Equipment for the film production

In addi­tion, the equip­ment used in the pro­duc­tion is essen­tial for the qual­ity of the footage. This includes light­ing, grips (e.g. tripods), and the sound equip­ment.

Eine Filmcrew baut gerade einen Scheinwerfer und Zubehör auf.

For a busi­ness film, you should always insist on addi­tional light. Even though mod­ern cam­eras are that sen­si­tive that the most loca­tions are suf­fi­ciently illu­mi­nated, the use of addi­tional light is indis­pens­able. Light­ing is used for com­po­si­tion, cre­ation of atmos­phere with coloured light, and guid­ance of the viewer’s atten­tion through con­trasts. In the most basic case the cam­era oper­a­tor uses a so called head­light, which is fixed on the cam­era and is nor­mally used for the light­en­ing of close ups. A sole head­light will only be used in sit­u­a­tions, when com­po­si­tion is not pos­si­ble. The min­i­mum stan­dard is a light­ning set with halo­gen lamps (between 500 and 800 watt). A higher qual­ity pro­duc­tion will also uti­lize Dedo­lights and a so-called HMI-light (a very bright light which pro­duces day­light).

The sim­plest case the cam­era is fixed on a tripod to provide for a sta­ble shot.  A roller stand unit makes it pos­si­ble to do sim­ple hor­i­zon­tal move­ments. A vari­a­tion is the “Slider”, a short rail which is nor­mally fixed on two tripods and that enables smooth lin­ear move­ments. More com­plex move­ments are pos­si­ble with a Dolly. There the tripod is fixed on a “wagon” which is moved on either air wheels or rails. The com­bi­na­tion with a jip-arm (a small crane) allows to move the cam­era ver­ti­cally. Big­ger ver­ti­cal move­ments are pos­si­ble with a cam­era crane. A spe­cial case is the Steady­cam. The cam­era “hov­ers” on the cin­e­matog­ra­pher and there­fore uniquely smooth and flow­ing move­ments are pos­si­ble, but the han­dling needs a lot of expe­ri­ence.

The third impor­tant part is the sound equip­ment, which is often neglected at non-pro­fes­sional pro­duc­tions. In par­tic­u­lar, selec­tion of micro­phones and sound mod­u­la­tion should avoid cam­era inte­grated solu­tions and uti­lize an exter­nal sound mixer instead.

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