Bien para foto, y mejor todavía para video.
El mismísimo Michael Reichmann nos da «Los 10 consejos para grabar video a fotógrafos de imagen fija». (The Ten Commandments of Cinematography For Still Photographers).
Pues eso. Así de guapo os puede quedar un video si seguís los consejos que nos da el bueno de Michael desde su residencia de invierno (que ahora le ha servido también para unas vacaciones de verano) en San Miguel de Allende, en Mejico.
La verdad es que, aparte de bromas, me han parecido muy interesantes y por eso os los pongo aquí:
Mirar el video, (tendréis que mirarlo en Vimeo) y si os gusta, abajo tenéis las pautas para conseguirlo. El video ha sido grabado con la nueva Lumix GX7 que da la misma calidad que la Lumix GH3 ¿ oído cocina ? Pues eso.
[vimeo]http://www.vimeo.com/73014010[/vimeo]
Y estos son los consejos:
1: Don’t zoom. Zooming simply looks amateurish. Yes, there may be times when it’s useful or even necessary, but avoid doing it if you can.
2: Turn off autofocus and focus manually. Even the best AF systems «hunt» during a shot and nothing looks worse than losing focus at an important moment.
3: Turn off autoexposure. Set your camera to M and manually set the shutter speed, aperture and ISO. Exposure changes when they’re not deliberate are terrible to watch.
4: Set your camera to «Natural» or a similar low saturation look. Standard is almost always way to saturated and contrasty.
5: If at all possible, shoot at 24FPS and with a shutter speed of 1/50 second if you want a «cinematic look». This is not ideal for sports or any type of action, but it produces the motion cadence that has the feel of motion pictures. 60 FPS with a 1/125 second shutter speed looks like video. If that’s what you want, or when shooting fast action – fine.
6: Use a variable neutral density filter (Fader) so that you can control the light entering the lens and adjust the shutter speed and aperture to the settings that you want. Shooting at f/16 because it’s sunny out just looks awful. But that’s what an appropriate shutter angle (a speed of double the frame rate; ie: 1/50 sec for 24 FPS) requires unless you have a Fader. Buy a good one. Cheap ones are crap.
7: Move the camera slowly. Any panning should be at a speed much slower than you think looks right at the time. It will at the end. Experiment.
8: A tripod, monopod, or table-top pod are all a great idea. Hand-hold as little as possible, and when you do, use wide lenses and stabilization if your camera/lens offers it.
9: Use an outboard digital audio recorder if at all possible. The mics and pre-amps built into almost all DSLRs and camcorders are mostly terrible. Small recorders can easily mount on the camera’s accessory shoe with a small ballhead. Sync the high quality audio with the ambient track recorded by the camera when editing. Good sound is 50% of what people will experience when watching your video production.
10: Don’t try and shoot stills at the same time with the same camera. You’ll screw up both. Cameras setting are so wildly different for each that your best approach is to have two different cameras with you which share the same lens mount. That way you can quickly switch from one to the other and also swap lenses between them as needed.
11: (Important bonus commandment): Before, during and after shooting, think about the story that you want to tell. Cinema has been described as «telling stories over time«, and one can also describe them as, «telling stories through space«. A still photograph fails or succeeds at its job of story telling in a single moment. A film spreads those moments out over time and space. Think about it. For the still photographer who wants to break out of a rut, or expand their creative or business options, making films and videos can have great appeal.
Y este es el artículo completo de Michael – Gracias
