Digital Cinema - Filmmaker's Training Course
16 DVD (M4V) + 1 eBook (PDF) + 1 CD (MP3) | 13.70 GB
English | m4v | 720 x 480 | h264 1340 Kbps | 29.97 fps | aac stereo 48 KHz
Genre: Video training
(This Item is the DCT-MP/COMMAND + DCT-A102 + DCT-COMP Volumes) DCT-MP/COMMAND: 20 DVDs That teach Filmmaking from Writing to Post. DCT-A102: Intermediate Audio Guide is a special focus on Microphones and Mixers. DCT-COMP: 4-DVD Digital Keying Guide teaches how to create believable Compositing images. All DVDs feature: Motion Menus and Instant-Access Chapter buttons. The most revolutionary training course you will ever own. Over 30 hours of filmmaking savvy, wisdom, examples, demonstrations, tips and tricks, presented on 20 DVDs by people who work in Hollywood day in, day out. Learn Scriptwriting, Formatting, Editing, Camera Operation, Lighting, Exposure, Audio, and Directing, all focused on Digital Movies. DCT-BP (Basic Production): 10-Point lighting, the jargon and motive behind each light source, as well as balancing them together with Quality, Quantity, Direction, and Color. Composition concepts: Law of Thirds, Screen Mass, Triangular Dominance, Color Harmony, and Planar Separation, as well as the psychological impact of each. Also, Lenses, Depth of Field, Shots, Axes of Motion, Makeup, and Steadicam. DCT-MP (Movie Production): Screenwriting, Directing, Acting. Add foreground detail and make a dolly move really count, block your actors to match their eyelines, compose your shots to set the audience at ease (or not), and light the set with a minimum of fixtures. DCT-LS (Lighting Set): 10 complete sections devoted to Pro lighting. Matching your lighting to fire-light, Christmas lights, uncorrected fluorescents, flashlights, candles, lighting chrome weapons, and groups of actors at a card table scene. When you finish the last DVD of this series, your mind will be overloaded. You will never watch movies the same way again, knowing that the "Natural Sunset" light inside an apartment is actually tungsten light off a gold reflector, and that there is a reason why directors move the actors in specific axes.