We're just editing video clips at the moment, but I started wondering what kind of equipment is needed for the actual filming, so I did some digging. Firstly, you need a camera–no kidding. A $300 or so camcorder can do the job for an amateur, but further along in your career you'd want a more expensive camera that with interchangeable lenses. It definitely needs a tripod mount–shaky footage screams "unprofessional." HD has become the standard, making it another vital factor, and manual controls allow you to more closely create your vision (this is why I hate taking photos with my phone's camera). Make sure you can zoom! Microphone and headphone inputs are also very useful, though an attached microphone isn't always the best option, since you can't get it very close to the actual sound. With a tripod mount, you obviously need a tripod too, one that lets you pan and tilt. A dolly is great for moving shots, but it is expensive. Another important thing to have is a 3-point lightning kit, with a key light (the main light, for warmth and brightness), a fill light (for getting rid of shadows), and a back light (for adding definition). You'll need lightning stands or clamps with these, and a boom can help to get the right angle. Then there's the microphone. A microphone attached to the camera is great for syncing audio and video, but it has its limits: it's hard to get close to the subject, and can capture noise from the camera. A digital recorder can help with the distance issue, but syncing audio and video is a pain, so it's really a matter of priority. A pair of headphones to monitor the audio also helps. Memory drives are also important–it's good to have two so you can keep shooting while one uploads to your computer. So, to summarize:
Citations:
Perez, J. Carlos. “Basic Equipment for New Filmmaking Students.” About B&H | B&H Photo Video, B&H Photo Video, www.bhphotovideo.com/explora/video/buying-guide/basic-equipment-new-filmmaking-students.
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I learned about different camera shots and angles a few years ago, and since we've moved into video editing, I thought now would be a good time for a refresher. First of all, there's the zoom. It can work for focusing in on a specific part of the picture, and can create a sense of drama, but is best not overused. Then there's the pan, where the camera is turned (but not moved) to the left or right, and the tilt, where it's turned up or down. This works well for fitting more into one shot. Pans also work for following motion–imagine a character sprinting past and the camera turning to follow, almost like a person turning to watch. While more unlikely, a tilt could work with this too, in situations like a rocket launch for example. Of course, sometimes you actually move the camera through space rather than turning it on a fixed point. The dolly shot moves the camera directly towards or away from something (e.g.a character), usually with the camera mounted on a track to keep it from swerving. It looks like the viewer is walking towards/away from the subject. A truck shot moves the camera left or right, often to follow the action. A boom shot moves up or down, such as to showcase a tall building. You have to consider how much is in frame. A full shot shows the character's whole body; this helps give context to the situation or shows the action. A medium shot is knees-up, allowing the viewer to see the character's emotions and some background. A close shot is just head and shoulders, which means emotions/expressions are the main focus. An extreme close shot is only a part of the face–for example, the whole screen is just their eyes. It's great for focusing on details and creating a little drama, but use it sparingly, or it gets claustrophobic. In an up shot, below eye level of a character, the subject seems to tower of the viewer, making them seem powerful. In a down shot, taken from above, vice versa is true. The subject looks helpless. This can be a good way to stir up fear, especially with a shadow looming over the character! Over the shoulder (self explanatory) works well for conversations, and a two-shot (showing both subjects) helps introduce characters with context. A point-of-view shot puts the viewer in the character's shoes–er, eyes? Done from behind a couple trees and focused on another character, it'll tell the audience that someone's about to get attacked by a big scary monster. So, to summarize:
Citations:
Mc Guinness, Karen. “Understanding 16 Types of Camera Shots and Angles (with GIFs!).” Boords, boords.com/blog/16-types-of-camera-shots-and-angles-with-gifs. Music gives a game emotion and life. It can make or break a game. This is "Boss 2" from the official soundtrack of Terraria: This song plays during two boss fights, both of which require speed and coordination, and one of which is perhaps the most major turning point in the game. Its fast tempo matches the pace of the battle, and the thudding beat amps up the adrenaline. The low synthesizers give a sense of dread, while the string section bits add that extra sense of urgency and adventure. This fits very well with the tension of the fight and the pressure not to slip up on any maneuvers. The beginning gives just enough build-up before it throws the player straight into the excitement, letting them know they've started something big. Because it loops throughout the battle it doesn't exactly guide gameplay, though it does give a general message of, "Run," which is exactly what the player needs to do during these two battles. This track honestly speeds up my heart rate a little, with or without gameplay, so in-game it adds the perfect amount of tension. There's also enough variety to keep the player interested and hence alert, which is absolutely necessary for the battles. Personally, I find it a very energetic and exciting track, perfect for the parts of the game in which it is used. So, to summarize:
Citations:
Lhiandrow. “Terraria Music - Boss 2.” YouTube, YouTube, 3 May 2016, www.youtube.com/watch?v=8E8YdqLG5c8. For over two weeks, I worked as the programmer on a the first digital game I've ever made with a team. Now that it's all said and done, here's what I've learned about my own skills working with a team. First of all, I think I did fairly well keeping up my side of the work. I did the absolute best I could with what I had, even throughout the numerous problems that popped up. I made the effort to communicate with my team, which I'm very proud of–a year or two ago that wouldn't have been the case. I asked for more details when needed, and made suggestions based on my own knowledge of coding to help create a better game. Admittedly, I struggled with continuing to communicate when I didn't get an immediate response. Sure, I made documents and sent emails, but it was a little difficult talking face to face, particularly with team members I didn't know very well. This doesn't surprise me; I've had this problem for ages. It was also a little difficult not to get frustrated or discouraged in the beginning when I didn't know what exactly I was supposed to be doing, and I really didn't know how to ask. I also know I could have been a little more helpful to other team members. I'm usually the type to go solo, so working with a team was interesting for me. It was great to be able to focus only on programming and not have to worry about most of the other assets, and I'm almost certain I wouldn't have gotten it done alone. At the same time, it was a little weird working with other people's stuff and not being able to change it. The script was especially frustrating, since I had to translate it from a screenplay-esque form to something I could put into the code, instead of just writing it myself. I must admit I sometimes have a "if you want something done right, you have to do it yourself," attitude. It was also a little alarming to find situations where I had to take initiative. I don't like giving orders and I don't like taking them, hence my tendency to work alone. Overall, I'm pretty proud of myself. I know I wouldn't have been able to work with a team this effectively when I started high school. So, to summarize:
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AuthorI'm moving on to my 4th (and final) year as a Game Art & Design student at Durham School of the Arts. I'd like to call myself an artist, but I'm a programmer at heart. Archives
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