By Montano B. C.
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Extra info for 3-Partitioning Problems for Maximizing the Minimum Load
1. What White Balance Does, and Why You Can Never Forget to Set It Most lighting isn't neutral. Most light contains a color cast that tints the objects in a shot. Even if you can't see the tint with your eye, it makes a difference to the camera. Depending on lighting conditions, the light in a location may have a blue or a yellow tint that colors everything you see. The human eye and brain do a remarkable job of compensating for differences in lighting, so most of the time people don't even notice a tint unless it's really strong.
Chapter 3. Composing a Shot to Fit Your Output Medium An Overview of ShotsMedium Shot, Wide Shot, Close-up, and Extreme Close-up Shooting with DVD Compression in Mind When I was in film school, a professor told us that people learning to use a camera tend to frame things they way they see them with their eyeseverything appears in medium shot. When you look around, your eyes take in everything at once. If you look at a particular object, say a book on a shelf, your eyes don't zoom in and 36 37 frame out everything around it.
To a camera on one side of the field, everyone might appear to be running from left to right. If you show the exact same action through a camera on the opposite side of the field, the same players would appear to be running in the opposite direction, from right to left. If you exclusively use footage from either one of these cameras, there won't be any problem. If you cross the axis and mix shots from both sides, it becomes very hard to follow the game. Continuity is such an issue that large-scale film productions hire a script supervisor to ensure that continuity problems don't come up.