1. Mission: Special F/X Developed by S. Wade Bradt for R.A. Reiser
EME 5603 – Fall 2009
Target Audience: Chiles HS

2. Sec 1:
Mission Background
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3. a camera’s Shutter Speed (SS) and Aperture (Ap) settings
Mission Objectives
SEC 1 2 3 4 5
The purpose of this training is to learn how to create Special Effects (SFX) using
a camera’s Shutter Speed (SS)
and Aperture (Ap) settings
The 4 SFX can be grouped by type:
2 SFX control motion
2 SFX control what is in focus
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4. Mission Objectives
SEC 1 2 3 4 5
The 4 SFX skills necessary for taking Mission Ops photographs are:
Frozen Motion
Blurred Motion
Shallow Depth of Field (DOF)
Deep Depth of Field (DOF)
Motion
SFX
Focus
SFX
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5. Mission Background
SEC 1 2 3 4 5
You will learn how to use a camera’s controls to generate special effects that Headquarters has identified as Mission Critical.
On the following pages, you will see examples of the 4 SFX, and how SS and Ap work together to create them.
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6. All objects reflect light
Mission Background
SEC 1 2 3 4 5
All objects reflect light
The amount of light allowed into the camera by the lens affects what the photo looks like.
A camera’s shutter works just like blinds on a window – they can be opened and closed.
How long the shutter remains open (or how fast it moves) controls how much light is captured.
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7. A camera’s aperture size refers to how wide the blinds open.
Mission Background
SEC 1 2 3 4 5
A camera’s aperture size refers to how wide the blinds open.
Just like a window, the larger the opening, the more light will enter.
How wide (or narrowly) the aperture opens controls how much light is captured.
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8. Photo courtesy of www.militaryphotos.net
SEC 1 2 3 4 5
Frozen
Motion
Photo courtesy of
Freezing the motion of a subject stops the action as it happens.
Increasing the SS will allow the camera to capture a smaller period of time and “freeze” the motion of the subject.
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9. Photo courtesy of www.militaryphotos.net
SEC 1 2 3 4 5
Blurred
Motion
Photo courtesy of
Blurring the motion of a subject captures an image that looks like it’s moving.
Decreasing the SS will allow the camera to capture a longer period of time and “blur” some of the motion of the subject.
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10. Photo courtesy of www.militaryphotos.net
SEC 1 2 3 4 5
Shallow depth of field
Photo courtesy of
Creating a Shallow DOF emphasizes the subject in the foreground and “blows away” (or blurs) the background.
Increasing the Ap size (making it wider) will result in only a narrow band of action in front of the lens that remains in focus.
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11. Photo courtesy of www.militaryphotos.net
SEC 1 2 3 4 5
Deep
Depth of Field
Photo courtesy of
Creating a Deep DOF keeps everything in focus – subjects close to the lens and subjects far away.
Decreasing the Ap size (making it smaller) will result in a very deep area in front of the lens that remains in focus.
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12. Remember… Motion SFX Focus SFX Frozen Motion = Faster SS
Blurred Motion = Slower SS
Focus SFX
Shallow DOF = Wider Ap Size
Deep DOF = Smaller Ap Size
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13. Photos courtesy of www.militaryphotos.net
Practice
Under each of these photos, identify which of the 4 SFX were used.
Photos courtesy of
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14. Good Job!
You have successfully completed Basic Training. You may proceed.
Photos courtesy of
Deep DOF: Foreground & Background in focus
Blurred: Motion of subject is blurred, suggesting movement
Frozen: Motion of subject is frozen
Shallow DOF: Foreground in focus, Background out of focus
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15. Sec 2:
Identifying
“normal” Readings
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16. Establishing a baseline
SEC 1 2 3 4 5
You now have a better understanding of your mission.
In this section, you will learn how most cameras display their “normal” readings, and learn how to interpret those numbers.
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17. Establishing a baseline
SEC 1 2 3 4 5
Remember, during your basic training you learned:
The shutter and aperture work like blinds on a window, opening and closing to let in light.
Increasing and decreasing SS will help you freeze and blur motion (the Motion SFX).
Increasing and decreasing Ap will help you create Shallow and Deep depths of field (the Focus SFX).
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18. Understanding terminology
SEC 1 2 3 4 5
Both SS and Ap settings are moved in increments called “stops.”
Stops are just like a volume knob, ranging from 1 (Quiet) to 10 (LOUD!).
Aperture stops show the width of the opening from 22 (Narrow) to 2.8 (WIDE).
Shutter Speed stops show how fast it opens and closes, from 1 second (slow) to 1000th of a second (fast).
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19. Courtesy of www.photonhead.com
shutter speed Basics
SEC 1 2 3 4 5
Shutter Speed is displayed in numbers that represent time.
Notice that the graph decreases from “more light” at the top to “less light” at the bottom.
The speed of the SS increases from slow at the top to fast at the bottom.
Courtesy of
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20. Courtesy of www.photonhead.com
shutter speed Basics
SEC 1 2 3 4 5
The number “1” at the top stands for 1 second.
The number “1/1000” at the bottom stands for 1000th of a second.
Many cameras represent those fractions in whole numbers.
1, 2, 15, 30, 60, 125, 250, 500, 1000
Courtesy of
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21. Letting the right amount of light through the lens results in a good looking photo.
This is also called a “good exposure” because the film is exposed to the right amount of light.
Too much light…
Not enough light…
Good “exposure”
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22. Courtesy of www.photonhead.com
Aperture basics
SEC 1 2 3 4 5
Aperture size is displayed in numbers that represent size.
Notice that the graph decreases from “more light” at the top to “less light” at the bottom.
The size of the Ap opening also increases from narrower at the bottom to wider at the top.
Courtesy of
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23. Courtesy of www.photonhead.com
Aperture basics
SEC 1 2 3 4 5
The wider the opening, the more light.
Notice that the widest setting has a lower stop number – f2.8.
And the narrowest setting, the one that lets in the least amount of light has a higher stop number – f22.
Courtesy of
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24. Courtesy of www.wordpress.com
Aperture basics
Hi, my name’s “Tiny”
The fact that Wider openings are controlled by Smaller setting numbers can be confusing.
It may help to think of the setting numbers as being how much effort the Ap has to give to close down.
Closing the Ap to f22 requires much more effort than closing it to f8.
Mine’s “Big Al”
Courtesy of
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25. Courtesy of www.synapticlight.com
Practice example
On the following page, you will circle the Aperture setting that is the narrowest.
And, put a square around the Aperture setting that is the largest.
This example shows you how to complete that exercise.
Courtesy of
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26. Practice Circle the Aperture setting that is the narrowest.
Put a square around the Aperture setting that is the largest.
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27. Well Done!
Remember:
Wider Ap openings are represented by smaller numbers.
A narrower Ap would let in less light.
A wider Ap would let in more light.
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28. example 15 30 60
125
250
500
1000
On the following page, you will circle the fastest SS.
And, put a square around the slowest SS.
Then to draw an arrow showing how the SS increases and decreases.
This example shows you how to complete that exercise.
Slower
Faster
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29. Circle the SS setting that is the fastest.
practice
Circle the SS setting that is the fastest.
Put a square around the SS setting that is the slowest.
500
250
125 60 30 15 2
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30. Well Done!
Remember:
Faster shutter speeds are represented by larger numbers.
Slower shutter speeds would let in more light.
Faster shutter speeds would let in less light.
500
250
125 60 30 15 2
Faster
Slower
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31. Basic training complete
SEC 1 2 3 4 5
Congratulations!
You now have the basics “locked down” and are ready to proceed with the heart of the lesson.
Now you’re going to learn how to use those controls together to create the 4 SFX.
Keep up the good work!
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32. Sec 3:
Using
Shutter Speed
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33. Motion SFX are the techniques used to freeze and blur motion.
Special FX
SEC 1 2 3 4 5
When SS and Ap work together, one is always the Primary setting and one is the Secondary setting.
In this section, you will learn how to use SS and Ap together to create “Motion SFX.”
Motion SFX are the techniques used to freeze and blur motion.
Bradt-EME5603

34. Remember, you have already learned:
Special FX
SEC 1 2 3 4 5
Remember, you have already learned:
SS is used to freeze and blur motion.
SS is based on fractions of a second.
SS is usually shown in whole numbers (60, 125).
SS settings are referred to as “stops.”
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35. SS and Ap work together to create SFX.
Primary and secondary
SEC 1 2 3 4 5
SS and Ap work together to create SFX.
For “Motion SFX,” SS is the Primary setting and Ap is Secondary.
That means for all Motion SFX, SS is adjusted 1st, and Ap is adjusted 2nd.
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36. Photo courtesy of www.militaryphotos.net
SEC 1 2 3 4 5
Motion
SFX
Photo courtesy of
Increasing SS will “freeze” motion.
Increasing SS reduces the time that the “blinds” are open.
But it also reduces how much light will enter the lens.
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37. Photo courtesy of www.militaryphotos.net
SEC 1 2 3 4 5
Balancing
light
Photo courtesy of
Reduced light will freeze the motion but could result in a badly exposed image (too much or too little light).
Increasing Ap size when increasing SS will provide a balanced amount of light.
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38. Photo courtesy of www.gettyimages.net
SEC 1 2 3 4 5
Motion
SFX
Photo courtesy of
Slowing SS will “blur” motion.
Slowing SS increases the time that the “blinds” are open.
But it will also increase how much light will enter the lens.
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39. Photo courtesy of www.corbis.com
SEC 1 2 3 4 5
Balancing
light
Photo courtesy of
Increased light will blur the motion but could result in a badly exposed image (too much or too little light).
Decreasing Ap size when decreasing SS will provide a balanced amount of light.
Bradt-EME5603

40. Circle the best answer below to practice selecting your settings:
In order to freeze motion, you would increase/decrease the Shutter Speed.
In order to blur motion, you would increase/decrease the Shutter Speed.
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41. That’s Right! Good job! Let’s try some more…
Your answers were correct:
In order to freeze motion, you would Increase the Shutter Speed.
In order to blur motion, you would Decrease the Shutter Speed.
Good job! Let’s try some more…
Bradt-EME5603

42. Circle the best answer below to practice selecting your settings:
If you increase SS to freeze motion, you would increase/decrease the Ap size to compensate.
If you decrease SS to blur motion, you would increase/decrease the Ap size to compensate.
Bradt-EME5603

43. Well Done! Your answers were correct:
If you increase SS to freeze motion, you would increase the Ap size to compensate.
If you decrease SS to blur motion, you would decrease the Ap size to compensate.
Notice the balance for each of those…
Increase goes with increase and decrease goes with decrease.
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44. In this example, SS is on the left and Ap is on the right.
Courtesy of
Courtesy of
In this example, SS is on the left and Ap is on the right.
Notice that the graph decreases from “more light” at the top to “less light” at the bottom.
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45. Normal
Courtesy of
Courtesy of
To freeze the motion of those flags fluttering in the breeze, you’d need to increase the SS as shown by the Red Arrow.
However, because an increased SS will allow less light to enter the lens, the Ap needs to be made wider to compensate, as shown by the Green Arrow.
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46. Normal
Courtesy of
Courtesy of
In other words, since the “blinds” will be opened for a lesser amount of time, they need to open wider during that time so that there is enough light to take a good picture.
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47. 2 stops
wider
Normal
2 stops
faster
Courtesy of
Courtesy of
Remember: Every Primary adjustment needs to be balanced with an equal change to the Secondary setting.
If you change SS by two stops, you need to change Ap by two stops – every change needs to match.
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48. Practice preparation
Remember:
When adjusting SS and Ap for SFX, changes should be made in an equal and balanced number of stops.
If you increase SS by four stops, Ap width should be increased by four stops.
Changes to SS are matched and balanced to make sure there is the right amount of light for a good exposure.
Let’s give it some more practice…
Bradt-EME5603

49. Practice
Scenario: the camera’s “normal” readings are shown in the box below. If you want to freeze the motion of your subject, circle the two (2) new settings you would select.
Put a number 1 by the adjustment you would make first and a number 2 by the adjustment you would make second.
f22
F16
F11 F8
F5.6 F4
F2.8 Ap
500
250
125 60 30 15 2 SS
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50. Good Job!
f22
F16
F11 F8
F5.6 F4
F2.8 2
500
250
125 60 30 15 2 1
You correctly determined that to freeze motion, you needed to make the SS faster. If 125 was the normal reading, then you would need to select either 250 or 500 as your new speed.
You also remembered that SS is the Primary adjustment for Motion SFX and should be adjusted first.
Did you also remember that you needed to move the Ap setting the same number of stops that you moved the SS setting? In this example, both settings were moved 2 stops.
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51. More Practice
Scenario: the camera’s “normal” readings are shown in the box below. This time, you want to blur the motion of your subject Circle the two (2) new settings you would select.
Put a number 1 by the adjustment you would make first and a number 2 by the adjustment you would make second.
f22
F16
F11 F8
F5.6 F4
F2.8 Ap
500
250
125 60 30 15 2 SS
Bradt-EME5603

52. Good Job!
f22
F16
F11 F8
F5.6 F4
F2.8 2
500
250
125 60 30 15 2 1
You correctly determined that to blur motion, you needed to make the SS slower. If 125 was the normal reading, then you would need to select either 60, 30, 15 or 2 as your new speed.
You also remembered that SS is the Primary adjustment for Motion SFX and should be adjusted first.
Did you also remember that you needed to move the Ap setting the same number of stops that you moved the SS setting? In this example, both settings were move 3 stops.
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53. Sec 4:
Using Aperture
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54. Focus SFX are the techniques used to create Shallow and Deep DOF.
Special FX
SEC 1 2 3 4 5
When SS and Ap work together, one is always the Primary setting and one is the Secondary setting.
In this section, you will learn how to use Ap and SS together to create “Focus SFX.”
Focus SFX are the techniques used to create Shallow and Deep DOF.
Bradt-EME5603

55. Remember, you have already learned:
Special FX
SEC 1 2 3 4 5
Remember, you have already learned:
Ap is used to create Shallow and Deep DOF.
Ap is based on the width of the opening.
Ap settings are shown in stops.
Ap stops range from f22 (narrow) to f2.8 (WIDE).
For “Motion SFX” SS is the Primary setting and Ap is the Secondary setting.
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56. However, for “Focus SFX,” the OPPOSITE is true
Primary and secondary
SEC 1 2 3 4 5
As you know, for “Motion SFX,” SS is the Primary setting and Ap is Secondary.
However, for “Focus SFX,” the OPPOSITE is true
For “Focus SFX,” Ap is the Primary setting and SS is Secondary.
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57. Photo courtesy of www.militaryphotos.net
SEC 1 2 3 4 5
Focus
SFX
Photo courtesy of
Increasing Ap will create Shallow DOF.
Increasing Ap size increases the width that the “window blinds” are open.
Increasing Ap will increase how much light will enter the lens.
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58. Photo courtesy of www.militaryphotos.net
SEC 1 2 3 4 5
Balancing
light
Photo courtesy of
Increased light will create Shallow DOF but could result in a badly exposed image.
Increasing SS when increasing Ap will provide a balanced amount of light.
Bradt-EME5603

59. Photo courtesy of www.gettyimages.net
SEC 1 2 3 4 5
Focus
SFX
Photo courtesy of
Decreasing Ap size will create Deep DOF.
Decreasing Ap size reduces the width that the “window blinds” are open.
Decreasing Ap will reduce how much light will enter the lens.
Bradt-EME5603

60. Photo courtesy of www.gettyimages.net
SEC 1 2 3 4 5
Balancing
light
Photo courtesy of
Decreased light will create Deep DOF but could result in a badly exposed image.
Decreasing SS when decreasing Ap will provide a balanced amount of light.
Bradt-EME5603

61. Photo courtesy of www.militaryphotos.net
It may help to think of the camera lens as focusing light, just like a laser does.
Photo courtesy of
The more the light is concentrated, the farther it goes.
A smaller Ap focuses the light more – deeper DOF.
While a wider Ap spreads the light – shallower DOF.
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62. Circle the best answer below to practice selecting your settings:
In order to create a Shallow Depth of Field, you would increase/decrease the Ap size.
In order to create a Deep Depth of Field, you would increase/decrease the Ap size.
Wider Ap size is shown by smaller/larger numbers.
Smaller Ap size is shown by smaller/larger numbers.
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63. That’s Right! Your answers were correct:
In order to create a Shallow Depth of Field, you would increase the Ap size.
In order to create a Deep Depth of Field, you would decrease the Ap size.
Wider Ap size is shown by smaller numbers.
Smaller Ap size is shown by larger numbers.
Good job! Let’s try some more…
Bradt-EME5603

64. Circle the best answer below to practice selecting your settings:
If you increase Ap size to create a Shallow DOF, you would increase/decrease the SS to compensate for the increased light.
If you decrease Ap size to create a Deep DOF, you would increase/decrease the SS to compensate for the decreased light.
Bradt-EME5603

65. Well Done! Your answers were correct:
If you increase Ap size to create a Shallow DOF, you would increase the SS to compensate.
If you decrease Ap size to create a Deep DOF, you would decrease the SS to compensate.
Remember the balance for each of those…
Increase goes with increase and decrease goes with decrease.
Bradt-EME5603

66. Courtesy of www.photonhead.com
Remember this example? Once again, SS is on the left and Ap is on the right.
On the next few pages, we’ll go over what changes need to be made when you’re going for Focus SFX.
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67. Normal
Courtesy of
Courtesy of
To create a Shallow DOF (focusing on those boots), you’d need to increase the Ap as shown by the Red Arrow.
However, because increased Ap size will allow more light to enter the lens, SS needs to be faster to compensate, as shown by the Green Arrow.
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68. Normal
Courtesy of
Courtesy of
In other words, since the “blinds” will be opened wider, it needs to open for less time so that there isn’t too much light to take a good picture.
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69. 2 stops
wider
Normal
2 stops
faster
Courtesy of
Courtesy of
Remember: Every Primary adjustment needs to be balanced with an equal change to the Secondary setting.
If you change Ap by three stops, you need to change SS by three stops – every change needs to match.
Bradt-EME5603

70. Let’s give it some more practice…
Practice preparation
Remember:
When adjusting Ap and SS for SFX, changes should be made in an equal and balanced number of stops.
If you increase Ap size by one stop, SS should be increased by one stop.
Changes to Ap are matched and balanced to make sure there is the right amount of light for a good exposure.
Let’s give it some more practice…
Bradt-EME5603

71. Practice
Scenario: the camera’s “normal” readings are shown in the box below. If you want to create a Shallow DOF, circle the two (2) new settings you would select.
Put a number 1 by the adjustment you would make first and a number 2 by the adjustment you would make second.
f22
F16
F11 F8
F5.6 F4
F2.8 Ap
500
250
125 60 30 15 2 SS
Bradt-EME5603

72. Good Job!
f22
F16
F11 F8
F5.6 F4
F2.8 1
500
250
125 60 30 15 2 2
You correctly determined that to create a Shallow DOF, you needed to make the Ap wider. If f8 was the normal reading, then you would need to select either f5.6, f4 or f2.8 as your new Ap size.
You also remembered that Ap is the Primary adjustment for Focus SFX and should be adjusted first.
Did you also remember that you needed to move the SS setting the same number of stops that you moved the Ap setting? In this example, both settings were moved 2 stops.
Bradt-EME5603

73. More Practice
Scenario: the camera’s “normal” readings are shown in the box below. This time, you want to create a Deep DOF. Circle the two (2) new settings you would select.
Put a number 1 by the adjustment you would make first and a number 2 by the adjustment you would make second.
f22
F16
F11 F8
F5.6 F4
F2.8 Ap
500
250
125 60 30 15 2 SS
Bradt-EME5603

74. Good Job!
f22
F16
F11 F8
F5.6 F4
F2.8 1
500
250
125 60 30 15 2 2
You correctly determined that to create a Deep DOF, you needed to make the Ap wider. If f11 was the normal reading, then you would need to select either f16 or f22 as your new Ap size.
You also remembered that Ap is the Primary adjustment for Focus SFX and should be adjusted first.
Did you also remember that you needed to move the SS setting the same number of stops that you moved the Ap setting? In this example, both settings were moved 2 stops.
Bradt-EME5603

75. Sec 5:
Field Readiness
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76. Putting it all together…
SEC 1 2 3 4 5
Well done, you now have all the pieces of knowledge that are mission critical.
The short exercise in this section will ensure that you are able to assemble those “pieces” in a manner which will ensure mission success.
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77. You will be creating 4 SFX on your mission.
Remember the mission
SEC 1 2 3 4 5
You will be creating 4 SFX on your mission.
Frozen Motion and Blurred Motion are called Motion FX.
Shallow and Deep Depth of Field are called Focus FX.
Shutter Speed (SS) and Aperture size (Ap) are the settings used to control these FX.
Bradt-EME5603

78. Remember your basic training
SEC 1 2 3 4 5
The amount of light allowed into the camera by the lens affects what the photo looks like.
A camera’s shutter works just like blinds on a window – it can be opened and closed.
How long it remains open, and how widely it opens, control how much light is captured in the photo.
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79. How it all comes together
SEC 1 2 3 4 5
For Motion SFX:
SS (Primary) can be increased to freeze motion or decreased to blur motion.
Ap size (Secondary) must be increased or decreased in proportion in order to get a good exposure.
For Focus SFX:
Ap (Primary) can be increased to create a Shallow DOF or decreased to create a Deep DOF.
But then SS (Secondary) must be increased or decreased a matching number of stops to compensate.
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80. Field readiness practice
Using the camera’s Normal setting (shown in the box below) and the Shutter Speed and Aperture graphics below, identify both Primary and Secondary adjustments necessary for freezing the motion of the exploding wall in this photo. Circle the setting you would choose as your Primary adjustment and write a “1” beside it. Circle the setting you would choose as your Secondary adjustment and write a “2” beside it.
Normal
Photo courtesy of
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81. Field readiness practice
Good job! You remembered that to FREEZE the motion of a subject, you need to Increase your SS. You also remembered that when you increase your SS, you need to increase your Ap size to balance the light.
Notice that any of the three faster shutter speeds would have been acceptable answers, but that you would have to match your Ap setting by the same number of stops and the same direction.
Normal
Photo courtesy of 1 2
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82. Field readiness practice
Using the camera’s Normal setting (shown in the box below) and the Shutter Speed and Aperture graphics below, identify both Primary and Secondary adjustments necessary for creating a shallow depth of field behind the soldier in the foreground. Circle the setting you would choose as your Primary adjustment and write a “1” beside it. Circle the setting you would choose as your Secondary adjustment and write a “2” beside it.
Normal
Photo courtesy of
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83. Field readiness practice
Good job! You remembered that to create SHALLOW DOF, you need to Increase your Ap size. You also remembered that when you increase your Ap, you need to increase your SS to balance the light.
Notice that any of the three wider Ap settings would have been acceptable answers, but that you would have to match your SS setting by the same number of stops and the same direction.
Normal
Photo courtesy of 2 1
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84. Field readiness practice
Using the camera’s Normal setting (shown in the box below) and the Shutter Speed and Aperture graphics below, identify both Primary and Secondary adjustments necessary for creating a deep depth of field from the end of the tank’s gun to the trees in the background. Circle the setting you would choose as your Primary adjustment and write a “1” beside it. Circle the setting you would choose as your Secondary adjustment and write a “2” beside it.
Normal
Photo courtesy of
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85. Field readiness practice
Good job! You remembered that to create DEEP DOF, you need to Decrease your Ap size. You also remembered that when you decrease your Ap, you need to decrease your SS to balance the light.
Notice that any of the three narrower Ap settings would have been acceptable answers, but that you would have to match your SS setting by the same number of stops and the same direction.
Normal 2 1
Photo courtesy of
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86. Field readiness practice
Using the camera’s Normal setting (shown in the box below) and the Shutter Speed and Aperture graphics below, identify both Primary and Secondary adjustments necessary for blurring the motion of the band members in this photo. Circle the setting you would choose as your Primary adjustment and write a “1” beside it. Circle the setting you would choose as your Secondary adjustment and write a “2” beside it.
Normal
Photo courtesy of
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87. Field readiness practice
Good job! You remembered that to BLUR the motion of a subject, you need to Decrease your SS. You also remembered that when you decrease your SS, you need to decrease your Ap size to balance the light.
Notice that any of the slower shutter speeds would have been acceptable answers, but that you would have to match your Ap setting by the same number of stops and the same direction.
Normal 1 2
Photo courtesy of
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88. Congratulations! You have acquired all Mission Critical skills.
Completed!
SEC 1 2 3 4 5
Congratulations! You have acquired all Mission Critical skills.
You will now proceed to your Field Qualification Exam. Satisfactory scores on this assessment will qualify you for a field assignment.
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89. The END