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igital filmmaking is actually very simple You point a camera at the action, record or register on digital tape, or some other memory medium such as a DVD or flash drive, and then transfer the video to your computer Big deal, right You already know how to do that from previous chapters Of course, sometimes your videos aren t the easiest things to watch Maybe the camera was shaking, or you missed some action, or you can t hear what the people are saying because you didn t use a boom, or even a lavalier Maybe the light is too bright and you backlit your subjects, or your key light was not bright enough, or even too bright Perhaps your audience has trouble following the action because there s no continuity to a shot, or you didn t follow the 180 degree rule, your camera angle is wrong, your bookends don t box in the video sequence, and your coverage is incomplete Perhaps your decoupage is not ordered, and your eyeline doesn t match because you started with a POV dolly shot and cross-faded to a Dutch tilt instead of using a head-on shot And all of this could have been avoided if you had made a more complete storyboard, reviewed your mise en sc ne, used a static shot to start, blocked out some shots, and, before you called a wrap, made sure you checked the gates Simple stuff Point, shoot, and upload, right Okay, don t panic If you had trouble understanding some of the terminology I used in the previous paragraph, don t worry I used that terminology (all of which makes sense, by the way) to make a point: When filming, sometimes you do need to know some technical aspects of what you re doing It s not that difficult to translate Sure, it s easy to just point, click, and record, and for most purposes you ll probably do just fine But there are times when you ll want to make something more of your video than just a home movie And when you do, it s not a bad idea to have some understanding of basic filmmaking techniques and terms This chapter gives you enough knowledge to be dangerous If you practice, you may even be able hold up your end of a Hollywood cocktail party conversation enough to drop a log line of a film idea you have, have the other guy ask you for a treatment of the project, turn the project into a property, and get the ball rolling toward having some meetings In Hollywood, you can t get anywhere without meetings By the end of this chapter, you ll understand all the terminology used in the opening paragraph The core of the chapter explains the terminology that you probably need to know to actually make your video First, I ll discuss moving shots, in which the camera is in some sort of motion, and then I ll discuss framing shots, which describe the composition of the shot but not necessarily the action of the camera I ll then cover audio and lighting options To wrap up the chapter, I ll define some other terms that probably aren t essential to know but might be useful to you if get more involved in filmmaking.

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