modes. Represented by a little +/- button on your camera. Your camera reads light bouncing off your subject and is designed to expose for medium grey. So when photographing a subject that is lighter or darker than 18% grey, you can use this setting to tell the camera the proper exposure (- or + respectfully)

Exposure - the total amount of light reaching the digital sensor. It is controlled by setting the aperture, shutter speed and ISO. Discover how these 3 elements work together in our article on the Exposure Triangle.

F-stop - is a measure of the aperture opening in the lens defined by dividing the focal length of the lens by the aperture diameter. Sequence of f-stops are multiples of the square root of 2 (1.414...): 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, etc. Even though these numbers are rather cryptic, just remember that each step is double the amount of light. Know that and it's half the battle.

ISO - stands for International Standards Organization and represents the sensitivity of your camera's digital sensor to light. The lower the number (ISO 100), the less sensitive, the higher the number (ISO 3200) the more sensitive. A higher ISO allows you to shoot in low light conditions. Learn more about ISO and how to use it in your photography.

Shutter speed - the amount of time the shutter is opened during an exposure. The shutter speed controls motion. Use a fast speed (like 1/2000th of a second) to freeze motion, or a slow one (1/4 of a second or longer) to blur moving objects. Learn more about shutter speed and how to control it in this article.

Zoom lens - any lens that has variable focal lengths such as a 24-70mm or 18-55mm. You zoom in or out by rotating the barrel of the lens.

Prime or fixed lens - any lens that does not zoom and is a set focal length such as a nifty 50mm lens. Read our introduction to Prime Lenses.

Remote trigger or digital cable release - a device that allows the camera to be fired without pressing the button or touching the camera. Helps eliminate movement of the camera during long exposures.

Macro lens - one that focuses very close to the subject allowing for 1:1 reproduction size of the object or larger.

"Normal" lens - generally a 50mm lens (on a full frame sensor camera) is considered to be a "normal" lens because it is closest to what the human eye sees. If you have a cropped sensor that will be closer to 35mm.

Telephoto lens - simply stated a telephoto lens is one that is longer than a normal lens, eg., 70-300mm. The dictionary says: a lens with a longer focal length than standard, giving a narrow field of view and a magnified image. Super telephoto is usually 300mm and longer lenses.

Wide angle lens - again simple answer is a lens that shows a wider field of view than a normal lens, which allows more to be fit into the frame. Depending on the degree of wide angle there may also be edge distortion (super wide angle), and if you get wide enough the image will become a circle (fish-eye).

Tilt shift lens - a lens that attempts to recreate the movements available when using a view camera. Being able to tilt the front lens element allows for realignment of the plane of focus. Shift allows adjusting the placement of the subject within the frame without angling the camera, thus keep parallel lines from converging. This is a popular lens for architectural and landscape photographers, and is becoming more widely used by portrait photographers for creating a unique stylized look.

Camera resolution - expressed in megapixels is the dimensions your camera's sensor is capable of capturing. For example Canon's new 6D has a resolution of 5472 x 3648 which equals 19,961,856, which they've rounded off to 20 megapixels. This is not the only factor in image quality, but generally the large the number, the larger prints you can produce from it without loss of quality.

File format jpg versus RAW - most DSLR's have the ability to shoot both formats. If you choose JPG, the camera will shoot a RAW file, process it using the picture style you've selected in your menu, save it as a JPG and discard the RAW version. If shot in RAW the resulting file will be larger, carry more information (but the same pixel resolution, see above) and require software to process. It gives you the photographer more control over the final look of your image. For more on the subject see this article

Full frame vs cropped sensor - I get asked about this in my classes all the time. A full frame sensor is roughly the size as the "old" 35mm frame of film. Lenses are made to create a circle of light just large enough to cover that area (covering power). In a cropped sensor camera the physical size of the sensor is smaller so it only captures a portion of the entire image the lens is projecting, effectively cropping part of the image out. For more information on this see "Crop factor explained". Common crop factors are 1.5 or 1.6x so if you put on a 50mm lens it is more like a 75mm with a 1.5x crop factor.

Camera modes - manual: full manual the user is setting the ISO, shutter speed and aperture. Shutter priority (Tv on a Canon or S on a Nikon) the user is selecting ISO and shutter speed, the camera is then choosing the aperture to make a correct exposure. Aperture priority (Av for Canon users, A for Nikon) the photographer selects the ISO and aperture and the camera picks the shutter speed. Learn more about camera modes.

Lighting and Portrait Photography Terms

Ambient light - also referred to as available light, is the light that is occurring in the scene without adding any flash or light modifiers. This could be daylight, or man made light such as tungsten or fluorescent bulbs.

Main light or key light: is the main light source for a photograph. It could be the sun, a studio strobe, a flash, a reflector or something else. But it is the source of light that is producing the pattern of light on the subject with the most intensity.

Fill light: is the light source that is secondary to the mail light. It is used to "fill" in the shadows to a desired degree. It can be produced by using a flash, a reflector, or a studio strobe.

Lighting pattern: this is the way the light falls on the subjects face. A particular pattern of light and shadow that is created.

Lighting ratio: is a comparison between the intensity (brightness) of the main light and the fill light and thus the difference of the lit and shadow sides of the subject's face.

Incident light meter: is a handheld device separate from your camera that measures the amount of light falling on a subject (as opposed to the reflective reading your camera takes which is light bouncing off the subject back to the camera). The incident meter is not fooled by the brightness range of the subject, where as in camera reflective meters can be fooled.

Speedlight (speedlite for Canon users): small portable flash which can attach to your camera's hot shoe, or stand alone if activated remotely.

Reflector - a device that is used to reflect light, generally back towards the subject. It can be a specialized factory made reflector (I recommend getting a 5-in-1 if you get one) or as simple as a piece of white cardboard. Learn more about reflectors and how to use them.

Light meter - a device that measures the amount of light in a scene. Your DSLR has one built in, it uses reflective readings (light bouncing off the subject coming back through the lens [TTL])

Remote flash trigger - a device used to fire speedlights off camera. Pocket Wizard is a popular brand.

Subtractive lighting - as the name implies it is the taking away of light to create a desired affect. Commonly it involves holding a reflector or opaque panel over the subject's head to block light from above and open up deep eye shadows cause by overhead lighting. It can also mean holding a black reflector opposite your main light to create a deeper shadow, in essence reflecting black onto the subject instead of light.

Hard light - harsh or undiffused light such as produced by bright sunlight, a small speedlight, or an on-camera flash. It produces harsh shadows with well defined edges (edge transfer), contrast, and texture (if used at an angle to the subject). Emphasizes texture, lines and wrinkles, and used to create a more dramatic type of portrait (character study).

Soft light - diffused light such as from an overcast sky, north facing window with no direct light, or a large studio softbox. This type of light produces soft shadows with soft edges, lower contrast, and less texture. Generally preferred by most wedding and portrait photographers as it flatter the subject more.

Edge transfer - where the light turns into the shadow, the edge transfer is how quickly it goes from dark to light. If using harsh light the edge transfer is very defined and sudden, almost a clear line. When using soft lighting the edge transfer will be much more subtle, almost imperceptible as it gradually changes from light to dark.

Flash sync - simply put is the synchronization of the firing of an electronic flash and the shutter speed. You need to know what shutter speed your camera syncs at, otherwise if you shoot too fast a shutter speed you may get a partially illuminated image. For most cameras that is around 1/200th of a second, but it can be adjusted if you have a flash that can be set for fast speeds.

Slang and Photography Jargon

Here's a few other terms that are a bit more advanced, and even completely made up jargon. Become familiar with them so you can walk among the pros with confidence!

Fast glass - refers to a lens with a very large maximum aperture such as f1.8 or f1.2. "Fast" as in, it allows you to shoot at a fast shutter speed due to the large aperture.

Chimping - slang term meaning looking at the back of the camera after every image. Spending too much time reviewing images on camera, not enough time shooting.

Bokeh - often mispronounced "bow-kay" or "bow-kuh" it is correctly pronounced as "bo-ke" like the ke in kettle. It is used to described the out of focus blurred bits in the background when "fast glass" is used. Most often bokeh occurs where small light sources are in the background, far in the distance.

Depth of Field (DOF or DoF)- the distance between the nearest and farthest objects in your scene that appear in focus. It is controlled by many factors including the aperture, lens focal length, distance to subject, film or digital sensor size, and camera format. Read about how to use aperture to adjust depth of field.

Circles of confusion - closely related to the above bokeh, the textbook definition is: the largest blur spot that is indistinguishable from the point source that is being rendered. Objects outside the depth of field of an image that the human eye can determine as "out of focus".

Hyperfocal distance - often used by landscape photographers, it is the focus distance providing the the maximum amount of depth of field. Older prime lenses for film cameras usually had hyperfocal distance marks to aid in finding this magic sweet spot. With today's lenses it is possible to calculate, just takes a bit more work and a hyperfocal distance calculator.

Gobo - something used to block unwanted or stray light from falling onto the subject. Often a reflector (using the black side) can serve a dual purpose and act as a gobo as well.

Scrim - a translucent device used to diffuse and soften the light, could be a reflector with a translucent panel or option. Also used on movie sets scrims can be made extremely large, several feet across, and clamped in place to create shade where these is direct sun without it.

Shutter lag - every camera has a slight delay from the time you press the shutter button to the time it actually fires and opens. In DSLR's it is minimal and almost unnoticeable. In smaller point and shoot cameras the delay is more pronounced such that it may actually cause a missed shot of a fast moving subject.

Chromatic aberration - in terms of lens optics it is the failure of the lens to focus all colours (RGB) at the same point. It shows up as colour fringes in areas of the image where dark meet light (think edge of a building against the sky). It is more common in wide angle lenses, and those of inferior optics (kit lenses). It is correctable, to some degree, using Photoshop, Lightroom or software of your choice.

Rear shutter curtain sync - by default most cameras are set to front curtain sync which means that if the flash fires, it does so at the beginning of the exposure time. By setting to rear shutter curtain sync it fires the flash at the end of the exposure time. The difference in some cases me be negligible, but in shooting a moving subject front sync will put any motion blur in front of the subject, where as rear sync will place the blur behind the subject. Neither is wrong, just preference.

Camera shake - this is a blurry image which has resulted from an insufficiently fast enough shutter speed, while hand holding the camera. So how slow is too slow? Many teachers will say that 1/60th of a second is the rule of thumb. I tend to recommend 1 over the focal lens of your lens instead, as the longer the lens the more amplified any shake will become.

Lens flare - occurs when the light source hits the lens directly, it can manifest as a hazy looking image or artifacts such as circles of light. Some photographers actually desire lens flare and position their camera to create it and use it as a compositional element.

Kelvin - is the absolute measurement of colour temperature. On your camera under the White Balance settings you make see a "K" setting. This allows you to adjust the colour manually by degrees kelvin. The lower numbers represent warmer colours like orange (tungsten light) and the higher numbers are cooler (blues). Play with this scale to create different affects.

ND filter - stands for neutral density filter which is a filter designed to go in front of the lens to block out some of the light entering the camera. Often used by landscape photographers to be able to get slow shutter speeds when photographing waterfalls and streams in full daylight.

Panning - the act of using a slow shutter speed, and moving the camera in the same direction as a moving subject, during the exposure to create a blurred background. See panning tips here.

Stopping down - the act of closing down the aperture to a smaller opening. EI going from f5.6 to f8.

TTL and ETTL - stands for Through The Lens, refers to the metering system in regards to flash exposure. The flash emits light until it is turned off by the camera sensor. ETTL is evaluative through the lens metering and fires a "preflash" to evaluate and calculate for lost light then compensates and fires the main flash. It happens so fast you do not see two flashes.

Photog - short for photographers, something pros often call each other

Glass - lens, as is "what glass do you own?"

Golden hour - also called "magic hour" is the hour right before sunset or right after sunrise. The sun is low on the horizon and it is an optimal time for photography.

Spray and pray - shoot as many images as possible and that hope and pray you got something good. Not a philosophy I personally recommend.

Blown out - having highlights that are off the chart on the right side of the histogram, having no detail in the white areas. Eg: "the bride's dress is blown out"

Clipped - similar to blown out being off the histogram, but it can also apply to shadow or blacks areas of the image.

Grip and grin - often used to describe a quick photoshoot at an event or set up with two people shaking hands. Most photographers have had to shoot these during their career.

Selfie - a self portrait

SOOC - straight out of camera, no post processing or editing done

Dust bunnies - dark spots that appear on the image, caused by bits of dust on the digital sensor

Pixel peeper - someone that spends too much time looking at images at 100% size in Photoshop

Nifty 50 - an old school prime 50mm lens, great to have

ACR - Adobe Camera Raw

Flash and drag - the method of using a slow shutter speed combined to flash to capture more of the ambient light in proportion to the flash

Wide open - using your lens with the aperture at the widest setting (f1.8 for example)

Enjoy and get out there and start practicing your Photographer Speak. This list is not exhaustive by any means, and if there's any I missed please mention them in the comments section below.

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Photography Terminology: A Glossary of 71 Photographic Terms

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If you've ever been a little lost while reading your camera's manual, or a photography magazine it could be that you just need to learn to speak "photographer" language. In this article I'll go over some of the most common technical terms, as well as some less common slang or photographer jargon.

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DESCRIPTION OF THE PHOTOGRAPHY VOCABULARY WORDS

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DESCRIPTION OF THE PHOTOGRAPHY VOCABULARY WORDS

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This photography terms glossary will walk you across every word you need to know in order to become a pro in the field's jargon. Ready to become a walking encyclopedia? From A to Z, including some of those difficult letters no one can ever seem to think of a word to go with, here's the ultimate photography terms glossary:

Aperture is the opening through which light passes through the lens to enter the camera. Its size can be modified to control how much light reaches the sensor or negative film. The diameter of the aperture, also known as the F-stop, affects the exposure and depth of field.

Blue hour is the short period of time before sunrise or after sunset when the sun is just below the horizon. Indirect sunlight is evenly diffused and takes on a blue shade. The duration on the blue hour varies depending on the location, but generally lasts less than an hour.

Bokeh is an optical phenomenon that makes bright out-of-focus elements aesthetically pleasing. Using a fast lens at its wider aperture turns a busy background into a blurred, homogenic canvas where light appears as soft shapes. The form of these points of lights is determined by the number of blades in the diaphragm - the higher the number, the more circular these elements will appear.

Bracketing is the action of capturing the same shot using different exposure values to make sure the whole scene is exposed properly. Bracketing can be done manually or using the auto exposure bracketing (AEB) function. In most cameras, AEB allows photographers to select the exposure compensation for the additional shots, which are taken automatically as you press the shutter release. For most compositions, a 1/3 exposure compensation is the way to go.

Bulb is a camera setting that holds the shutter open for as long as the shutter release button is pressed. In some cases, the shutter release needs to be pressed once to open the shutter and once to close it, rather than remaining pushed down. This mode allows photographers to capture longer exposures than the ones offered by the camera (usually up to 30").

Burst rate is the number of consecutive shots a camera can take in continuous shooting mode. When using this mode, images are stored in a high-speed buffer memory before being transferred to the memory card. Once the buffer is full, the camera will reduce the FPS to give it enough time to free space. Burst rate can be affected by image formats, as it depends on the file size, as well as by the speed of the memory card used.

Chimping means to constantly check the camera display after every single shot. The term comes from the similarity between the "oooh, oooh!" sounds photographers take to make while chimping and the sound of a chimpanzee. This action is commonly seen as a major amateur mistake as many shot opportunities can be lost while overchecking each image.

Chromatic aberration is a common optical problem in lenses where colors are not focused on the same convergence point in the focal plane. As a result, the image shows fringes of different wavelength colors around the edges where bright and dark sections meet. In black and white photography, chromatic aberration results in significant blur in the picture.

Contrast defines the range of tonal difference between the shadows and lights of an image. As the contrast becomes higher it emphasizes these variations, resulting in stronger textures and colors. Pictures with lower contrast may be perceived as dull, as a smaller difference between lights and shadows results in a muted appearance.

Crop factor is the proportion of a camera sensor size to a 35mm film frame or digital full-frame sensor. Different brands work with different crop factors. For example, Canon offers 1.3x (APS-H) and 1.6x (APS-C), while Nikon, Sony, Fuji, and Pentax use a 1.5x ratio (ASP-C). A camera's crop factor determines a lens' effective focal length, which allows photographers to easily understand the field of view they will get in comparison to other bodies.

DOF, which stands for Depth of Field, is the distance between the closest and farthest object within the focused zone of an image. It is determined by focal distance, aperture, and distance to the subject. The higher these numbers are, the more shallow the DOF will be.

Diaphragm is the mechanical device inside a camera lens that controls the aperture. Modern DSLR cameras use what is known as an "iris diaphragm," which is made of overlapping blades that can be modified to increase or decrease the size of the aperture.

Exposure is the amount of light that reaches the camera sensor and it determines how light or dark an image is. The exposure of an image is determined by the aperture, shutter speed, and ISO.

EV compensation, or exposure value compensation, allows photographers to modify the exposure on automatic and semi-automatic modes. Generally, the values can be changed through 1/3, 1/3, or full stop increments.

Focal length is the distance in millimeters between the center of a lens and the camera sensor. It determines the angle of view as well as the magnification of the subject. Focal length is the measure used to categorize the different type of lenses: wide angle (<35mm), standard (35mm - 70mm), medium telephoto (70mm - 135mm) and telephoto (>135mm).

FPS stands for frames per second and determines the speed at which a camera can take photos. It is especially important for sport and wildlife photographers, who need to be able to shoot rapidly to make sure they capture perfectly-timed images.

Golden hour, also commonly referred to as 'magic hour,' is the period right before sunset and after sunrise. During this time, the sun is low on the horizon so light takes on a redder shade than when it's higher up in the sky.

HDR, which stands for high dynamic range, is a technique that gives images a wider dynamic range than the one captured by the camera. The goal of this technique is representing a scene as close as possible to how it was seen by the human eye. HDR images are created by combining multiple photos with different exposure values.

Histogram is the visual representation of the luminance of an image. The left side of the graph represent the shadows, while the right side belongs to the highlights. The height of the histogram shows how many pixels there are for each specific luminance level.

Hyperfocal is the distance at which the focus point provides a deeper depth of field. It is often used by landscape photographers to ensure their scenes are as sharp as possible.

IS stands for image stabilization, a technology that reduces the effects of vibration on an image. IS can be integrated in the camera body or lens. This system is meant to be used when hand-holding the camera, as using it in combination with a tripod can send the wrong data do the system and incorrectly detect shakes.

JPEG is an acronym for Joint Photographic Experts Group and the standard format in which pictures are compressed. Due to this compression, JPEG files are smaller and carry less information.

Light meter is a device that measures the scene's luminosity in order to determine the best exposure value. The vast majority of cameras have a built-in light meter that relies on reflective readings through the lens.

Macro is the name given to extreme close up photography, usually capturing really small organisms or objects. In this kind of photos, the size at which the subject appears on the sensor is larger than it is in real life.

Manual is the camera mode in which the photographer controls all exposure settings. Shooting manual offers complete creative control over the shot, and is therefore considered a "must" for professional photographers.

Metadata, also known as EXIF, is the essential information about the image. This includes dimensions, resolution, keywords, camera settings, focal length, copyright owner, etc. Most of this information is automatically added to the photos, but some fields can be added or modified in post-processing.

Noise is a visual distortion that looks like tiny colored specs on a photo. It is especially visible in images shot at high ISO or very slow shutter speeds. Noise is the digital photography version of film grain.

Overexposure occurs when the exposure value is higher than it should be, resulting in a loss of information over highlight areas.

P is a semi-automatic camera mode. Contrary to popular belief, it doesn't stand for "professional," but for "programmed automatic". This mode allows photographers to control a few settings such as the use of flash, ISO, EV, and WB. The rest of the settings are automatically selected by the camera.

Prime lenses are those with a fixed focal length. These lenses are usually smaller and faster, as they have a smaller number of moving parts and a less complicated lens formula. Their maximum apertures are usually lower than f2.8.

Quality is one of the most widely used and yet more vague photography terms. One way to consider the quality of an image is looking for aberrations or information loss. Another, more subjective, one is to evaluate its composition, sharpness, exposure, etc.

RAW is a file format that saves the image as it was captured by the sensor, with minimal processing and no compression. This allows photographers to take complete control over the creative edition of the photo. On the downside, RAW files are much larger than JPEGs and other compression file formats.

Resolution is the dimension in megapixels that a camera sensor is able to capture. For example, the Canon EOS 5D Mark IV maximum resolution is 6720 × 4480 pixels, which rounds out to 30.1 effective megapixels. Higher resolutions allow photographers to capture a larger amount of detail on their photos.

Saturation refers to the color intensity of an image. As their saturation increases, colors appear more vivid and are considered more pure. Decreasing saturation results in muted colors, with full desaturation giving a monochromatic version of the image.

Scene modes are automatic camera modes with pre-set exposure values based on different types of situations and subjects. These modes are aimed to help amateur photographers achieve the optimum exposure and DOF without having to control any of the settings.

Tonal range is the total number of tones in an image, from its darkest to its brightest area. A wider tonal range allows for a higher variety of shades, which translates into more detail. In black and white photography, this translated into shades of gray. In digital photography, tonal range is directly affected by dynamic range.

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With great talent comes great responsibility: mastering the use of jargon. The list of photography terms the world expects you to know is nearly endless. Because of this, you have probably found yourself more than once trying to understand what a specific word means while reading an article or the latest Instagram post by your favorite photographer.

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25 Common Photography Terms Beginners Need to Know

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25 Photography Terms All Beginners Need to Know | CreativeLive

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A glossary of common photography terms that will help any beginner photographer get a good understanding of the craft in no time at all.

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Photography - Nube de SMART Vocabulary con palabras y expresiones relacionadas

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Photography - Nube de SMART Vocabulary con palabras y expresiones relacionadas

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Photography - palabras y expresiones relacionadas | SMART Vocabulary de Cambridge

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Photography Terms: Learn Photography Vocabulary Words with Pictures

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Photography Terms: Learn Photography Vocabulary Words with Pictures

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NAPO | *Award-Winning* Animated Short Film

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NAPO | *Award-Winning* Animated Short Film

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Gathering equipment and a lot more. Don’t be technically scared of starting  DJing. Read the text with some vocab help:
https://www.vocabkitchen.com/read/2dcbfe1d-18f9-4d2a-8ed8-141cabbc96a6

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Back in the day, the idea of putting your hands on a vinyl record was practically sacrilegious. But early DJs like Kool Herc, Grandmaster Flash, and Grand Wizard Theodore pioneered the techniques we now take for granted and got party...

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Do you dream of shooting your own music videos or feature films for a living? There are many important things that you'll need to know and equip yourself with in order to get started in the field. But to really become a cinematographer, you'll need more than just the gear and technical know-how.

Cinematography is all about the art of visual storytelling. Aside from skillfully operating a camera and setting up the lighting for every scene, it involves controlling what the viewer sees and how the image is presented to them - by choosing the right shooting techniques that best tell the story.

Below we've listed down some of the most widely-used cinematography techniques that can help dictate how your audience should feel about your scene, as well as how they will interpret it. These should help both aspiring and professional cinematographers create the most impactful and engaging films and music videos.

14 Basic Cinematography Techniques

Grab your cinema camera and get ready to try out these easy and familiar cinematography techniques that will help make your videos look more professional. We'll also explain how the shots can affect your scene, so you can make your shots work together to form a beautiful, clear, and cohesive narrative.

1. Extreme long shot

The extreme long shot captures a very wide area to show the scale of subjects in relation to their environment, like tiny birds in a forest. It is typically used as an establishing shot when changing from one big area or city to another.

2. Bird's eye shot

Like the extreme long shot, the bird's eye shot shows massive scale but from a much higher angle, to the point where land starts to show abstract shapes and lines out of roads, buildings, and trees. It is also typically used as an establishing shot for introductions and scene transitions.

3. Long shot

The long, full, or wide shot is a significantly closer shot of an area where viewers can have a better look of what's going on, but still not close enough to actually be emotionally involved in the scene. Subjects are also closer to the camera but far enough to have their whole bodies in view. It can be used to make your viewers feel like a casual bystander, such as when your leading actors are shown walking hand in hand while crossing the street.

To add just a little bit more intimacy, move in a little closer for a medium long shot until your subject is shown from the knees up. This allows better focus on a group of 2 to 3 people at the same time.

4. Medium shot

The medium shot allows viewers to move in a lot closer, but in a more informative way than emotional. The frame typically features a person from the waist up, and are used for general group scenes with dialogues and interviews.

You can also move in just a little bit closer for a medium close up shot to better show the expressions and emotions of an actor.

Simply frame the subject's head up to about half of the chest to increase viewers' focus on the person and show less of the surrounding. This is commonly used for documentaries and news programs.

5. Close up shot

The close up shot features just the entire head up to the chin or neck to allow viewers to feel more engaged and affected by the character's emotions. By framing less of the background and more of just the face, you are able to create impact with the character's facial expressions.

6. Extreme close up shot

An extreme close up shot is used sparingly and saved for moments when you need to increase the emotional intensity of a scene. You can do this by really zooming in on the character's face, sometimes just on the eyes, or even the hands. It works just as well for objects, like the ticking hands of a clock or brush strokes. While these shots greatly lack context, it's great for setting the mood or adding drama and intimacy.

7. Dutch angle shot

To execute the dutch angle shot, you simply need to rotate the camera to either side until verticals (like people and buildings) are tilted and the horizon is no longer parallel with the bottom of the frame. It's another shot that's used sparingly in narrative filmmaking, usually to portray uneasiness and disorientation. You can use this to show a character's unstable emotional or mental state, or add an unsettling feeling to a particular scene.

8. Over-the-shoulder shot

As the name suggests, the over-the-shoulder shot shows an out-of-focus shoulder and head in the foreground while another person, object, or the background is in focus. It's one of the most essential cinematography techniques for use in narrative filmmaking as it not only adds that much-needed depth to a shot but also aids in making conversational scenes look as natural to the viewer as possible.

9. Tilt shot

The tilt shot is as easy as it sounds, but the best way to turn this simple technique into an elegant shot is to carefully coordinate the careful upward or downward camera movement with some action within the scene. It can be used as an establishing shot of a wide-angle view or for slowly revealing something at the end of the shot.

10. Panning shot

The panning shot is the horizontal equivalent of the tilt shot. They can be used simply to show the surroundings, but you can achieve truly professional results with it by keeping the panning smooth and accurate (make sure to use a gimbal stabilizer or something similar), especially when there's action and a carefully composed final frame involved. Remember, such movements should be well-executed to look very natural and almost unnoticeable so as not to distract the viewers from the story.

11. Zoom shot

The use of the zoom shot has evolved over time - from being jerky, fast, and cheesy to being a lot slower and smoother to create a more natural zoom effect that doesn't distract viewers. Needless to say, it increases the focus on a scene, an object, or a character.

You can also try the dolly zoom shot, which creates a dizzying "vertigo effect" that can be perfect for suspense films. It works by smoothly zooming out with the lens while the camera (and dolly) moves closer to the subject in perfect coordination.

12. Crane shot

The crane shot captures vertical translational motion by moving the camera up or down by a couple of feet. It used to be achieved with huge and expensive cranes, but it can now be replicated with drone cameras. Fortunately, it's a shot that doesn't always have to be in every film, but it's a great shot that will add production value to your work.

13. Tracking shot

You can very well do without a crane shot, but you'll probably have to include tracking shots to your film at some point. An important tool for this type of shot is a dolly, which is basically a wheeled cart that moves along a rail track, but it can also be achieved with a Steadicam and other innovative motion control gear. You may even use a drone-specifically one with a tracking flight mode like the DJI Mavic Pro, which comes with an ActiveTrack mode that allows you to choose a subject (whether a person, a vehicle, or even an animal) for the aircraft to follow.

With a dolly track, you can create smoother movements and follow your subject as it leaves the frame, or simply add dynamism to an otherwise static camera shot. You can even combine the tracking shot with an over-the-shoulder shot or use any other (out-of-focus) object in the foreground to add depth and enhance the 3D illusion in your shot.

14. Point-of-view shot

Finally, another important shot that you can make use of (in case it works for your story) is the point-of-view (POV) or first-person shot. Your camera can either be steady or moving along its axis, as long as it shows how and where viewers should look at or scan the scene and make them feel like they're in the movie. It can also be accomplished by fitting your subject with a camera mount, similar to the GoPro footage above.

It's not the most aesthetically-pleasing shot and can sometimes be dizzying for viewers (such as in movies like the "Blair Witch Project"), but it's one of the best ways to make your film all the more immersive and engaging.

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Basic Cinematography Techniques for Better Cinematic Shots - ALC

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Do you dream of shooting your own music videos or feature films for a living? There are many important things that you'll need to know and equip yourself with in order to get started in the field. But to really become a cinematographer, you'll need more than just the gear and technical know-how.

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In this article, we're going to walk through the essential filmmaking basics from start to finish. So grab a cup of coffee, and settle in.
Just need something specific?

Use the table of contents below to find the filmmaking topic you're looking for. Links are clickable. 🙂

Filmmaking Basics In This Article:

The year was 1993.
I was flipping through a Teen Magazine when I saw an article about Drew Barrymore's production company.
I was 9 years old, and I was floored. If this woman had a production company, so could I. A world of possibility opened up before my naive farm-girl eyes. For a minute.

But then, like most nine-year-olds (and people in general), I tucked that dream in my back pocket and went about my life. I didn't become some young genius, making films and winning awards before I'd hit my not-so-sweet sixteen. Sorry. I'm no prodigy.
It wasn't until my early 20s that I pulled the filmmaking dream out and dusted it off.
But once again, it wasn't the time. The idea of spending $25,000 or more on film school and graduating with no gear to my name was out of the question.

Dream back in pocket.

Then the digital revolution happened, and I couldn't stop thinking about cameras. I couldn't get this image out of my head: a DSLR in my hands. That's it. But it haunted me.
At the time I thought that getting a camera meant I'd be covering the filmmaking basics.
Well, did I have a lot to learn. Because it turns out that buying a camera (or beg, borrowing or stealing one) is just the beginning.

Filmmaking starts with taking a story and using technology and artistry to bring that story to life in motion on screens that range from the tiny to the gigantic. So aside from understanding the technology, having a skillset, and being able to access the gear, you also need to know about the stages and grammar of filmmaking. Which is what you're about to learn today.
So let's get to it! There's actually more than three stages in the process of filmmaking.
But nobody likes talking about the last stage. It's the boring business-side that makes most artists want to slink away to a dark hole and stay there. But it's necessary.

So the four stages of filmmaking are as follows:

1. Pre-production

2. Production

3. Post-production

4. Marketing/Distribution.

Pre-production (or peeling the banana)
You know how before you eat a banana you have to peel it?
Well, same goes for filmmaking. Before you start the fun/crazy part i.e. shooting, you have to plan the living hell out of your production.

This goes for whether you're doing a solo shoot or making an epic blockbuster feature film. Doesn't matter what size of production, you've got to nail your pre-production if you expect your shoot to be a success.

Before pre-production starts, you'll do these three things:

Come up with a story idea that has a hook and a hero

If you're pitching your film, you'll write a treatment (no need for this if you're self-funding or creating a solo project)

Write the script-or for a solo documentary production you might just flesh out your ideas

During pre-production you'll do all of the following:

Build your team (cast/crew/subjects) or decide to do it solo

Nail down the date for the shoot with your subject, cast, crew

Find the right location (location scouting might be involved)

Create a shot list

Decide how you're going to distribute your film (online, festivals, other?)

Decide on how you're going to promote your film

Make technical choices based on your distribution plan (frame rate, frame size, camera, lighting, sounds)

Securing gear rentals, loans, or just prepping your own gear

If you knock your pre-production out of the park, you're off to a good start. The key to a great shoot IS your pre-production process.

Production
This is what everybody thinks of when they dream about filmmaking: the shoot days.
This also tends to be the part of a production where your awesome pre-production work or lack of prep rears its head. You can't fake it during a shoot. Either you're ready, or you're not.

During production, you're either working solo with a subject or with a cast and crew in order to get every single shot you need (the essentials) to tell the story that you intend to tell.
When creating your shot list, you'll have nice-to-have shots and you'll have essential shots.
When things go wrong on shoot-day, as they inevitably will, you can slash the shots that aren't vital and just keep rolling.

The most important thing here, if you're on a small or zero budget, is to stay on schedule and not require any additional shoot days. You'd be surprised at how easily you can lose cast and crew if you need another shoot day beyond what you've planned.
The key to a smooth production process is knocking your pre-production out of the park like you're Babe Ruth in his prime.
Post-production
This is where you get to say things to yourself like, "Wow, I wish I hadn't decided to fix it in post!"
It's very common for people to say, "We'll fix it in post," every time something goes wrong on a set. The thing is: sometimes you can't fix it in post.

We're talking about the editing process of course. Editing is where you build the story from all the footage and audio you've captured on set.

All of the following are included in post-production:

Editing from rough cut to final cut

Colour correcting (spelled the Canadian way)

Colour grading

Sound design

Sound mixing

If you're a solo filmmaker you may do all of these things yourself. It's not as hard as it sounds, btw!

Video editing isn't as hard as it seems. Becoming a master is hard, but getting started is easy.

Marketing
I'll keep this short because I know you don't want to hear about this right now.
But the truth is that movies are only successful when they've been marketed. The marketing typically begins with pre-production. Typically a Hollywood movie won't even be made if the producers and marketing team don't think they can sell it. Same goes for an indie production with a multi-million-dollar budget.
For indie filmmaking or solo filmmaking, you are the marketing team, most likely.
So you might want to consider who your audience is and ask some questions:

Who wants to learn more about this topic?

Who wants to watch this story?

How big is your audience?

Where do they hang out online and offline?

How can you tell them about your film once it's done?

Are there groups or influencers who might be interested?

Thinking about marketing before you make your film will help you more than you might realize.
In fact, I wouldn't make recommend making a short film or online film without thinking about your audience. Even if the stakes are low, you're still investing a lot of time into your production. You should know who your audience is before you start putting in the effort.

As much as we'd love to think that movies sell themselves. They don't. Nothing does. So marketing, while you might not like the sound of it, is one of the most essential parts of any successful endeavor, creative or otherwise.

The Idea
No film can survive without a good idea at its core.
Some writers and filmmakers would argue that you need more than just a good idea: you need a hook!
The basis for any film idea or hook is this: Subject + Deep Desire + Obstacle(s)
Another way of looking at this is by asking the simple question: Who is this about and what do they want extremely badly?
A film doesn't work if you don't have an interesting and sympathetic subject with a deep desire who's got obstacles in their way.
You can go a lot further with this. I'd recommend reading Save the Cat by Blake Snyder if you'd like to learn more about idea generation and creating a hook for your film. This book is primarily for screenwriters but it's also interesting for documentary filmmakers and even online solo filmmakers.

If you have a tendency to get stuck when working on scripts, then check out the 14-day storytelling course for writers and directors. It's designed to help you get back on track, fix story problems and boosting your story confidence, so you're not so afraid of the blank page.

Documentary v.s. Narrative
So what kind of movie do you want to make?
There are two main choices: documentaries or narratives. A documentary is supposed to be an expression of "real" life. But even in a doc, you can do a lot of directing, and it isn't necessarily just a matter of standing back and filming whatever happens in front of you. Sure, you can do that. But you can also direct the action, set up scenes, and hold staged interviews. You can put yourself in the documentary as many well-known directors do.

Honestly, there aren't any rules that you have to follow aside from the fact that if you have actors it ain't a documentary anymore.
Narrative filmmaking uses actors.
You've got a script or a story that you'll improvise, a director, costumes, sets and the whole shebang.

Many filmmakers start out with documentary filmmaking because it's much less expensive and great subjects and stories are everywhere.

If you want to make an online documentary, you don't need an investor or a producer. You just need a camera, your sound gear, a subject, and the ability to edit and tell a story.

The Script
This is only strictly necessary if you're doing a scripted narrative or animated film.
Most animated films have their scripts locked down long before production starts. That's because it's insanely expensive, so there's no such thing as multiple re-shoots if you're creating a CGI epic.

But with narrative filmmaking you might be doing re-writes on your script all the way up to and including the days of the shoots. You might also be doing an improvised movie, which requires only a storyline and characters and no traditional script.

Some documentary filmmakers do create scripts, while others don't. Typically, however, most filmmakers (who aren't working solo) create treatments . This is a 5-15 page breakdown of what the film is about including a longline, synopsis and character breakdowns. It's usually used to get funding.
If you're solo filmmaker, you don't need a treatment.
You do still need to know what you're making a film about. But there's nobody you need to convince.

The Storyboard

The storyboard is the part of filmmaking a lot of beginners get tripped up on. You might think you need something elaborate. You'll need to pull out those felt pens from grade school and learn how to draw realistic humans.

Wrong!

You might not even need much more than a stick-person scrawl in the margins of your script.

For big-budget animation films, storyboarding is essential. Every shot is designed multiple times until perfect.

The same goes for big-budget action films.
If you're making something on a smaller budget, it's common to have very simple storyboards.
I've done storyboards just made up of photographs of the actors roughly on location, and I've also done stick figure scrawls. But, I've never done anything elaborate.

What to consider when creating a storyboard:

Storyboard Examples

Make your own with Google Docs or click here and use this free one from Wiki Commons. Below you'll see two examples of blank templates, and one example of a storyboard that's been filled out. To be sure, you don't need a storyboard that's so artfully drawn. A stick drawing will be more than sufficient.

One way to create a storyboard is to actually just do rough photographs of the shots.

Shot Sequences
Each shot in a film must build on the one that came before it.
The goal of your film or video shoot is to get enough footage that will work together in the edit to build a story.

A typical shot sequence for a film might be something like this:

Establishing Shot (wide)

Medium 2 Shot (both actors)

Over the Shoulders Medium Close Up on Actor 1

Over the Shoulders Medium Close Up on Actor 2.

Medium 2 shot (both actors)

Close Up on object in Actor 1's hand

Medium Single of Actor 1

--and so on--

That's just a shot sequence you see in TV shows all across the land. It doesn't mean you have to do that. In fact, plenty of creative filmmakers don't do that at all. Watch all of Wes Anderson's movies and you'll see a much less common way of putting shots together. He relies on the medium two shot for a lot of his dialogue. And he loves the wide shot. The films of the Cohen brothers are also an interesting place to find inspiration when it comes to shot sequences.
Basically, the only ground rule is that your shots have to work together, one after the other.
This is something I teach in my online filmmaking course, and it tends to be the area that solo filmmakers struggle with the most. It's easy to go out and shoot a bunch of B-roll (i.e. shots that aren't connected). Whereas shooting shot sequences requires planning and thinking like a filmmaker.

Camera & Shot Angles

To cut your shots together later in the edit suite you'll want to move the camera so that the field of view is 30 degrees different relative to the previous shot and next shot. You do this each time you re-frame. This allows shots to be cut together seamlessly.

If you film your subject straight on in shot, then move the camera so that it's capturing your subject from the side, that would create more than a 30 degree difference. When cutting these two shots together it would appear relatively seamless.

Personally, I love to jump in without changing the angle (also called a Jump Cut). But it can be hard to match motion/emotion when cutting this way, and it probably shouldn't be your go-to.

An alternative or addition to this is the 20% rule which states that in order for shots to be cut together in the edit seamlessly, they need to be 20% different from the previous shot. You can change the shot size, camera angle, depth of field, and focal length to create a combine 20% difference.

For example, if you change the focal length of your lens from 80mm to 24mm, going from a close up with blurry background to a medium wide with far more background detail, your shots will likely cut together just fine.

Shot angles for filmmaking include:

Low - shooting from below (can be a "hero shot" if extreme)

Eye-level (exactly as it sounds - considered a non-manipulative angle)

High (shooting from above)

Worm's Eye (shooting from extremely low)

Canted/Dutch (shooting on an angle-very unsettling angle)

Bird's Eye View (shooting from directly above)

POV (shooting as though you are in the shoes of the subject)

One general note is that the different shot angles you use will affect how your viewer feels about the characters on screen. For example, a low shot, looking up at a character makes them come off as powerful. A shot looking down at a character makes them seem vulnerable. So just changing your shot angles willy nilly is not going to create an edit that works even though the shots might be "cuttable."

Change the camera angles intentionally to help tell the story.

This video simply shows you the dutch or canted angle in its full glory including the degree at which the camera has been angled. Amazing!

Shot Sizes
When you're creating a shot list, you want a variety of shot sizes.
Unless you're making a wonderfully weird art film, it's unlikely every shot will be the exact same size.

In your arsenal as a filmmaker you've got the following:

Extreme Full Shot also called Establishing or Wide Shot or Long Shot

Full Shot

Medium Full Shot

Cowboy Shot (pretty sure nobody says this anymore...but here it is)

Medium Shot

Medium Closeup

Closeup

Choker (a subset of the closeup that cuts right at the neck)

Big Head (a subset of the close up that shows just the head)

Extreme Closeup

Pre-Production
Pre-Production is the detail-oriented world of high-energy humans.
It's also the reason most people never make films despite big dreams. While most people say it's the money that's preventing them from making a film. The reality is that the pre-production process is what's usually stopping people, not the lack of funds. What you lack in money, you can make up for in meticulous pre-production.
Pre-production includes every single basic decision that must be made before anyone presses the record button on their cinema cameras.
Pre-production for a big narrative feature film will be different than pre-production for a run-and-gun documentary, which will be different than pre-pro for a solo micro-documentary. While the choices are the same, the number of people and time involved is much different.

Here's a non-exhaustive list of some decisions and actions you need to take during Pre-production:

Lens Choice

Creating a Shot List

Choosing Your Aspect Ratio

Choosing the Right Camera

Going Solo or with a Crew

Putting Together a Film Crew

Casting or Finding a Subject

Finding a Location

Production Design

Costume Design or Wardrobe Suggestions

Planning Your Lighting

Renting Gear vs Buying Gear

Where's It Going to Screen?

Lens Choices
This is a critical yet typically overlooked choice.
While everyone freaks out about what camera they're going to use when making a short film, it's less usual to hear about this much more important decision. Unless of course, you make a habit of reading cinematography blogs and magazines.

While your choice of camera will have an effect on the overall quality of the image and how nimble you're able to be, the lens choices will be what help tell your story.
The first decision you need to make is whether to use (fixed focal length lenses) or zoom lenses.
For narrative feature filmmaking, the decision is easy. Use primes. They provide much higher quality. The quality of a lens is usually determined by how sharp the images it captures are, how little the lens distorts the image, how colours are rendered, and how nice the bokeh (background blur and shape of bokeh balls) is.
Once you've decided on whether you're going to use zooms or primes, you then need to decide on your focal lengths.

Do you see all those glowing balls in this image? Those are bokeh balls. They're created by shining points of light that are out of focus.

If, however, you're aiming to become a solo filmmaker, then it's time for you to learn about lenses.
Deciding on your focal lengths comes from knowing how you want your film to look. If you're working with a Director of Photography, you can lean on them for this. They'll be choosing lenses based on your description of what you're trying to achieve.

There are two good ways to get started understanding focal lengths.

1. Use a camera with a 50mm or equivalent lens and get know what that looks and feels like. 50mm is considered a standard focal length and one that is most similar to how humans see the world. But some cameras have sensors that crop your lens's field of view and so you'll actually need a shorter lens to get the same look. A 50 mm equivalent might mean using a 24mm lens or a 30mm lens on a crop sensor camera.

2. Use a camera with a standard zoom lens and play around with all the focal lengths, so you begin to understand the difference between what a 20mm focal length can do for you compared to a 50 mm focal length.

Your shot list is what prevents your shoot from falling apart.
Creating a Shot List

This is where you plan the shots you need to capture, and the order in which you need to capture them. One of the most important parts of creating your shot list is deciding which shots are absolutely essential and which are just would-be-nice or safety shots that you can cut if you're running out of time.

Even in filming a documentary or micro doc, you're going to have a shot list. It's the only way you can be sure that you're not forgetting some critical element.

There's no one perfect way to make a shot list, but here's what it would often include:
On a more elaborate shoot where your shot list isn't just for your own reference, but also to communicate with your crew, you'd probably also include:

Shot size (medium, close up, wide...)

Description of shot including movement within the frame

Angle of camera/shot

Camera movement

Camera and Lens for the shot

Frame rate

Location

Sound/Dialogue notes

Actors

Super Simple Shot List

You can download the pdf of this Super Simple Shot List by clicking here. You don't even have to subscribe, I'm just giving it away. Also, you can easily make one that fits your needs using Google Docs and it's insert table function.

In some cases there is no choice. You have to shoot in the standard aspect ratio for the medium.
Choosing Your Aspect Ratio

In other cases this might be a big decision.

The aspect ratio of your film refers to the frame size at which you present your footage. This might not be the same as the aspect ratio at which you shoot your footage.

Most TV shows have an aspect ratio of 16:9. If you turn this into a ratio over 1, you've got an aspect ratio of 1.7 to 1. Most people just call it 1.7

This coincides with basic HD footage which is 1920×1080 which is the same as 1.7

For movies on the big screen, the studios usually go wide (1.85) or ultra wide (2.39).
Aspect Ratio: 4:3 - also called 1.33 Aspect Ratio: 2.39
Aspect Ratio Comparison
This is where most indie filmmakers start pulling their hair out.
Choosing the Right Camera

It doesn't have to be such a complex decision, however. If you have no money, use the camera your director of photography has access to or the one they want to rent.

If you're aiming to become a solo filmmaker and you need to buy a camera, then it's time to start listing out all the ways you want to shoot. There are no perfect cameras that work perfectly for every single type of shoot. You need to know what rigors your work will be putting you through, and from there you choose a camera that will help the work get done most efficiently.

If you're planning on directing and film, and you're not interested in becoming a solo filmmaker, then don't spend money buying a camera.
If you've read this far, then clearly you're legitimately interested in making films.
Going Solo or With a Crew

Well, just so you know, you can start small and solo. You don't have to jump in right away with a crew.
If you're interested in making narrative short films or narrative features, then, you're going to need a crew.
You can put together a filmmaking kit with a camera, lens, sound gear, and go make a film solo. This works best for documentary-style micro-filmmaking. But you could pull it off on narrative work if you were doing something hyper minimal.

At a minimum, you'll need a Director of Photography (DP), Sound Recordist/Mixer (usually they like to work with a Boom Operator who is the person who expertly handles the microphone on the boom pole), Line Producer, and it helps to have an Assistant Director (AD) otherwise your Producer is going to be doing double duty. I'm assuming, you'd be the Director in this case.

This is your bare minimum. Remember that for every day-long shoot, you've got to feed your crew and make sure everything runs smoothly. So you'll usually need a bit more than the minimum. The more professional everyone is the more you can get away with a skeleton crew.

And while you certainly don't need a huge crew for every production. The fewer people you have, the longer it typically takes to get things done.

In this regard, solo filmmaking is incredibly liberating. You don't need all those people to get it done. But you do need a light-weight kit, some production know-how, and a highly specific strategy.
You'll need a strong cup of coffee and persistence, especially if you're starting from next to zero and don't have much money to spend.
Putting Together a Film Crew

It helps to set a shoot date before you start seeking out a crew because it's hard to get a firm yes if you can't tell people when your shoot is happening. It also might help to have a number that you can pay everyone per shoot day. Even $100/day is a good incentive. But as you might guess, that can add up.
Finally, you might consider joining local Facebook groups for Indie Filmmakers and find your crew that way.
A good place to start is checking out local short films and finding examples of cinematography that you like. You can start looking up the DPs that you find, and see if they're interested in working on your project. Try doing the same thing for sound recordists and ADs.
In other words, if you randomly meet a sound recordist at a bar, become their best friend immediately and never let them go.
My experience has been that finding a good Sound Recordist is the hardest thing. And if you expect to get a good one, you're going to need to pay. They typically cost around $700/day in my city. If you're in a huge metropolis, you might have an easier time of it. But where I live in Vancouver, Canada, it's a nightmare.

Also, I speak from experience when I say that shoddy audio will ruin a production. And the amount of time that goes into editing a film means that you do not want to be doing this while working with shoddy audio.
So, as counterintuitive as it may sound, put your audio quality above your image quality when you're thinking about your budget.
Finally, bad audio can't be fixed in post. If it's got a lot of noise, or the boom operator kept hitting the microphone against the furniture, or the clothing your subject is wearing is making nylon noise, or there's a high wind and you're not using a blimp, or you've got tons of interference, this audio becomes nearly impossible to save.

It's hard to do. But at least try. This is one decision you won't regret in post.
If you're making a documentary, then your subjects will be based entirely around what story you're trying to tell.
Casting or Finding a Subject

If this is your first micro doc, then I'd recommend creating a piece about someone you know. Don't aim for the stars on your first go at it. Keep your goals reasonable.
What is bad acting, anyway?
For a narrative piece, casting means finding actors that will fulfill the needs of the story and the tone of the piece. Aside from bad audio, the biggest thing that kills most short and indie feature films is bad acting.
Casting is your most important job as a director. Don't take this lightly.
It's acting that doesn't feel real. It doesn't feel natural. It's awkward. It sounds canned. It feels like a line reading. There's no element of surprise. It's dry. It's dull. It's lifeless.
Location is just as important for filmmaking as it is for real estate.
Finding a Location

Not only do you need a location that looks authentic and helps tell your story, but it can't be full of crazy loud noises, it can't be run over with people, and it has to be available at the right time based on the lighting that you need.
Photograph set ups similar to the shots you're thinking of doing.
The key to figuring out if a location is going to work is going there in person and photographing it during the time of day you think you need.

You can use a friend as a stand-in for the characters. You'll look at the shots again later and see tons of issues you didn't notice before. That's a good thing. You'll be able to solve them if you see them in advance.

Production Design

Production Design is what creates the physical look of the film. It's like interior decorating at 1000x speed.
At it's most basic, this could just be moving some potted plants around so your interview shot looks more alive.
Except in the case of documentaries that are shot in a run-and-gun style, you'll always need to have some element of design go into the look of the physical space.

On a narrative feature film, this means employing a Production Designer and an entire team of people to create a world that doesn't exist in reality.
Something as little as noticing that a lamp has an ugly sticker on it, and removing it will make a difference.
For solo filmmakers, doing a super simple version of production design can make a huge difference to the final quality of your film. I spend quite a bit of time on this element before shooting any interview. Not once have I walked into a space and kept it the way it was. You have to think that you're capturing an image that will last potentially 20+ years. That image needs to help tell the story. It needs to evoke a feeling.

Noticing that you've got an electrical outlet in your shot, and shifting a plant to hide it will make a difference.

As a solo filmmaker, you want to tend to your set and view it critically, changing whatever you can to help best tell the story.
Costume design is largely overlooked by amateur productions, but I know you won't make that mistake.
Costume Design or Wardrobe Suggestions

In some cases, you can get away with actors wearing their own wardrobe items. But you have to make sure that it works with the storyline.
In film life, your audience immediately judges a character by how they're dressed.
How many short films have you seen with people wearing ill-fitting suits? Well, I've seen quite a few. In real life, you probably shouldn't judge someone by how they're dressed.
Examples of suggestions include:
When it comes to documentary work, you can (and must) make wardrobe suggestions to your subject. These are for both technical reasons and to help enhance the story.
If you're making a narrative film, your DP or Cinematographer will plan the lighting.
Planning Your Lighting

They'll do this well in advance based on breaking down the script and working with the feeling you're trying to create and the story you're aiming to tell. But if you're working solo, then it's up to you to plan your lighting.

Creating a cinematic lighting plan means you must go to your location at the time of day that you plan on shooting and taking photographs. You'll analyze the light-how much light is there, the direction of the light, the brightest and darkest areas, places with mixed light (natural light + bulbs), and how variable the light might be through the day.

From there you'll decide if you need to add studio lights into the mix. You have two basic choices when it comes to using lights: soft and hard.

Soft lighting has an element of diffusion that creates a soft look without harsh lines and shadows. Similar to what you'd find on a cloudy grey day.

Hard lighting usually is a combination of a bulb and a lens which focus the light. The idea is to get contrast and stark lines. Think film noir.

Lighting is a topic all its own, but if you start from a place of paying attention to soft vs hard light, you're on your way.
Something you need to know: rentals rule!
Renting Gear vs Buying Gear

Some production companies work almost exclusively with rentals. In fact, most production companies rely on rentals for most of the projects.

Why is that?
What you need for a run-and-gun documentary shot in the desert is quite different from what you need on a feature film shoot in the tropics.
Because for every area of gear (camera, lenses, stabilization, lighting, sound recording, monitors) there are a myriad of options designed with specific types of shoots in mind.

If your goal for the next 12 months was to learn everything there was to learn about film lighting, you couldn't do it. It's actually impossible. The same goes for every single piece of gear. There is a gluttony of choice.
Here's the rule: buy the gear that you know you'll use on every single shoot you do.
That being said, I still own a lot of gear.

Rent the gear that's prohibitively expensive and you'll only use on some shoots.

If you want more information on what gear you need to get started, take this free filmmaking quiz. You'll discover your filmmaker archetype and then get a customized list of the gear and strategies you need to get started.
This is a critical decision. And one you need to make before you find your crew or press record.
Where's It Going to Screen?
There are strict standards for every single form of distribution.
Where your film is going to screen will affect every single decision you make. If it's a film designed for the online space your leeway is a lot greater than if you're aiming for a theatrical run.

The technical aspects of what is allowed on television versus steaming versus a film festival are varied.

You need to know in advance what your films final resting places will be so you can plan for success.

What to do? Decide on the top places you want your film to screen from film festivals to streaming sites, then look up their technical requirements for films. That's what you'll use to guide your technical decisions moving forward.

The good news? If you're a solo filmmaker working to create media for the online space, you can relax a bit. At this point, as long as you're shooting with a resolution of 1080p or more in a minimum of 24fps with clean high-quality audio recorded at 48Khz.

The technical specifications required of a film that's going to screen in a theatre are much more complex than if you're just streaming online on YouTube. Know your destination before you start.

Production is the so-called glamorous part of filmmaking.
Big Screen vs Small Screen

Really it's just loads of hard work with a touch of craziness and a lot of fun. It's the part of moviemaking that everyone tells stories about. And it's the part you see images of online when someone's trying to sell you a camera or a course. It's what everybody thinks of when you say, "I'm making a movie!"
Production includes every single day of shooting, from the main shoot days to the pick-up shoots.
Nobody thinks of the people in the editing room sweating it out for 6 months. But anyway...

On an indie narrative shoot, you'd be aiming at anywhere from 24-28 days of shooting. On an ultra-low-budget indie you'd want to aim from 10-12 shoot days.
For a solo production, you're aiming to get it in the can in 1-2 days.
But a bigger film full of visual effects might take a lot longer. Alice in Wonderland had 40 shoot days. While the 1939 epic children's movie The Wizard of Oz took 6 months of shooting with cast working 6 days per week with 12-15 hour days. But 6 months of production is not the norm.

The key to a your production days going smoothly is organization. For aspiring feature film makers or narrative short makers, you'll need an Assistant Director to make sure everything happens on time.
Here's a list of the typical paperwork you need to keep a narrative shoot on track:
Production Paperwork
The paperwork you need for a solo film shoot is a little bit different.

Call sheet - this sheet goes out to everyone on production the night before an has all the critical info from weather, location, to cast and crew to what's getting shot

Shooting schedule - what's going to get shot, in what order

Camera log/report - this is the job of the camera assistant usually - they log the footage and make notes that will be useful during editing

Sound report - this is the job of the sound recordist and this is a log of all takes with notes that will help in editing

This is what I always use for each mission-critical solo filmmaking shoot:
And you won't find it online because as of yet solo filmmaking has yet to become a popular art form. For my own solo filmmaking doc-style shoots I've created a Foolproof Shoot Plan.

Lighting plan for each set up

Mini storyboard for each set up

Interview questions in the order of importance

Shot list of everything I need to capture

Gear list with checkboxes to make sure that what I bring returns with me

Foolproof Shoot Plan which includes lighting/sound potential problems and solutions and a quick story breakdown as a reminder

If you're a creative and you can handle doing a little bit of paperwork, then your chances of becoming a professional filmmaker just shot way up. Especially if you're going to be self-producing to start out.
Finally, we get to talk about cameras!
The directors who are pure artists and can't manage a Google Sheets doc always have a producing partner. There's no way to avoid doing paperwork when creating a film of any scope. Why not? Because there are so many details to keep straight. Especially if you're starting out, it's too much to ask of your brain to keep it all organized.
You have three choices when approaching a film: a Cinema Camera, a DSLR, and a Mirrorless Camera.
That's the part most filmmakers get obsessed with, even though lenses are way more important. But it's true that if your cinematography is a total mess, it'll be hard to get an audience for your film.

There are some basic differences between the three cameras. But let's start out with every filmmaker's favourite: the Cinema Camera.
Cinema Cameras are typically designed for narrative filmmaking where an exceptional amount of gear and crew members are used.
Cinema Camera

It's unusual to find a cinema camera that will work perfectly straight out of the box in a myriad of shooting situations. Cinema cameras are often bulky or boxy and not designed for handheld. They're essentially designed to give you the most glorious image quality possible at a particular price point.
When it comes to COLOUR SCIENCE the main thing to pay attention to is the tonal variation of the images produced.
Now that's a bit vague. But for cinematographers, the mark of great image quality isn't the frames per second or whether a camera shoots in 8k. Instead, it's the camera's colour science and dynamic range.

In plain English, you want to know how many different colours can your camera's sensor capture. An 8 bit image has 256 tonal values. While a 16 bit image has 65,536 tonal values. You can see the difference in these graduations of colour if you watch two videos side-by-side. Calculating tonal values is done by multiplying the number 2 to the exponent of the bit.
DYNAMIC RANGE may also be called brightness range or luminance range.

16 bit 2x2x2x2x2x2x2x2x2x2x2x2x2x2x2x2x2 i.e. 65,536 tonal values
8 bit = 2x2x2x2x2x2x2x2 i.e. 256 tonal values

It refers to how well your camera's sensor is able to capture the range of values from BRIGHT to DARK. Imagine a scene that has a bright blue sky and a darkly shaded tree. In the sky, the white clouds will be the brightest part of the image. Under the tree there will be extreme shadows that are nearly black. A camera with 12 stops of dynamic range it might be able to capture the detail of the image in the dark and bright areas.
The human eye doesn't crush blacks or blow out highlights.
If your camera has less stops of dynamic range then the bright areas will be blown out (zero detail at all - pure white) and the shadows will be crushed (zero detail at all - pure black).

It can see most of the detail in any scene because it adjusts to the light available and it rapidly switches back and forth from the dark part of the scene to the brightest part.
At present there is no camera able to handle the incredible brightness range that exists in nature.
Dynamic range is measured in stops. For each stop you're doubling the brightness that the camera's sensor can effectively capture. That means there's quite a difference between a camera that can capture 8 stops of dynamic range and 14 stops of dynamic range.

A camera that boasts 14 stops of dynamic range will be better able to handle a wide brightness variation than one with 8 stops of dynamic range. This photograph from Ansel Adams was shot in 1942 on film. It demonstrates what you might ideally be looking for in dynamic range. You're aiming to be able to catch the highlights and the shadows with some detail.

So you'll never actually be capturing an image that is "true to life." Not to worry though. As long as your image is compelling and the necessary details are visible, then you're in good shape.
The dawn of the DSLR age is what opened up filmmaking to more and more people.
DSLR Camera
Two benefits of using a DSLR are the huge array of lenses available and the low cost of the cameras themselves.
DSLR stands for Digital Single Lens Reflex. These cameras were created for photographers. But as technology advanced, and as the camera makers saw an opportunity, video capabilities were improved.

There are a wide range of DSLR cameras available, and it's safe to say there's one at almost every price point. In particular, you have many DSLRs that have been barely used but are being sold for half the original cost.
In addition to the incredible choice of lenses, DSLR cameras typically provide beautiful skin tones.
For every DSLR camera, there are hundreds of lenses you can use. Also because DSLR cameras are so popular there are plenty of lens converters and adaptors. This means you could use vintage lenses on your new digital camera simply by adding an adaptor.

Canon and Nikon have particularly beautiful colour science when it comes to rendering skin tones. I find their image quality to be more pleasing to the eye than Sony and Panasonic cameras. But that's just personal preference.
Now before we move on, let's talk downside.
One final reason DSLR cameras are so popular is their relatively analog feeling. Unlike a mirrorless camera, a DSLR does allow you to look straight through the viewfinder and it typically has the knobs and buttons expected on an old-school SLR camera. This is something many filmmakers like as it can feel more pleasant when compared to always being inside a digital menu.

DSLR cameras, particularly the low-priced ones, are designed for photographers. That means that some of the highly useful video functionality is missing from them. There are three main things that I wish my DSLR camera had but doesn't.

Zebras are an overlay on your screen that shows you when part of an image is either over or underexposed. If you're using just the 3-inch monitor on your camera, this is critical. Most mirrorless cameras have this feature but only the super high-end DSLRs do. You can use a software hack called Magic Lantern to open up this functionality in your DSLR but then you render your warranty worthless.

Focus peaking refers to another overlay that shows you exactly what part of your image is in focus. You'll see an array of tiny dots on your screen where the image is in sharp focus. Again, if you're shooting on the go and you don't have an external monitor, focus peaking is a huge help.

Finally, high frame rates mean you can shoot slow motion. (120 fps at 1080p is ideal.) High frame rates are often missing from DSLRs. Once you start paying $3000 or more for your DSLR, you're going to get high frame rates. So this is a matter of budget. But I think it's lame that the camera companies don't just put it on all DSLRs. I highly doubt it would cost them much to do so, but they are trying to push buyers into a higher tier of camera.
Mirrorless cameras have become more and more popular over the last five years and with good reason.
Mirrorless Camera

They're light weight. Like really light weight. They typically have better resolution and frame rates for a better price than DSLRs. They have great image stabilization so that shooting handheld can be a lot smoother. And they often do better in low-light situations than their DSLR counterparts.

To be competitive, the makes of many mirrorless cameras have stepped up their game in the last few years.
Well, it's the user experience, the lens mount, the colour science, and the crop factor that are preventing more people from becoming converts.
So why isn't everyone using mirrorless cameras if you get more bang for your buck and they have arguably better functionality?

In terms of user experience, mirrorless cameras do typically feel very digital. You're often forced to use the menu to make any changes. Their controls don't seem to be as intuitive as the DSLR cameras. For many people they just aren't as fun to use. While for others, the fact that they are so lightweight and have great image quality outweighs that experience.

Mirrorless cameras typically have a micro-four-thirds lens mount. This means you can't just stick your Canon EF lenses on these cameras and expect them to work. While there is a huge array of micro-four-thirds lenses, many people have already invested in DSLR lenses and don't want to add a very costly adaptor to the mix.
Finally, many mirrorless cameras have a crop factor of 2x.
When it comes to colour science, it's not that mirrorless cameras don't create high-quality images. They do. But if you've built up a preference for Canon imagery, then the way Sony and Panasonic images look might not be to your liking. Canon does have their own line of mirrorless cameras, but they don't seem to have taken off in popularity in the video world.

This is because they often use a micro-four-thirds sensor. The field of view with a micro-four-thirds sensor is much narrower than that of a full-frame DSLR camera with a larger sensor.

If you took a 50mm lens and put it on a mirrorless camera that has a crop factor of 2x, your image would be much more "zoomed in" compared to the same lens on a full-frame DSLR.

There are also many DSLR cameras that have a crop sensor. They usually have an APS-C sensor with a crop factor of 1.6x. This does make a difference to your lens choices, but it's not quite so dramatic.
The Sony Alpha III appears to be the most popular mirrorless option within the videography and filmmaking world.
Now it sounds like I'm anti-mirrorless, but I'm not. These cameras are incredible. If you want something lightweight, then this might be the best option for you. Especially if you're a run-and-gun shooter, then this is a great option.

And since I've been such a Negative Nancy about mirrorless cameras, I feel like I should show you that the footage can be amazing. If you were going to just do travel videos, you probably can't get better than this camera. Buuut, do you notice that this whole video is slow motion? You're not going to be shooting a narrative film in slow motion unless you've lost your mind. So for me, this is a run-and-gun camera not a shoot-a-short-film camera.
Sound is more important than your image.
And if you're shooting a narrative film, and you're renting a camera, it's unlikely that this will be your first choice.

There, I said it.

It's true. And yet, so few aspiring filmmakers want to know anything about sound. Which is why this will be so brief. If you want to learn more about the basics of sound, click the button below and sign up to get a free 20-minute video where you'll be walked through the basics of recording sound when you're starting out.

But before you do that, let's talk the basics of sync sound, starting with a discussion of the ever-important SLATE.

The Slate or Clapperboard
The main purpose of a clapper used to be as an aid in syncing sound.
You've seen a film slate a million times on TV and in movies about making movies. But do you know why it's used?
Today, you can usually sync up your audio in post-production automatically without needing a visual reference.
When you clap the top of the board against the bottom you get a peak in your audio sound waves. The wave literally spikes up because the sound is so strong. You'll see that spike in both your scratch track (the audio from your camera) and your dialogue tracks (the audio from your external recorder). Then when syncing sound in your editing suite you can line up those spikes and boom-you've got synced sound.

In Premiere Pro, you just select your video clip and your audio track, you go to Synchronize and choose AUDIO, and it does it for you. There's also a software called PluralEyes from Red Giant which is dedicated just to syncing up your audio.

Even though you technically don't need the clapper to sync sound, it still gets used as a safety measure.
Using a clapper is a must if you're shooting a narrative film.
Plus the clapper has another purpose. The name of the production as well as the Scene # and Take # are also written on the board. This can help the editor if organization has gone sideways and they need to find a particular clip. And organization will indeed go sideways if you're an indie production working under pressure with a low-budget.

But for run-and-gun documentaries, it's not going to be used. You can't expect to get off-the-cuff footage if you're jumping in with a slate every two seconds.

I also don't use a clapper in my solo filmmaking. For interviews, which is when I use an external recorder, I simply run the video and the audio for the whole process. I only stop recording if the subject needs a break. That means more footage and more data, but it also means I don't miss anything and syncing is easy. If you only have two files to sync, it's an easy day at the office.

For a narrative film, I would never do it without a slate. In fact, I've had that experience, and it was a nightmare. So always make sure you've got a slate and a backup slate. Meaning if your sound recordist says they're bringing a slate, bring one yourself. Don't start shooting a short narrative film without a slate.

Final note, if you're worried about sync sound, but you don't have a slate, you can also just clap your hands together before every take. That will create the same peak in audio which will help you sync sound in post.

If something goes sideways with your scratch track and for some reason your camera stop recording any audio, you'll be glad that you have a visual reference. (This actually happened to me, and I had to sync my sound by lining up the movements of my subject's mouth. Not fun!)

Recording In-Camera Audio

For on-the-go videography, it's actually quite common to record in-camera audio. Now, don't get too excited. This doesn't mean you get to just record using your camera's internal recording device.
If your pre-amps are noisy your audio will sound like garbage.
The main reason in-camera audio is problematic is because your camera usually has noisy pre-amps. What's a pre-amp? It's the thing that amplifies the sound that's coming into the camera so that you can actually hear something in the recording.
For this set up you'll need the following:
So here's the workaround: get a good external pre-amp and use that to amplify the sound. Then record straight onto your camera's SD card with perfectly synced sound.
These images are from B&H photo.

Pre-amp

1/8" cable that connects your Pre-amp to your camera

Shotgun microphone with foam

Hot shoe mountable Shock Mount (unless your mic has one with it)

Tons of batteries for your pre-amp (they eat up battery power)

If I were starting over and wanted to buy a run-and-gun audio set up, I would get (without a doubt!) the Tascam recorder you see in the image above and the Rode VideoMic Pro. If I knew I also wanted to sit-down interviews then instead of the Rode Video Mic Pro, I'd get the Rode NTG-2 and put it on the shock absorber.

The End

While there's still plenty more to cover, it's safe to say this blog post has gotten out of hand.

It's over 20,000 words long, and my hands are getting tired.

About the Author

➩ How I Got Paid to Learn Documentary Filmmaking

➩ How to Capture Attention in the First 2 Seconds of a Video

➩ How To Get (Beautiful!) Blurry Backgrounds For Your Photos and Videos

➩ The 10 Elements of a Good Story for Video, Marketing, and Everything Else

➩ The Definitive Guide to Manual Exposure for Photo and Video

➩ Filmmaking Tools: It Might Be You...Or It Might Be Your Tools

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Top Filmmaking Basics Every Beginner Needs to Know

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In this article, we're going to walk through the essential filmmaking basics from start to finish. So grab a cup of coffee, and settle in. Just need something specific? Use the table of contents below to find the filmmaking topic you're looking for. Links are clickable.

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The 8 elements of film

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This article contains a list of cinematic techniques that are divided into categories and briefly described.

180-degree rule

A continuity editorial technique in which sequential shots of two or more actors within a scene are all shot with the camera on one side of the two actors so that a coherent spatial relationship and eyeline match are maintained.

Airborne shot

A shot taken from an aerial device, generally while moving. This technique has gained popularity in recent years due to the popularity and growing availability of drones.

Arc

A dolly shot where the camera moves in an arc along a circular or elliptical radius in relation to the subject ("arc left" or "arc right")

Backlighting (lighting design)

The main source of light is behind the subject, silhouetting it, and directed toward the camera.

Bridging shot

A shot used to cover a jump in time or place or other discontinuity. Examples are a clock face showing advancing time, falling calendar pages, railroad wheels, newspaper headlines and seasonal changes. Bridge shots are also used to avoid jump cuts when inserting a pick-up.

Camera angle

The point of view or viewing position adopted by the camera with respect to its subject. Most common types are

A frame depicting the human head or an object of similar size.

Cut

An editorial transition signified by the immediate replacement of one shot with another.

Cross-cutting

Cutting between different events occurring simultaneously in different locations. Especially in narrative filmmaking, cross-cutting is traditionally used to build suspense or to suggest a thematic relationship between two sets of actions.

Continuity editing

An editorial style that preserves the illusion of undisrupted time and space across editorial transitions (especially cuts).

A technique in which objects in the extreme foreground and objects in the extreme background are kept equally in focus.

An editorial transition overlapping a fade in and a fade out in such a way that one image gradually disappears while another simultaneously emerges. This transition generally suggest a longer period of narrative elapses than is suggested by cuts.

Camera Dolly

A wheeled cart or similar device upon which a movie camera is mounted to give it smooth, horizontal mobility.

Dollying or Dolly shot

A shot in which the camera moves horizontally either toward or away from its subject, or right or left in relation to the subject. Traditionally dolly shots are filmed from a camera dolly but the same motion may also be performed with a Steadicam, gimbal, etc. A dolly shot is generally described in terms of "dollying in" or "dollying out". Also known as trucking in and out, or right and left.

A powerful and dramatic effect produced by simultaneously trucking in or out while synchronously zooming out or in.

The selection and organization of shots into a series, usually in the interest of creating larger cinematic units. Adding music is also a great way to make it more cinematic

Ellipsis (linguistics)

A term referring to "chunks" of time left out of a narrative, signaled in filmmaking by editorial transitions

Establishing shot

A shot, often a long shot, usually placed at the beginning of a scene to establish the general location of the specific action to follow. This shot is also known as an Extreme Long Shot.

Eyeline match

A type of continuity editorial match involving two or more, sequential shots in which the preceding shot contains an agent (a person, animal, etc.) gazing in the direction of some unseen, off-screen vision, and following shot(s) contains an image presumed by the spectator to be the object of the agent's gaze. This technique is an important consideration in dialogues where actors are talking to each other. (Contrast with Over the shoulder shot; See also 180 degree rule)

Extreme close-up

A shot framed so closely as to show only a portion of the face or of some object.

Extreme long shot

A shot in which the human figure would be extremely insignificant compared to its surroundings.

A panoramic view photographed from a considerable distance and made up essentially of landscape or distant background.

Fade in/out

An editorial transition in which the image either gradually appears out of ("fade in") or gradually fades into ("fade out") a black screen.

An auxiliary light placed to the side of the subject that softens shadows and illuminates areas not lit by the key light (see "key light").

A scene or sequence inserted into a scene set in the narrative present that images some event set in the past.

Flash forward

A scene or sequence inserted into a scene set in the narrative present that images some event set in the future.

Focus

The optical clarity or precision of an image relative to normal human vision. Focus in photographic images is usually expressed in terms of depth.

Framing

The placement of subjects and other visual content with respect to the boundaries of the image.

Hand-held shot

A shot where the camera is hand-carried, either with or without a Steadicam. If done without a steadicam, the effect is a shaky image which conveys an amateurish or urgent affect.

Inter-title

A piece of filmed, printed text edited into the midst of (i.e. inter-) the photographed action at various points. Most commonly used in silent movies to convey elements of dialogue and other commentary.

Iris in/out

An editorial transition popular during the silent period utilizing a diaphragm placed in front of the lens and which, when opened (iris in) or closed (iris out), functions like a fade in or fade out. A partially opened iris can also be used to focus attention on a detail of the scene in the manner of vignetting.

An editorial transition between two shots in which the illusion of temporal continuity is radically disrupted.

Key light

The main light on a subject, usually placed at a 45 degree angle to the camera-subject axis. In high-key lighting, the key light provides all or most of the light in the scene. In low-key lighting, the key light provides much less of the total illumination.

A shot in which the human figure would be relatively insignificant compared to its surroundings.

Master shot

A shot, often a medium shot or longer, which shows all the important action in a scene. In editing, the master can be used to a greater or lesser extent as the 'skeleton' of the edit, which is fleshed out by replacing parts of the master with tighter coverage such as closeups and cutaways.

Match cut

One of various editorial devices used to preserve a sense of spatio-temporal integrity or continuity between cuts.

Medium close-up

A shot depicting the human figure from approximately the chest up.

Medium shot

A shot depicting the human figure from approximately the waist up.

Mise en scène

Everything that has been placed in front of or is revealed by the camera while shooting.

Over the shoulder shot

A shot where the camera is placed above the back of the shoulder and head of a subject. This shot is most commonly used to present conversational back and forth between two subjects. With the camera placed behind one character, the shot then frames the sequence from the perspective of that character

Pan

A shot in which the camera is made to pivot horizontally left or right (about its vertical axis) while filming. Pans are always described in terms of "panning left" or "panning right". It is incorrect to discuss pans in terms of vertical, "up"/"down" movement, which is properly called tilting.

Point of view shot

(Often abbreviated as 'POV'). A shot which shows an image from the specific point of view of a character in the film.

Racking focus

A shot employing shallow focus in which the focal distance changes so that the background is gradually brought into focus while the foreground is gradually taken out of focus or visa versa.

Reverse angle

In a dialogue scene, a shot of the second participant understood as the opposing or "reverse" view of the shot showing the first participant.

Scene

A unit of narration generally composed of a series of shots that takes place in a single location and concerns a central action.

Shot

1.) The image produced by a motion picture camera from the time it begins shooting until the time it stops shooting.

2.) (in an edited film) the uninterrupted record of time and space depicted between editorial transitions.

Static Frame

The camera focus and angle stay completely still, usually with a locked off tripod, and the scene continues motion. Not to be confused with a still frame where the scene is also static or frozen.

A lightweight, highly-mobile camera transportation and stabilization device developed by inventor / cinematographer Garrett Brown which permits hand-held filming with an image steadiness comparable to tracking or dolly shots. The device involves 1.) a vest redistributing the weight of the camera to the hips of the cameraman and, 2.) a spring-loaded arm working to minimize the effects of camera movement. A video tap simultaneously frees the camera operator from the eyepiece, who is then free to travel through any walkable terrain while filming.

Story board

A series of drawings and captions (sometimes resembling a comic strip) that shows the planned shot divisions and camera movements of the film.

Tilt

A shot in which the camera is made to pivot vertically up or down (about its horizontal transverse axis) while filming.

Tracking shot/traveling shot

A shot in which the camera moves alongside or parallel to its subject. Traditionally tracking shots are filmed while the camera is mounted on a track dolly and rolled on dedicated tracks comparable to railroad tracks, In recent years, however, parallel camera moves performed with a Steadicam, gimbal, etc. may also be called a tracking shot. Tracking shots often "follow" a subject while it is in motion: for instance, a person walking on a sidewalk seen from the perspective of somebody walking on a parallel path several feet away. Shots taken from moving vehicles that run parallel to another moving object are also referred to as tracking or traveling shots. A tracking shot may also be curved, moving around its subject in a semi-circular rotation, known specifically as an arc or arc shot.

Truck

Truck-right, truck-left, truck-in, truck-out (see Dolly shot)

A shot in which the frame encompasses two people, typically but not exclusively a medium shot.

A type of pan shot in which the camera pans so quickly that the resulting image is badly blurred. It is sometimes used as an editorial transition and is also known as a swish pan or "flash pan."

An unusually quick but continuous zoom in or out.

An optical editorial transition in which an image appears to be pushed or "wiped" to one aside of the screen to make way for the next.

A shot taken from a stationary position using a special zoom lens that magnifies or de-magnifies the center of the image. This creates an illusion that the camera is moving toward or away from its subject by making the subject more or less prominent in the frame. Not to be confused with dollying in which the camera itself actually physically moves closer to or further away from its subject.

Movement can be used extensively by film makers to make meaning. It is how a scene is put together to produce an image. A famous example of this, which uses "dance" extensively to communicate meaning and emotion, is the film, West Side Story.

Provided in this alphabetised list of film techniques used in motion picture filmmaking. There are a variety of expressions:

To achieve the results mentioned above, a Lighting Director may use a number or combination of Video Lights. These may include the Redhead or Open-face unit, The Fresnel Light, which gives you a little more control over the spill, or The Dedolight, which provides a more efficient light output and a beam which is easier to control.

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This article contains a list of cinematic techniques that are divided into categories and briefly described. 180-degree rule A continuity editorial technique in which sequential shots of two or more actors within a scene are all shot with the camera on one side of the two actors so that a coherent spatial relationship and eyeline match are maintained.

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Cinematic Techniques | Critical Studies

Cinematic Techniques | Critical Studies

Camera Shots

Camera Shots: A camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to introduce the setting, themes and characters of Cinematic Techniques.

1. An extreme long shot contains a large amount of landscape. It is often used at the beginning of a scene or a film to establish general location (setting). This is also known as an establishing shot.

2. A long shot contains landscape but gives the viewer a more specific idea of setting. A long shot may show the viewers the building where the action will take place.

3. A full shot contains a complete view of the characters. From this shot, viewers can take in the costumes of characters and may also help to demonstrate the relationships between characters.

4. A mid-shot contains the characters or a character from the waist up. From this shot, viewers can see the characters' faces more clearly as well as their interaction with other characters. This is also known as a social shot.

5. A close-up contains just one character's face. This enables viewers to understand the actor's emotions and also allows them to feel empathy for the character. This is also known as a personal shot.

6. An extreme close-up contains one part of a character's face or other object. This technique is quite common in horror films. This type of shot creates an intense mood and provides interaction between the audience and the viewer.

Camera Movement

Camera Movement: is something we interpret without thinking about it of Cinematic Techniques. The purposes of common camera movements are listed below:

1. A crane shot is often used by composers of films to signify the end of a film or scene. The effect is achieved by the camera being put on a crane that can move upwards.

2. A tracking shot and a dolly shot have the same effect. A tracking shot moves on tracks and a dolly shot is mounted on a trolley to achieve the effect in the example above. This camera movement is used in a number of ways but is most commonly used to explore a room such as a restaurant. By using a tracking shot or a dolly shot the composer of a film gives the viewer a detailed tour of a situation. It can also be used to follow a character.

3. Panning is used to give the viewer a panoramic view of a set or setting. This can be used to establish a scene.

Camera Angles

Camera Angles: It is important that you do not confuse camera angles and camera shots. Camera angles are used to position the viewer so that they can understand the relationships between the characters of Cinematic Techniques. They are more deliberately technique-y - that is, they cause a strong effect.

1. A bird's eye angle is an angle that looks directly down upon a scene. This angle is often used as an establishing angle, along with an extreme long shot, to establish setting.

2. A high angle is a camera angle that looks down upon a subject. A character shot with a high angle will look vulnerable or small. These angles are often used to demonstrate to the audience a perspective of a particular character.

3. An eye-level angle puts the audience on an equal footing with the characters. This is the most commonly used angle in most films as it allows the viewers to feel comfortable with the characters.

4. A low angle is a camera angle that looks up at a character. This is the opposite of a high angle and makes a character look more powerful. This can make the audience feel vulnerable and small by looking up at the character. This can help the responder feel empathy if they are viewing the frame from another character's point of view.

5. A Dutch angle is used to demonstrate the confusion of a character or the strangeness of a place. A Dutch angle should disorient you.

Editing

Editing: When shooting is finished there will be hours and hours of footage - most of which will never be seen or used. It is the editor's role to ensure continuity (that the film flows from one scene to another and that plot and character development makes sense throughout the film). There are many editing techniques and rules and we will cover the basics of Cinematic Techniques:

1. A Cutaway: A cutaway in a film occurs when a scene is interrupted by another piece of footage. For example, a character driving a car down the street may have been filmed all in one shot, but half-way down the street a piece of footage of the character spying on the driver has been edited in.

2. A Dissolve: This occurs when one scene slowly fades into another. This is often done to show the link between two scenes or the passing of time.

3. Wipes: There are a variety of wipes. Wipes are used as transitional techniques between scenes. The following are examples of wipes. Pay close attention to how these wipes link scenes and therefore help to shape meaning.

A clock wipe is used to connote time passing between two scenes. (the old scene disappears a quadrant at a time and is replaced with the new scene, like clock hands turning round)

A matrix wipe can consist of a variety of patterns that form the transition between scenes. It will be up to you to decide why a composer has used a particular matrix wipe.

Sound and Lighting

Lighting is a very important aspect for shaping meaning in films. What kind of atmosphere is created in a room lit by candles? A room that is brightly lit by neon lights might seem sterile or a shadowy room might be eerie or scary of Cinematic Techniques.

The sound, soundtrack and music in a film are very important to the impact of films and play a major role in shaping meaning in the text. The difference between sound, soundtrack and music is as follows:

Sound is generally referred to as diegetic sounds.

Soundtracks are any songs used during the film.

Music is the incidental mood music known as the film score.

The use of Soundtracks and Music are more likely to be significant techniques, but there are exceptions, especially in the absence of other music, the noise of footsteps, for example, might be very important.

Diegetic and Non-Diegetic sound

Is sound that occurs in film that is natural. These sounds include doors opening and closing, footsteps, dialogue, any music that comes from radios in the film or played on musical instruments, thunderstorms, tyres screeching and explosions. Any sound that is caused by actions or actually happens in the course of the film is Diegetic sound.

Is sound that is added to the film during editing. These sounds include:

music and songs that are added to the film.

music that sets mood for films (such as screeching violins at climax moments)

narration (voiceovers)

sounds added as special effects, especially in slapstick comedy.

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Cinematic Techniques | Critical Studies | HSC English | Prime Education

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Cinematic Techniques | Critical Studies Cinematic Techniques | Critical Studies Camera Shots: A camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to introduce the setting, themes and characters of Cinematic Techniques. An extreme long shot contains a large amount of landscape.

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Looking for a comprehensive list of film techniques and a breakdown of how they create meaning? Well, this is it. In this searchable guide, you'll find all the important film techniques you need to discuss in your essays.

All about the Ultimate Film Techniques List

Films take us on journeys; we become immersed in worlds beyond our own. The best films lead us to ask questions about our world as well as ourselves. However, sometimes it can be difficult to translate our reactions to film into meaningful English analysis.

We've put this list together to help you make sense of these choices and analyse films more effectively.

When filmmakers construct their films, they combine multiple techniques together to develop meaning. Film combines visual elements with auditory elements to develop meaning.

To understand how the various techniques combine to create meaning, watch the following video we have put together that lists the techniques employed in various film scenes.

Film Techniques Toolkit from Matrix Education on Vimeo

The list below provides some of the key film techniques for writing about cinematic texts.

Ultimate Film Techniques List

There are a huge number of techniques that are used in films to convey meaning. Below are some of the must-know techniques that are included in the glossaries of Matrix English Theory Books.

Camera angles refer to the tilt of the camera in relation to the scene and the characters. Unusual camera angles can emphasise an action sequence, disorientate the audience, and suggest the relationship between characters.

The main angles are:

Low - Establishes the power of the character or object

Eye-Level - Allows the audience to get personal with the character(s)

High - Presents the subject as vulnerable or lacking in power

Worm's Eye - Presents the figure as very large and/or powerful

Canted (also known as a Dutch Angle)- Develops psychological unease or tension.

Bird's Eye - Often used to establish a shot and characters' relationship to it

2. Bridging Shot

A shot that marks the passage of time in a film. This is sometimes a series of newspaper headlines, a calendar, tress going through seasonal changes, or the hands turning on a clock.

This bridging shot marks the passing of evening. Note the fast turning of the clock hands and rapid melting of the candle.

Colour, especially the choice of colour palette or scheme, can reflect the mood of the piece. Colour in a scene can also be enhanced through lighting.

For example, in The Great Gatsby (2013), the use of a vibrant colour scheme reflects the opulent lifestyle of New York elites in the 1920s.

You can learn more about colour symbolism at Studio Binder.

4. Cucoloris

Cucoloris is a lighting technique where an object is placed between the light source and the subject in order to create a patterned shadow. A staple of film noir.

5. Cross-Cutting

Cross-cutting is an editing technique where actions are established as occurring at the same time. The camera will cut away from one action to another action elsewhere to suggest these things are occurring at the same moment.

Cross cutting is used in Christopher Nolan's Inception (2010) to build tension in a crucial action scene.

6. Dialogue

A conversation between two characters is called dialogue. Written by scriptwriters to convey the film's plot, dialogue is also useful in conveying character.

7. Dissolve

A transition that moves between one shot and another by overlaying one shot and fading the first image out while strengthening the second shot. This can denote daydreams, memories, the passing of time, or signify phone conversations and long-distance communication.

Consider this example from Paul Thomas Anderson's Inherent Vice (2014):

In this dissolve, we are taken to one of Larry "Doc" Sportello's memories that are triggered during a phone call.

8. Dolly Shot

A dolly is a wheeled cart that the camera and operator are seated on. A dolly shot is a shot where the dolly is pushed along to move with the action. This is similar to a tracking shot, but without the tracks so that the camera can have a broader range of motion.

The video below discusses the difference between dolly shots and zooms and how they can be used (or even combined) to create effects and meaning.

9. Editing Sequence

The order of each shot and how they have been put together to create a scene. This is usually based upon the storyboard used by the director.

However, some directors such as Werner Herzog refused to use storyboards, and shoot many scenes which they edit together by trial and error.

10. Editing Wipes

In editing, wipes are used to transition between scenes in a variety of ways rather than just cutting. Types of wipes include:

Horizontal wipe - the wipe moves horizontally across the screen

Vertical wipe - The wipe moves vertically across the screen

Diagonal wipe - The wipe moves diagonally across the screen

Star wipe - The wipe is the shape of an expanding star to demonstrate something special happening

Heart Wipe - The wipe takes the shape of a heart expanding or contracting to illustrate romance or friendship

Clock Wipe - The wipe is a circular motion like a clock arm to illustrate the passage of time

Matrix wipe - a patterned transition between scenes

In this scene of Mark Waters' Mean Girls (2004), we see a horizontal wipe being used to draw emphasis to Karen's appalled facial expression.

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11. Establishing Shot

A type of extreme long-shot that establish the context - time and setting - of a scene or film. Often establishing shots use famous landmarks or places, like the Sydney Harbour Bridge.

12. Eyeline Match

A type of cut where the shot of a character looking at something cuts to a shot of the thing they were looking at the same level. This type of cut is used to show the audience what they were looking at.

It's used in Stephen Daldry's The Hours (2003) to capture Clarissa's fearful expression as she watches Richard perched on the window sill.

13. Fade In/Out

An editing technique where the shot fades out from one shot going to black before fading into a new shot.

This scene from Mark Waters' Mean Girls (2004) fades out, as Cady processes how Regina was just hit by a bus.

14. Flashback

Images that refer to previous events in the characters` lives. Flashbacks can be used to foreshadow future events.

15. Intertitle

Text which is printed on a background and placed between filmed scenes through editing. In silent films, intertitles can convey dialogue and exposition.

16. Iris

Similar to other editing wipes, this is a type of transition where the screen irises closed around a particular thing on screen. These can be used to signify daydreams, provide a dramatic transition, or signify the end of a scene.

17. Jump Cut

A cut that moves fractionally forward in time. These shots focus on the same subject but either use a different angle or have the subject in a different position to illustrate that time has moved forward in time. Jump cuts are usually used to show time passing forward.

Below is an instance of jump cuts in Frank Oz's Little Shop of Horrors (1987).

Lighting contributes to the mood of a film and suggests interpretations of a character. Are they good? Are they nefarious?

Low key lighting emphasises the shadows in a shot, while lighting from above or below can suggest that a character possesses sinister qualities.

19. Long Take

Also called a sequence shot (and occasionally referred to as a one-shot)

20. Match Cut

Jumps from one shot to another similar shot that matches the composition of the first shot.

Here's an example of a match cut in the opening of Taylor Swift's Style music video.

21. Mise en scène

Mise en scène translates as 'what is put into a scene'. This French expression refers to the composition of a scene, including placement of characters, costume, make- up and setting.

22. Montage

A montage is a type of editing sequence where a series of shots play rapidly to create a narrative. Often a montage will be accompanied by a unifying piece of music to convey the dominant mood connected with the sequence.

Animated GIF: A montage from Fritz Lang's Metropolis (1927)

23. Mood

Mood refers to the feelings suggested by the combination of all the elements on the screen and the accompanying sound. Another way to refer to the mood is to discuss atmosphere.

Music can convey the theme, mood and atmosphere. There are different types of music in films.

The score is extra-diegetic music composed for the film, designed to evoke the film's desired mood for the audience.

Music heard by the characters in the film is called diegetic music.

25. Over the Shoulder (OTS)

A type of sequence shot or tracking shot where the camera follows a character by following them and shooting over their shoulder. Like a Point of View shot, an over the shoulder shot focalises (that is, focuses in on) on the characters experience.

Stephen Daldry's The Hours (2003) utilises an over the shoulder shot of Virginia frustratedly speaking to Leonard.

26. One-Shot

Also referred to as a or Sequence Shot. A one-shot is actually a type of long-take or sequence shot where the effect of being one shot is created through editing. For example, Alejandro G. Iñárritu's 2014 film, Birdman uses careful editing to give the appearance of a single take.

In some cases, a one-shot is used to refer to whole films made in one take, such as the 2015 film German film, Victoria.

27. Panning Shot

A shot where the camera swivels horizontally around a fixed point to follow the subject.

A panning shot is used in Amy Heckerling's Clueless (1995) to show Cher chasing her father around the kitchen to give him a glass of orange juice.

28. Point Of View Shot (POV)

A shot that is taken from a character's point of view, like a first-person video game. Point of View shots focalise (that is, focus in on) a character's experience.

29. Rack Shot

A shot where the camera shifts the focus while holding the same shot to bring another object into focus. Rack shots change the depth of the shot.

The example below is from the TV series Sherlock. In it, the focus shifts from Sherlock to Watson.

Animated GIF: In this rack shot, the focus shifts from Sherlock in the foreground to Watson in the background.

30. Scene

A unit of narrative used to divide up a dramatic text or film. A scene usually takes place in a single location and focuses on a single action in one moment of varying length.

31. Setting

The place where the action of the film occurs.

32. Sequence Shot

A sequence shot is a single long take shows a series of actions happening one after another within the same shot. Sequence shots are occasionally called long takes and one-shots. Sequence shots are very hard to do and can develop quite a lot of meaning.

A famous example is Martin Scorses's Copacabana shot from his 1990 film, Goodfellas.

This shot illustrates the Henry Hills' wealth and connections while he shows off to his date. This take combines over the shoulder and point of view perspectives.

33. Shot Type

Shot types indicate how close or far the camera is from the characters. Shot types range from Extreme Long Shot (XLS), where the characters may be very small and embedded in a landscape, to Extreme Close Up (XCU), where part of the character's face makes up the whole shot.

The shots are:

Extreme Long Shot (XLS)

Long Shot (LS)

Medium Long Shot (MLS)

Medium Shot (MS)

Medium Close Up (MCU)

Close Up (CU)

Super Close Up (SCU)

Extreme Close Up (XCU)

Image: Examples of various shot types

34. Sound

The sound of a film helps to create atmosphere - this can include:

Like music, sound can be divided into:

Diegetic: occurring in the world of the film

Extra-diegetic (occurring outside the world of the film)

An object used to suggest ideas in addition to, or beyond, their literal sense. For example, the glass slipper in Cinderella symbolises the opportunity that Cinderella has to live a different life. Watch films carefully to spot symbols and their potential meaning to the plot. If a symbol recurs throughout the film it is a motif.

Animated GIF: This GIF is from Sam Mendes' American Beauty (1999). The dancing plastic bag symbolises how beauty is found in things that are often discarded. The bag is rubbish to many, but its dance in the wind is beautiful.

36. Steady Cam

A type of camera that is used in action sequences. A steady cam rig allows the camera to be worn by the operator so they can follow an action sequence without the shot become overly jerky.

This video shows examples of shots taken with the steady cam, explained from the perspective of a steady cam operator.

37. Transitions

A way to transition between shots. Transitions involve cuts, fades, and wipes (see above for specific definitions).

This is a good video that explains these various techniques.

38. Tilt

When the camera tilts in shot to show the subject away from the horizontal axis.

Example: A tilt shot of Captain America

39. Title Card

40. Tracking Shot

A shot that follows a subject as they move.

In Jane Campion's Bright Star (2009), a tracking shot of Brawne is used to capture her grieving reaction to Keats' death.

41. Two Shot

A shot that features two characters and is used to establish or develop their relationship.

42. Zoom

The camera zooms in or out to focus on an object or to show how far away it is. Zooms can be used for dramatic effect or can be used to show objects in relation to each other for scale.

See Dolly Shot above for a video discussing the difference between Zooms and Dolly shots.

Thanks for reading the Ultimate Film Techniques List

We hope you found this ultimate film techniques list useful. Don't forget to check the individual articles to broaden your knowledge of film like Matrix students do.

© Matrix Education and www.matrix.edu.au, 2023. Unauthorised use and/or duplication of this material without express and written permission from this site's author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Matrix Education and www.matrix.edu.au with appropriate and specific direction to the original content.

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The Ultimate Film Techniques List [2022 UPDATE]

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In this Guide, we give you the ultimate film techniques list to help you identify and analyse your set films. 2022 Update.

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√ Visual Techniques and Film | Constructing of Meaning | English

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With notes

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Hercules

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Top accessories

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In this post, you will find amazing dj quotes and sayings.

Short DJ Quotes and Sayings

"When a dj put up their hands in the air the music becomes 2 times better." -Unknown

"I'm a DJ. I get the party started." -Unknown

"A real DJ makes you dance to songs you have never heard before..." -Unknown

"Never trust a DJ who can't dance." -Unknown

"The job of feets is walking, but their hobby is dancing." -Amit Kalantri

"Last night a dj saved my life." -Unknown

"I'm a DJ who makes dance music who got to play with Sting." -Afrojack

"Music expresses that which cannot be put in to words and cannot remain silent." -Unknown

"This should be played at high volumes, preferably in a residential area." -Tiesto

"The minute you think you're greater than the music, you're finished." -Frankie Knuckles

"They will try to close the door on you. Just open it." -DJ Khaled

"America is not ready for electronic music." -David Guetta

"In life everyone has a choice. The key is: make a right choice." -DJ Khaled

"One of the best things about music. It has no rules." -Unknown

"Don't pull that plug yet it's DJ Pullout in tha mix." -Unknown

"Have no fear .The DJ is here." -Unknown

"Party all day, party all night." -Unknown

"When I don't like a piece of music.I make a point of listening to it so closely." -Unknown

DJ Quotes and Sayings

"Music; The only one that will always love you, pick u up when u feeling down, hype u up and makes you go aaaaah, my best friend for life." -Afrojack

"Listening to Techno without bass is like trying to get yourself off without using your hands." -Unknown

"When you DJ, you're just on your own, which is nice because there's no argument." -Peter Hook

"Artists make normal songs. Then Radio stations, TV and DJ's turn those normal songs into hits." -DJ Kyos

"As a DJ, people expect a certain sound and a certain dance ability for the music. As a producer, I really like to let go of any rules that may exist." -Armin Van Buuren

"People keeps asking us why our stuff hits so hard, well, other producer's plug-ins goes to 10, ours goes to 11." -Dada Life

"Songs are our ingredient. Parties are our resturants.we may use the same ingredient but we all cook differently. Choose a dj that serves you the best." -Unknown

"The greatest DJ is one who can live within the formula and make it sound .... as if he producing and pulling the music all by himself." -Dick Biondi

"In human life no-one is inventing something. It's always the remix of the remix of the remix. I am the remix of my father." -Ricardo Villalobos

"Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." -Unknown

"People like me, DJs and producers, have a bigger say and a bigger voice than we've ever had before." -Thomas Wesley Pentz

"Producers problems is in need of vocalist and Vocalist problems is in need of a Studio." -DJ Kyos

"I think rap music has made more money on dance music than dance music has made on dance music. Just a thought." -Kaskade

"I'm of the opinion that as a DJ you must always play what you love and ignore what's 'trendy' because true passion always eclipses what's fashionable. Quality is always fashionable." -Boy George

"There's a lot of creativity in the industry, but I don't necessarily think that the most creative DJs or producers are always the biggest ones." -Flume

Top Ten DJ Quotes and Sayings

Here you will find top ten Dj quotes and Sayings selected by our team.

1. "Artists make normal songs. Then Radio stations, TV and DJ's turn those normal songs into hits." -DJ Kyos

2. "The minute you think you're greater than the music, you're finished." -Frankie Knuckles

3. "Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." -Unknown

4. "Music expresses that which cannot be put in to words and cannot remain silent." -Unknown

5. "Never trust a DJ who can't dance." -Unknown

6. "Songs are our ingredient. Parties are our resturants.we may use the same ingredient but we all cook differently. Choose a dj that serves you the best." -Unknown

7. "Music; The only one that will always love you, pick u up when u feeling down, hype u up and makes you go aaaaah, my best friend for life." -Afrojack

8. "When a dj put up their hands in the air the music becomes 2 times better." -Unknown

9. "I'm a DJ who makes dance music who got to play with Sting." -Afrojack

10. "One of the best things about music. It has no rules." -Unknown

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In this post, you will find amazing dj quotes and sayings. "When a dj put up their hands in the air the music becomes 2 times better." -Unknown "I'm a DJ. I get the party started." -Unknown "A real DJ makes you dance to songs you have never heard before..."

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eslóganes y lemas

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First impressions are everything. That's why they say as a DJ you only get one chance to make a good first impression. There is no better way to do this than through your slogan.

Your slogan can make or break your marketing campaign, so it's important that you take the time to figure out what it should be. Of course, figuring out what type of slogan is ideal for your DJ business can be challenging (which is why we wrote this article).

The team at Soocial has conducted substantial market research and created this ultimate list of catchy slogans you can use straight away to help grow your DJ business.

Catchy DJ Slogans

A catchy slogan is the cornerstone of any successful DJ marketing campaign. Slogans can be a few words long and sometimes just a single sentence, but the best ones are not only easy to remember, but also convey the idea of what your DJ business does in the most memorable way possible.

We'll DJ your party just the way you want us to

A DJ that compromises nothing

Your party, our music

Experience what entertainment is supposed to be

The power of positive music

We are here to rock your party

Your story, wrapped in a melody of sound.

Keep calm and dance on!

Keep your feet on the ground, but let your head soar in the clouds.

Bring the noise

Deliver the beats

Passionate for music

No matter what kind of music you're in the mood for, we have it here

Let's make summer feel like it lasts all year with a soundtrack of the best summer hits

Be the party

We know what moves your body

Let the music speak for itself

The fun comes first because the crowd can't have fun without me

Get your dance on

Go from turnt to studded.

Work the room

The freshest and strongest DJ

Electronic dance music has never been so uplifting. We're cheering! 🎶☀

Your DJ partner, your best luck

A sound castle for you

We care about the music quality, so enjoy it with no suffering on speakers 🙂

Return of the legendary DJ

Treat every day like the weekend

Beats are in the heart, music is in the soul

Rock It Out! Live It Now! Never Look Back!

I deliver great mixes

The ceremonial entertainment experts

The fun masters of the night

Let's dance all night like it's your birthday.

I provide the music and the memories

We'll guide you through the night like a DJ should

Have a reason to dance for

A DJ that surpasses the best

We'll light up your party

We take the work out of music.

We'll DJ your event, so you can focus on what matters most: your friends and family.

The more music you put on your playlist, the better the party.

Music for your ears.

The heartbeat of your party

Just love music and everything will come to you

The personality of your party

We turn chaos into crystal clear music

DJ on the go

DJing is our passion

It's all about the music

We are no ordinary DJ service

Crowd please!

We know what it means to get a crowd jumping...

You call we haul

We do what we love and it shows.

DJ Taglines

We have worked with other top DJs in the industry and as such understand what it takes to get ahead in today's competitive marketplace as well as how to market your brand effectively through language alone.

Here are DJ taglines that you can use to build trust and a desirable brand image for your DJ business:

We make your night shine

We go hard when we perform, and this weekend we're taking it to the next level. 💯 🔥

We'll work with you to ensure your guests have one of the best nights out they can remember.

Who needs lights when you've got music?

Turn up your endorphins with the most beloved "happier" music!

We'll turn your #backyard into our playground, and we'll create a party that you won't forget.

DJ for hire 🎧

Let's turn up! Let's get down! Let's get loud!

Boom, Boom - the crowd is here! #backtobasics

Want to get your party started?!? You're in the right place.

We got the music you want

Make your night a hit!

Make some noise.

Pump up the volume with these tunes. 🎧🔥

Let the music move you, let the beat drop ✌🏼️

Your event, our expertise
Where the music is always epic

Burning in a mix of old school and new...

Local talent. Local sound

Life doesn't go by the plan. Have fun.

More music, less noise

Music is life

Turn it up louder

Let us entertain you

The sound of freedom

The beat of your heart

To the rhythm of the night

Feel my passion

Pump up the party

Not all DJ are created equal

Hear the difference and see why it matters.

DJing: A fine art, not a naturally loud and obnoxious one.

Great DJs understand music, from top to bottom

Giving your event a clean look and sound

You deserve the best

Our music never stops

Make the party great again

Dance till your feet hurt

Release your inner self

Great music makes the event

It's all about the music

We beat everyone on the price and quality of sound

Our records speak for ourselves

Keep the beats pumping

Good music, good people, and good times.

Jam with us.

Music without boundaries

One perfect beat at a time

Changing the way you hear music.

Expect the unexpected

We make the magic happen

Mobile DJ Slogans

Mobile DJ slogans should be original, and unique to you. It would also be helpful if they were inspiring, uplifting, and motivational.

Here is a list of mobile DJ slogans (that are actually good) to use in your next marketing campaign:

Set the party off right with our mobile DJ services.

Our DJs would rock your veranda!

Sometimes the technology, sometimes vinyl. Whatever the mood, we've got it covered with mobile disc jockeying.

Non-stop live music!

There's a party in every room when you spin the tunes!

Turn it up, turn it up 'til they can't even hear themselves think. 🎶

Turn it up now. Turn it up later. But you know what's for sure? You're in for a whole lot of some good music

We have the expertise and personality to make your party perfectly memorable.🎧💃

Mobile Disco for any occasion

Chill out and have fun with a mobile DJ

Reliable entertainment since 1773

Connecting with the audience is my expertise

Electronic music is my specialty

An awesome party starts with a talented DJ

You work hard to make money, I work hard to make your party great.

If you're looking for a fun, charismatic DJ, you've found one

Our style is unique to you.

We've been bringing hit songs into life since the dawn of time

No one makes a party like we do

We're the music experts that create sounds that make the world groove!

We jam every party

We play every request

You're in good hands with us

Music for every occasion

Mobile DJ entertainment to keep the party going

Our DJ service goes wherever your party is

We take the party to you - no matter where you are.

Experience music with an entertainment toolkit we call a mobile DJ

Our mobile DJs work all hours to keep your guests happy

DJ On Time! Anytime!

I'll bring the party to you!

I can play your party anywhere!

We set up your party, no trucks, no hassle, just great music!

Funny DJ Slogans

Convincing a potential client to take you on as their DJ is a hard sell. Your business often doesn't get the recognition it deserves, and measuring its effect isn't easy - which makes it a challenge to show off your product.

Funny slogans for the DJ's owner are hard to come by. Entertainment is your passion, running and growing a business is not.

Read this list of funny DJ slogans that we created:

Party till you drop

Keeping it loud, keeping it real!

I'll never play the same tune twice

Turn me up, I turn you on!

Dance the night away with our disco

We have all the right moves

The DJ booth is always open

Turn it up!

Focus on what matters - The music!

Great events need great music

When we're chosen as the DJ, things are gonna get lit 👣

Life is better with music

Let's get this party started!

Everyone's favorite 👊🎇 DJ

Let's get this party started, BOOM 🔥💥🎤🔊

🎶🇺🇸🔊 👼 🍾

🙌🏽 + 🐶 = 🔈

Are you a DJ or music producer? If so, it's likely that you will approach marketing in a much different way than your peers. In the music industry, marketing yourself and your brand is king.

There are many creative ways DJs can market themselves online. The most common way to promote yourself is through social media. By having a presence on Twitter, Facebook, Instagram, and your own website you can introduce yourself to new people every day.

DJs are probably the most snobby of any service industry so it is crucial that your DJ marketing slogans are catchy and enticing. That way you can connect with as many people as humanly possible. The better it is, the more people will remember you and that's what marketing is all about.

Even a DJ with the best music on earth won't survive in the business if they don't have a good marketing strategy.
447 Catchy DJ Name Ideas to Rock the Dance Floor

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155 Catchy DJ Slogans and Taglines | Soocial

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First impressions are everything. That's why they say as a DJ you only get one chance to make a good first impression. There is no better way to do this than through your slogan. Your slogan can make or break your marketing campaign, so it's important that you take the time to figure out what it should be.

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TheBrandBoy | Creative Small Business Blog with Free Resources

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Starting a DJ business isn't for the faint of heart because there is huge Competition in the Market.but Someway Opening a DJ Business can be a very good business opportunity if you have an idea and passion for it.

Although fun and exciting, DJing is also a demanding job, and if you do not treat it as a professional and serious business.

It can be a very secure path to earn good money and make you very successful creative entrepreneur. You can take advice from experience Person and improve your startup process.

Apart from these Marketing aspects like logo, slogans and marketing collateral pays important roles.

For Every Business, Advertising and Marketing plays an important role in making DJ Business a brand. Good Slogans for DJ Business are the Key things to attract the More Customer and Earn Good Money.

The slogan is Worth for Starting a Business and Especially DJ Business. Every V Owner should aware of the importance of a slogan for brand Image.

From your local Town DJ Business to national Event DJ Business brand, these slogans focus their advertisement towards Engaging more Customers.

List of Catchy DJ Business Slogans, Taglines

Keep grooving

Music like never before

Here to make your nights better

Dropping the bass

For a memorable time

Dance like it is your last

All you need is a DJ night

For all the party animals

Party hard, dance harder

For fun-filled nights

Music under your Feet

Sharing Joy through Music

Rock the day

Playing the Mood

Blast the night Today

Your way, Your party

We bring the Music

A new breed of Music

Blow your Minds

Play the Sharp Music

Music is Spark

face your New Mood

Music Speaks better

Add memories with Music

make a Sound Decision

landing in your Music Dreams

Feel the Sensual

dance is love, dance is Fun

Feel the Vibe, Feel Music

Rewinding the happiness

love Music, love Life

Let's make a Mark with Style

Simply Music feelings

Its Right way to Rock you

Feels Right, Music bright

Love the Rock

Good vibration, Good Music

Get the Music Machine

Sound is the Spark of time

Reach the High noted

Syncing your party Moments

beat for your Best

Bringing people to party

Our Music, Your melody

Feel the universal language of Music

Let the Music Blown your Minds

happiness has Just we brought up

Feel the Music Matters

Music at Your ways

become the Best Music of yourself

Rock your Style with music

Its time of your Life

Turn up the Heat

More Music for More Twist

Revv up your Hearts

Music with Emotions

let's your heart Speaks

Your medley, Your Style

Non-Stop Music for more fun

A Search of new Words

Add bass in your Life

Everything for your beats

Add magical Moments

Play the music Moments

Rave on the Best Moments

Music Say things

Its Flow of Music

Speak the Events

Music for Mankind

Music inside your mind

Sharing felicity through DJ Music

Rock the day, roll the night

Playing the DJ Mood

Blast the DJ night Today

DJ is the life of the party

Redefining the DJ music

We bring DJ to life

Bringing the purest DJ music ever

Make your night groovy

Introducing the new music every night

Because music can heal

Let yourself loose

Here is the DJ

Giving birth to a new breed of DJ music

DJ that got the sparks

Mindblowing DJ

Play it until you feel the groove.

To have a DJ or have nothing

Move with the beats, let yourself listen to the heartbeat.

Music has got all sparks

Play it. It is sharp

Get a new mood for yourself

Shout loud with the DJ.

Coz music speaks for you.

Music can add memories.

It can heal your sick and injured brain.

Make decisions right, make sure to choose the sound decision

DJ is the heart of your life.

Feel DJ the sensual way

Vibrations for good life

Love music if you love life

Have a roll and bang the floor

DJ of your dreams.

best vibes for the best DJ night ever

Love dancing? You're gonna love the DJ

Happiness to be rewind

Feel loved by life, feel loved by DJ

Leave your mark with the style you've got

Feel the music, it is simple

Our DJ will rock you forever.

It is good to rock and roll

Feel the groove if you are not stoic

Escape boredom and embrace our DJ

Keep rocking, it is good for you.

Guess what it feels like to groove

Enlighten your mind with music

Making your party moments perfects

Got the beats? Get our DJ

Coz anyone can party hard

Your melody to our music

Music is universal, get to know it.

let there be DJ

Feel what matters to you.

Get to Know yourself with the rhythm

sync with the beats fly high

Coz it is the high time of your life

We don't let you feel low

Feel the heat, get the beat

Revive with music

Let your emotions flow with the rhythm

Still got the blues? change the rhythm

listen to your heart, move with your heartbeats.

Add rhythm to your monotonous life.

Make your limbs sync your mind.

For those who are born free.

Groovy and shakey

Lift your mind

Lessen the burden, get higher and higher.

Identify your competitors in the area and find out if there is a market for your idea. For that you need to plan a better marketing plan for the same. You have to value the use of slogans used in your Advertisements.

Slogans are a vital part of marketing just like Logo, These are perceptions about your business and Product you want indelibly etched into the minds of consumers, such as trust, innovation,and quality. An effective advertising slogan it gives an accurate picture of what your business is all about.

Readers also Love to Read:

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201+ Catchy DJ Business Slogans and Taglines | TheBrandboy

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Starting a DJ business isn't for the faint of heart because there is huge Competition in the Market.but Someway Opening a DJ Business can be a very good business opportunity if you have an idea and passion for it.

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Dictionary

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Browse our collection of inspirational, wise, and humorous djquotes and dj sayings

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9 best ones

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Value for Money - V-MODA M-100 Over-Ear Noise-Isolating Headphone

Coming in at number one for value for money has to be the M-100 headphones from V-MODA. Durability is definitely a big factor in value for money. Other headphones with a cheaper price tag like the Red Wave tend to be prone to breaking, which will greatly hamper their value. These are designed to beyond-military durability specs. This means the wire uses the same material as modern bulletproof vests and has almost completely indestructible metal components.

It can be killed though, but you'll need a tank and a tank driving manual. In the unlikely event you do succeed in destroying the headphones within the first two years, then you're covered by a guarantee and if it's after that, you have immortal life program. With the immortal life program, if you somehow destroy your headphones, you can get a new pair for half price. Now that's reliable durability.

The M-100 uses V-MODA's unique and patented dual-diaphragm approach to sound engines. The dual diaphragm provides greater separation of bass from mids and highs that add clarity to all three. Cleaner sounds mean cleaner tracks. The quality of sound with the M-100 is beautiful and allows for a good amount of bass, so if you're an EDM DJ or just a fan, these are a smart choice.

The value here is immense simply from a durability perspective. With such a high level of durability, the usage you can get out of these over a number of years is huge. The price tag on these is still lower than Beats by quite a margin and the quality is far superior.

Best All-Rounder - Audio-Technica ATH-M50x Professional Studio Headphones

The M50x is another stunning piece of headgear that provides quite a well-rounded quality. There aren't any standout features that make this headphone a must-have for DJs of a specific genre, but if you're just starting out and you're not sure where you want to go with your music genre-wise, then is a solid choice.

The sound quality is well-balanced with a decent level of bass that still allows you to hear the mids and highs, giving a level of versatility between genres. The sound separation between bass and mids and highs is quite exquisite. The value for money here is mid-range, which means that if you want something that seems to hit the mid-level of every attribute for headphones then you can't go wrong with the M50x.

Highest Quality - V-MODA M-100 Over-Ear Noise-Isolating Headphone

The M100 is the best choice for professionals or up and coming DJs. The sound quality here is amazing, making it a brilliant addition to any good DJ's arsenal. The prized patent of the dual-diaphragm sound engine from V-MODA gives it a supreme edge over competitors and even Avicii has endorsed V-MODA.

Sound quality isn't the only unique characteristic that it provides. Durability is another hallmark of V-MODA, with beyond-military durability. As mentioned above, it's truly astounding as to just how brilliant the level of durability is and it will allow you to rely on your headphones for longer than six months, which is rare. It outshines every other pair of headphones on the list for quality, regardless of your current standing the DJ world.

If you're a professional, then the M-100 could give you the unique sound to truly separate yourself from the pack of DJs looking for their next big break. If you're an up and comer it can do the same and give you a chance to produce enough high-quality music to get your foot in the door for a first paid gig.

Can you use DJ Headphones for Gaming?

DJ headphones can indeed be used for gaming and they also come with some distinct advantages. The first is that the sound quality of headphones can further immerse you in the rich tapestry that modern games provide in story modes. On top of that, the same sound quality can be used to increase performance in FPS games.

DJ headphones can be tuned differently to further amplify certain sounds, depending on the model and the monitoring hardware tuners that they come with. Other than that, there aren't too many other benefits of having DJ headphones over regular gaming headphones. If you're a DJ and you already need DJ headphones, they're just as useful as gaming headphones. If you need both and you can only pick one, then pick DJ headphones. You'll have a pair of headphones that is useful for both endeavors. If you're very into gaming as well and you like to game with friends, then make sure you get yourself headphones with a microphone built-in or you'll have issues communicating with teammates.

What Headphones does Deadmau5 use?

Deadmau5 uses a variety of different headphones, including ones made specifically for him. This includes the V-MODA LP2 that is a custom build for Deadmau5. He also uses SOL-Republic Track5 On-Ear headphones that are a collaboration between the manufacturer and Deadmau5.

These two are the two to focus on because they were made with him in mind. He has a very unique sound and because he's so prominent in his field, manufacturers wanted to work with him to help make his headphones that really help him to make music his way and on his terms.

SOL-Republic Deadmau5 Track5 HD On-Ear

The price tag on these isn't as big as you'd think. With a name like Deadmau5 attached to it, you'd expect three figures but that's not the case. They represent decent value for money and they come attached with a named collaboration from one of Canada's best music producers. They still have the same issues with regards to reliability as similar un-endorsed products from SOL Republic.

Those who do sing the praises of this headphone are happy enough with sound quality and aren't too worried about reliability. They do allow Deadmau5 to create his unique music which could be useful for other DJs attempting to go in the same direction. Definitely a cheap solution for up and comers looking to distance themselves from the mainstream majority.

V-MODA LP2

Custom made for Deadmau5, these headphones come from a pedigree line of expertly manufactured headphones and reliability and durability are rarely, if ever, a problem. The sound quality that V-MODA achieves is due to the patented dual-diaphragm system that we've talked a lot about, but that's because the genius innovation behind it is what makes the sound from V-MODA headphones so distinguishable from that of competitors.

The LP2 was first debuted by Deadmau5 at V-MODA Fortress, and since then has had the eye of many lower ranked professionals and up and comers looking to make it to the top. Although it is a little more on the expensive side than the SOL Republic headphones, the V-MODA does pack more quality.

What Headphones does PewDiePie Use?

For the most part, PewDiePie uses gaming headphones manufactured by Razer. He has recently started using Sennheiser RS 170s, but other than that, he's almost always used Razer. As a Youtube producer, the sound quality just isn't as important as it is within the DJ world.

This is because as a YouTuber, he creates audio-visual content rather than just audio. That doesn't mean Razer is terrible for sound quality, it just means there are much better headphones out there that are designed directly for music production rather than video games.

Razer Carcharias

Razer headphones have good sound quality for video games, where all the subtle nuances within the audio only need to be enjoyed rather than created. The main benefit to these headphones is that they're designed for extreme comfort.

It's not uncommon for a small group of people who play for marathon standard hours (24+ hours in a row) to use Razer headphones. They have a decent standard of bass and the Carcharias are probably the closest to a primarily gaming headset that could be used as a starter pair of DJ headphones.

Sennheiser RS 170

Sennheiser is renowned for sound quality above all else. On the other hand, they've tried to go above and beyond the usual bog standard headphones, approach and the RS 170 comes with a small hardware box that acts as a plug and plays receiver for up to four people and is also used as a docking station that charges the headphones.

This extra functionality speaks to how many believe Sennheiser will attempt to mop the floor with their competition in the future. The sound setup that the RS 170 is set up for is home cinema, which is something a Youtuber could definitely find useful, not to mention how useful it can be in real life if you're doing a Netflix marathon and don't want to wake others up while enjoying your favorite shows and movies.

Over-Ear vs. On-Ear

This is an age-old debate but it just boils down to preference. There's no right or wrong answer for the most part, but there are distinct advantages and disadvantages to both.

The need to have the right pair of headphones behind you is absolutely essential, and you obviously want to have the headphones that are perfect for you. Some people decide to have one set of each if they like the merits of both. This is because if you have both, you can enjoy the benefits of both types depending on what task and genre of music you're working on at the time.

On-Ear Headphones

On-ear headphones are a lot more lightweight and portable, so if you like to create and produce on the move a lot, for example, a live stream for your limited fan base on the way to your day job, then on-ear could be advantageous. The issue you could find is that the sound isolation of on-ear isn't really that useful; they aren't covering your ears up enough to completely block out the world around you.

On-ears do tend to offer a good amount of comfort, however, making them a brilliant tool if you're on a long trip and want to get some work done along the way if you're in a quiet enough area. These are definitely the type of headphones you want if you're on the move. Another benefit is that on-ears are a little more forgiving for people with bigger ears, adding to the comfort compared to over-ear.

Over-Ear Headphones

Over-ear headphones have a distinct advantage when it comes to sound isolation and cancellation. This allows you to keep focused on the music, even in loud, confined spaces like trains on a commute to your day job. They're a little heavier and bulkier than on-ear headphones but the increase in weight usually comes with an increase in sound quality. The over-ear headphone experience tends to yield better sound quality and comfort for those with normal sized ears, but some over-ear headphones tend to be a little smaller than even regular ears making them uncomfortable for most.
These headphones tend to suit professionals who keep their work in the same place and prefer to sit down and work rather than try and work on the move. It makes it a little harder to produce when inspiration strikes.

Conclusion

To keep it simple, the type you should buy depends on you. If you like to produce on the move on-ear is the way to go, but even with on-ear headphones, you won't be able to produce music to the same quality as someone sat down with over-ear headphones. If you want to focus purely on sound quality then the isolation from over-ear is definitely a winner in comparison. Buy headphones that suit all your needs.

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9 Best DJ Headphones for Professional Studio Sound in 2021

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Unsure on the best DJ headphones to buy? Smile, as the team of experts at Music Critic, have reviewed the top headphones for DJ's, considering; Value, Compatibility, Customer Feedback and lots more. You will find the perfect product for you in our guide here. Updated: September 2021.

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Before we can even get into our industry, we all have to be speaking the same language. Here are a few terms you should know to communicate with other DJs effectively.

This lists terms commonly used by a DJ for various parts of equipment, measurements, and situations. Etc. It has been compiled as a helpful guide for you to start with.

.DEEJAY's TERMINOLOGY/LINGO

Amp - Short for amplifier.

Acapella A track containing only vocals.

Anti-skating - A control to keep a turntables stylus centered within a records groove.

Auto Warp An Ableton Live function that allows the program to calculate and time stretch music.

Balance Control - A control that adjusts the left/right balance of your sound.

Balancing Levels - this is a technique professional DJs use to make sure they get their music as loud as possible without it distorting or sounding rubbish. If you don't know how to do this, the "sound manager" at a venue will have to turn you down in case you damage the "sound system". Sometimes this is known as sorting the "Gain Structure".

Bar - in dance music a bar is 4 "beats".

Bass - The lower end of the Frequency range you can normally control on a Dj mixer.

Bassline - The driving force to most dance music Produced by Bass frequencies.

Battle - An event where DJs battle against each other, battles are usually associated with hip hop culture.

Battle Record - A 12" vinyl filled with samples and loops usually used for scratching.

Beat - if you nod your head to music you are nodding to the beat, if you count 4 nods at a time you are counting 4 beats to a "bar". The beat is also called the "pulse"

Beat match - set the "tempo/speed/pitch" of two songs and play them so they are at exactly the same speed and time, making them sound like just one song Or A mixing technique used to establish a similar tempo with two or more tracks.

Belt Drive - A turntable driven by a belt using a pulley system to rotate its platter.

Booking agent A person who deals with all the details of your DJ bookings and manages your DJ Diary.

Booth - The area where the DJ & their equipment are in an event or club.

BPM - stands for beats per minute. If you nod your head or tap your foot to music you are following the "beat". If you count how many nods or taps you do in a minute you have calculated the BPM.

BPM Counter - A device used to automatically calculate the BMP of a track.

Break - 1) a bit of a song which sounds great and could maybe be used as a sample to make a new "hook" or "riff" with. 2) A change in a song where one or more instruments stops playing. 3) A change in a song where one instrument does something different e.g. a drum fill.

A break is distinguishable from a solo as the change will normally not last too long.

Breakdown - a bit of a song where things change and some instruments stop to let the bass and drums take over.

Cartridge - The part that holds the stylus in place on your turntable.

Channel - Referring to the channel within which audio is to be played on your DJ mixer.

Chorus - the bit of a song that is repeated by the singer a few times in the song.

Copyright - the legal proof that someone wrote the song you are using and that you should not copy, lend or borrow bits of their work without asking and/or paying them first

Counterbalance (counterweight) - The adjustable weight mounted at the rear end of the tonearm on a turntable.

Crossfader - A transitional slide control on a mixer for fading in one channel while simultaneously fading out another.

Crossfader Curve Control - A control that allows adjustment of the crossfaders fade curvature.

Cue -1) to prepare a song to be played. Normally a Dj chooses a point from which to begin a tune that is the beginning of the first beat of the first bar, or occasionally the beginning of the audio if these are not the same. More experienced DJs get creative by cueing from anywhere 2) to cue up can also be used to describe the action of setting an audio path so you can hear something in your headphones 3) on a CDJ, DVS or Controller deck the cue button is used to stutter the beginning of a song or to set a "cue point" which is where the song will begin to play from 4)On some DJ mixers the cue button for a channel will select that channel to be played through the headphones.

Cut - to swap instantly from one tune to another at a good place.

DVS -Digital Vinyl System

Deck - Player of CDs or vinyl records. Sometimes it's called a "turntable".

Demo - The item you will be sending off after completing/mastering your DJ courses!! A promotional mix sent to potential bookings.

Direct Drive - A motor system used to rotate a turntables platter.

DJ - Erm... not sure you should be here if you have to read this! (But if you must know it's short for Disc Jockey)

Echo - (1) a type of FX. (2) The reflected sound or resounding/resonant

Effects Unit - An external device added to your audio stream to add effects to your mixes.

EQ - controls that let you affect different frequencies of sound on your songs. On DJ mixers these are normally "HI/High/Treble/Top", "Mid" and "Bass/Low." Or Controls that allow the filtering of differing frequencies on your DJ mixer.

EQing - Altering the colour of sound from EQ control manipulation.

Fade -turn volume up or down so song begins or ends smoothly. / A gradual increase or reduction in the level of the audio signal.

Fader- the fader is the controller we use to "fade" a song. It can either increase or decrease volume smoothly.

Filter - a type of FX that can separate audio to some other frequency.

Flight case - A light weight, hard wearing carry case for a DJs equipment, vinyls and CDs.

FX - controls that let you do all kinds of things to the sound of your songs.

Gain - a control which can be used to boost or cut volume levels. This is different to the fader as it has much more power and is normally set using headphones and warning lights before you play any sound through your speakers. Or A control which increases or reduces the output level of your tracks giving extra movement in volume.

Gain Structure - this is a technique professional DJs use to make sure they get their music as loud as possible without it distorting or sounding rubbish. If you don't know how to do this, the "sound manager" at a venue will have to turn you down in case you damage the "sound system". Sometimes this is known as "Balancing Levels".

Genre - A category of music e.g. Afro-Beat, Lingala, Techno, House, Hip Hop, D&B, Trance, Hard House etc.

Hamster Switch - A reverse feature for a crossfader on DJ mixer. Scratching hamster style is to scratch with a reversed crossfader.

Headphone Monitor - a control on a DJ mixer for choosing which channels sound is heard from in the headphones. Sometimes this is called the "Headphone Selector".

Headshell - The adaptor used to hold the cartridge in place on the tonearm of a turntable.

Headphone Selector - a control on a DJ mixer for choosing which channels sound is heard from in the headphones. Sometimes this is called the "Headphone Monitor".

Hi - HI/High/Treble/Top (The high frequencies of your track controlled by your EQ controls).

High - HI/High/Treble/Top (similar to Hi).

Hook - the recognizable bit of a song you remember, hum, sing along to.

Intelligent - A term used to describe detailed music that requires extra attention of the listener with complex and cleaver sounds.

Intro - the beginning bit of a tune before all the instruments, riff or hook have really started.

Juggle - a technique used by turntablists to rearrange musical samples to sound like something new. This requires two copies of the same songs and lots of skill, or two different songs, lots of skill and incredible creativity. For examples of juggling search youtube for "DMC Champions"

Kill Switch - A switch or button to turn on and off output or individual frequency ranges within a channel, i.e. treble, mid and bass.

Line - line level is all CD players, MP3 players, TVs, DVDs etc. Be sure you put the cable from a line level device into a line level input on your DJ mixer.

Loop - any bit of a record that you repeat. CD decks have buttons which let you set any part of the song to loop. A good loop can become the basic beat or riff of a whole new song.

Low - The bottom end of the frequency range usually controllable by the "EQ" controls on a DJ mixer. This is also called "Bass" and is where you will hear the kick drum and Bassline.

Master - The master (main) volume control of your mixer.

MC - Master of ceremony but in DJ terms, referring to a person rapping.

Mid - the middle part of the frequency range usually controllable by DJ mixers "EQ" controls. If you only hear the Mid range thinks sound a little like you are under water.

Middle-8 - part of a song that lasts 8 beats which is different to the rest of the song, sometimes called a break.

MIDI - A communication signal used by electronic instruments to broadcast information to each other.

Mid-Range Frequencies - Frequencies that fit between the bass and high frequencies. These are also controlled by your EQ controls.

Mix - Any way you choose to swap between two songs.

Mixer - piece of equipment which mixes the music from two decks as the DJ requires. The essence of a mixer is that it can combine two or more audio signals into one output signal. It should be noted though that most mixers can do much more than just combine signals.

Monitor - A speaker in the DJ booth that allows the DJ to hear without the delays or echoes caused by space in a large room.

MP3 - A lower quality digital format for music. Downloaded music often comes in MP3 format which you can write to your own CDs. 128 Kbps MP3 is the lowest quality you should use.

Needle - A term referring to a turntables stylus.

Outro - the end of a song, often the same few words being faded out.

P.A. (System) - Another word for a "sound system" the initials P.A. used to mean Personal Address but also get confused with Power Amplifier. So P.A. actually means Personal/Public Address System. P.A. became the recognized nickname for all kinds of "sound reinforcement" equipment. A portable P.A. can be simply two speakers with internal amps while a P.A. (not prefixed with the word "portable") normally means a larger "sound system" which will require a professional "Sound man" or "Sound Engineer" to set it up and control it.

'Phones - nickname for headphones

Phono - phono level relates only to vinyl decks - be sure to put the cable from any vinyl player into a phono input on your DJ mixer.

Phono Cable- also called RCA, the industry standard cable for DJ and home hifi equipment and I think we discussed this topic earlier.

Phrase - any bit of music you can hear repeating during a song, normally each instrument has its own phrase, the drums do a beat, the bass does a bass line etc. Each repeats the same thing during the chorus or verse but may change in the break/middle-8.

Platter or Plate - The top section of a turntable driven by its motor or belt.

Pitch - sometimes confused with speed or tempo, the pitch of music is actually the frequency of the waveform which enables us to hear music. The pitch of a sound defines it's note. A high pitch is a high note (the "chipmunk" vocal sound- effect is achieved by increasing pitch to very high levels). A low pitch is a low or bass note. On old record players if you increased speed or tempo you always increased pitch too so the speed control was called the "Pitch Fader". Modern CD decks can alter speed without changing pitch but still sometimes call the tempo/speed adjuster the "Pitch Fader" because of the way it used to work.

Pitch control -The ability of a device to change the tempo of a song. This is very important if you are Beatmixing.

Pitch lock -The ability of a device to change the tempo of a song, without changing the pitch. This lets you drastically speed up songs with vocals without a "chipmunk" effect.

Pitch bend -The temporary changing of pitch to get beats in phase. Vinyl DJs typically use their fingers to speed up or slow down the record by pushing/pulling the record by the label. Some twist the spindle in the center to change the pitch momentarily. CD players offer this as buttons. Once the DJ stops bending the pitch, the decks will automatically snap back to the current pitch control settings. This is necessary since its possible for two songs to be playing at the exact same tempo yet have their beats out of phase. By bending the pitch momentarily, the beats come into phase and the DJ doesn't have to worry about readjusting the pitch control.

Pitch Fader - the control used to alter the speed or tempo of music. See also "Pitch"

Promo - A pre-released version of a track.

Pulse - same as "beat."

Requests - the public and the people dancing at clubs or parties may often request a song from the DJ. It depends what type of request it is, what type of party it is, and what type of DJ you are whether you play it or not.

Rewind - spinning the song back to the beginning to play it again because the crowd liked it.

Riff - the recognisable bit of a song you remember, hum, sing along to.

Sample - any bit of music used to make new music, often a break or stab.

Sampler - A device used to record samples of music.

Scratch - move the disc back and forth with your hand to alter the music, normally done with another song playing as a background.

Scribbling - a basic scratch technique where you just move back and forward around a sound - experiment, you may find you like it!

Slipmat - A felt-type material used to reduce friction between the turntables plate and the vinyl.

Song - a track or tune.

Sound Desk - An external array of faders and controls for the audio signals being generated by instruments on a stage or in a studio. DJ mixers are all "Sound Desks" but with the outstanding addition of a "crossfader".

Sound Engineer - A qualified and/or extremely experienced self-taught professional who manages the "Sound System. For example Deejay Sky" The term sound engineer is also applied to the person who uses a "Sound Desk" to mix the signals coming from a band on stage or during a studio recording.

Sound Manager - Another name for a sound engineer. Although instances may occur where a sound manager runs the system and a sound engineer runs the desk.

Sound Reinforcement - The term given to all the processes which are needed to amplify sound for projection at events. Sound reinforcement will require a "sound system" or "P.A."

Sound System - The amplifiers, speakers, outboard units and crossovers that together create the sound in clubs and venues. Not in anyway like a home HiFi or a portable P.A. The Sound System requires a "Sound Engineer" to correctly use it.

Speed - also called tempo or sometimes pitch. This is the speed a song is playing in, it is measured in BPM.

Spinback - spinning the disc backwards to finish a mix with a flourish!

Stab - a short sound used as a sample, normally for scratching.

Stutter - using scratching on vinyl decks or the cue button on CD decks to rapidly repeat a sound like a drum roll or a voice.

Stylus - The part of a turntables arm that makes contact with the vinyl being played.

Tempo - also called speed and sometimes called pitch. This is the speed a song is playing in, it is measured in BPM.

Tip - when beginning to learn how to scratch try to use just the tip of a sound to get used to how little you should move when scribbling.

Time Code - The time structure with in which music is created.

Time Coded Vinyl - Special 12" vinyl used with systems to allow a computer to play m music file directly from your turntables movements.(similar to DVS).

Throwing - Giving a record a little push when it starts up so you don't have any lag time while it gets up to speed. CD players do this by featuring instant start. (normal CD players may take a few tenths of a second before a song starts) Throwing a record nulls the lag time while it accelerates from zero to 33ish RPM. It sounds silly at first but it is actually very critical for Beatmixing.

Top - HI/High/Treble/Top. Also used to describe something good

Tone Arm - The pivoting arm on a turntable.

Track - a song or tune on a CD.

Tracking - The ability of a stylus to follow the grooves of a vinyl.

Treble - HI/High/Treble/Top. The upper part of the frequency range which is controllable by DJ mixers. This range normally contains hi hats, shakers and some parts of voices.

Trim - another word for Gain.

Tune - a track or song.

Turntable - a "deck."

Turntablism - using records or CDs to make your own music by scratching, juggling, sampling etc instead of just playing the songs.

Verse - the bit of a song where the singer/ rapper sings the main part of the song.

WAV - a high quality digital format for music on CDs, all bought CDs have WAV quality sound.

I know you have what it takes(talent)..but one thing that can push it forward is to hang in there, never give up and always stress forward!

Further Info djskymix@yahoo.com

Copyright © 2013 written by deejay sky @ we the best crew ent.

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Before we can even get into our industry, we all have to be speaking the same language. Here are a few terms you should know to communicate with other DJs effectively. This lists terms commonly used by a DJ for various parts of equipment, measurements, and situations. Etc.

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Vocab

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Summer 21

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DJUCED | Summer 2021 Update (version 5.2)

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Free DJ software for professionals

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DJUCED - Free DJ Software for Professionals

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DJUCED is the right software for your first steps into the world of DJing.

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DJ INTROS

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Radio Show DJ Intros

A radio host is essentially the most important figure on a radio show, regardless of the guest celebrity due to appear, simply because the radio host sets the tone for the show. The radio show host not only introduces the DJ or the celebrity due to appear, but also interacts with them and with the fans. Any radio show host worth their worth is relatable and likeable. These two qualities are of the utmost importance for the radio show to survive on air. These radio shows use their qualities to reach out to fans and to captivate fans to follow the show on a regular basis. As radio hosts are not aided by live images, body language and facial expressions as on television, they are bound to their voice, personality, mannerisms and charisma.

A radio show host also needs to have DJ intros lined up and ready to perform. DJ intros serve to introduce the DJ to the crowd prior to playing one of their songs. DJ intros are not only common on air for radios but also in nightclubs and bars. DJ intros are often repeated throughout a song or throughout the night, to familiarize them with the crowd. Often in places such as clubs or bars or even parties, people and the crowd, in general, tends to keep changing as people enter and exit the venue. Thus, it is essential for the DJ intros to be performed in perfect conjunction with the rest of set-list, so as not to cause a disruption or ruin the flow.

For a Radio DJ, it is perhaps even more vital to have a DJ intro provided by either the radio DJ or the radio show host. In some cases, the radio show host is also the radio DJ, however, such cases are uncommon. As a Radio DJ, one does not have the visual cues or the body language of the audience in sight. Thus, a Radio DJ needs to use his or her expertise to introduce and familiarize himself or herself with the audience and do so in a manner, which does not disrupt the flow or the cohesion of the set-list. The Radio DJ must also use his or her expertise to navigate nimbly through the set-list so as not to overplay any song but also to not overlook any crowd favorites.

One of the thing every radio host needs to follow is a script. Radio hosts use a script to introduce themselves to the audience because on air, first impression is always key. The radio hosts only have a window of a few seconds to make a strong and lasting impression with the listeners and thus must seize their chance with both hands. Thus, radio show hosts must make sure to introduce the show and themselves in a catchy and captivating manner. This is done through using a script. Examples of good introductions include: "playing the latest music to soothe your broken heart is *Insert DJ Name* on *insert show name". Other catchy introductions also include script favorites such as "Here's your favorite show *insert show name* on radio, with your favorite host on radio *insert host name* with your favorite new music from the year 2017".

Thus, radio scripts are an important mechanism to follow for radio show hosts if they want to create an impressionable and strong first impression with their listeners. As radio hosts cannot use expressions or body language to their advantage, they are forced to project their voice and have a fun, entertaining personality to capture the audience and ensure future replays of the show on that radio station.

Get started at a very affordable price with djdropsandjingles.com. You will be able to create your very own custom radio DJ intros.

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Radio Show DJ Intros A radio host is essentially the most important figure on a radio show, regardless of the guest celebrity due to appear, simply because the radio host sets the tone for the show. The radio show host not only introduces the DJ or the celebrity due to appear, but also interacts [...]

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Beats, bars & phrases

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Music Theory for DJs - Beats, Bars & Phrases - DJ Course - Soundflow Music Academy