d. Light direction.
Cross lighting is the best type of lighting for
aerial work. Shadows falling to the side of objects give contrast, depth, and
A combination of middle oblique angle, 45
visual measurement to the scene.
line-of-flight angle, and side or cross lighting will result in the best type
of motion picture aerial scene coverage.
12.
a. The main subject should be centered in the frame.
On occasions, a
small portion of the aircraft (wing tip, strut, skid, etc) will add depth to
the scene.
However, this technique must not be overdone.
Remember that the
lens should remain focused on infinity.
b. When using a camera that does not have through-the-lens viewing, you
must be careful not to have parts of the plane in the lens viewing area. Watch
out for window edges, air ports, and curved glass. When shooting through glass
windows and doors (plexiglass), keep the lens as close to the glass as possible
to minimize distortion.
Whenever possible, open the window or door before
filming.
13.
Using basic sequences.
a. Just as in ground photography, so also in aerial photography it the
basic sequence used.
The long shot (LS), medium shot (MS), and closeup (CU)
are used to show the target.
Your establishing shot can be made as you
approach the target. LS, MS, and CU may be made at various altitudes as the
aircraft circles the target.
b. As an example, the LS can be made at 1500 feet (457m), and the MS at
1000 feet (304.7m), and the CU at 500 feet (152.3m).
Altitudes will, of
course, vary depending on the situation. Shooting as the aircraft circles the
target will furnish the requisite changes of angles.
c. When shooting a target, especially from a low altitude, keep in mind
the direction of the sun. Avoid having the sun behind the target. This will
avoid the flare caused by the sun shining directly into the lens.
Learning Event 5:
SHOOTING UNDER STRESS
1.
Photography is photography under any circumstances. The only thing that
changes is the location and conditions under which you must film.
a. When you are given a script and told to shoot a story, you are usually
not rushed.
However, when you are shooting a COMDOC subject in wartime or
peacetime, the action is fast and furious.
There usually is no time for
advance planning. All your thinking must be done on the run and immediately.
You cannot ask the subject to "hold it" while you reshoot the scene. You get
one chance and one chance only. This type of situation separates the amateur
from the professional.
20
Previous Page
