1. How to use the rule of thirds to get better composition in your photos

    # vimeo.com/14315821 Uploaded 146K Plays 33 Comments
  2. Guy and I talk about framing and show examples of framing people. We also touch on when to use certain shots and how to discern different head room levels and more.

    For more film or DSLR content check out dslrvideoshooter.com.

    # vimeo.com/13362257 Uploaded 91K Plays 11 Comments
  3. More INFO on the Short Film School DVD http://tomantosfilms.com/store/
    Learn what makes great looking images in film, music videos etc. It's not always the camera but how you design the shots. In this 3rd tutorial I try to explain how I setup a restaurant scene from a narrative film, as well as how I fix one sequence from the same film by re-designing a shot.

    Watch all my video & photo tutorials here: http://bit.ly/JdE3ti

    Get all the equipment used in the video here:
    Canon 7D Camera: http://amzn.to/19pCAME
    Redhead 3 Point Lighting Kit: http://amzn.to/1bqFdIi
    Redhead Softbox Lighting Kit: http://amzn.to/1cSeDJ0
    Light Gels (filters): http://amzn.to/1hFnuSO
    Light Diffusion Paper: http://amzn.to/1c698c0
    Gel Clamps: http://amzn.to/1jJstqg
    Gaffers Tape: http://amzn.to/1fHS3WP

    For more info on the film see the official page: http://www.facebook.com/#!/pages/Dinner-Date-a-Tom-Antos-film/112268158796323?ref=ts

    # vimeo.com/9817517 Uploaded 48.4K Plays 32 Comments
  4. Tip's and trick's for video production - digitaljuice.com

    # vimeo.com/15012506 Uploaded 13.2K Plays 21 Comments
  5. This was a project for my lighting class. Each shot had specific details on which to follow, which are explained in the video. In more depth, here are the ten shot assignments.

    1. A three-quarter or waist-high silhouette of 1 or 2 people perfectly exposed for the background
    with the foreground figure(s) completely dark. There should be enough distance between foreground
    and background that the spill of one area does not interfere with the other.
    2. Invert the lighting in #1, using exactly the same pose and framing with perfectly exposed
    foreground figures at 4:1 key/fill (two stops) and completely dark or just barely visible details in the
    3. A waist-high person in soft (diffused) side light, no fill light, and a specular edge light from the
    opposite side with the background as dark and unlit as possible. An incident reading of the edge light
    should be about the same f/stop as the key light if the subject has light features, or one stop brighter
    if the subject has dark features. Expose for the diffused key light.
    4. Identical pose and framing to #3 but with added light and shadow (using barn doors, or other
    shadowing material) shaping and highlighting the background (think of it as painting the background
    with light and shadow).
    5. A scene with a standing or seated person, a candle (either held by hand or on a table) seemingly
    lighting the person but actually enhanced with additional light, and a circular glow simulating the
    effect of the candlelight on the background.
    6. A person reading in bed by lamplight at midnight (implied by light, shadow, framing, ratio,
    composition, and a “practical”).
    7. A person sleeping in bed at 3 am with shadows implying moonlight coming through unseen
    foliage or blinds onto part of the scene. You may want to gel the moonlight source or the fill light
    with a blue or other color gel.
    8. A person in bed at sunrise (implied by light, shadow, color, and composition).
    9. Simulate the pose, surface tones, and light of a specific frame from a film of your choosing. If
    possible, also turn in a still image of that frame.
    Shoot an interior still with at least one person in it using whatever light sources already exist in
    the location (lamps, overhead lights, windows, etc.), but without showing any of those sources in the
    frame. Now, turn off/cover those sources and replicate, as nearly as possible, that scene using only
    artificial lighting. Also shoot wide shots of both the “natural” lighting sources and the artificial

    Since it is available in video, instead of using gels, I white balanced off of different color swatches, for a greener look, I white balanced off of a magenta tone, blue look, orange tone, etc...

    I also lowered the blacks and raised the mids in Color, to give the video a more filmic look.

    Over all, a very fun assignment

    # vimeo.com/7087427 Uploaded 98.8K Plays 70 Comments

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