1. Camera Techniques - Shooting To Edit - Sequences Mon 1 st October/8 th October

2. Ref: http://www.urbanfox.tv/creative/shotsizes.htmlhttp://www.urbanfox.tv/creative/shotsizes.html

4. SHOOTING A SEQUENCE To shoot a simple sequence you need at least three shots - A master shot showing the person engaged in their activity A shot of the person's face A close up of the activity If you are covering an activity that can be repeated, I'd suggest your first shot is the "Master Shot". This is a good insurance shot. Then, if all else fails, you can just use the master!

5. SHOOTING A SEQUENCE You must offer the editor a variety of shots (at least 3) – change: » the camera lens angle e.gwide shot, mid shot,close up » camera position e.g. over the shoulder, profile, head on » camera height e.g. high angle, eye height, low anglewide shot, mid shot,close up

6. Master Shot/Wide The master shot should be wide enough to show the whole action – which (if repeatable) should be recorded from beginning to end.

7. Sequence of shots

8. SHOOTING A SEQUENCE Of your three sequence shots, the shot of your subject's face concentrating on what they are doing is very important. This can be edited in almost anywhere – and may get you over a continuity problem. If your subject is concentrating hard, then get in close. For simpler activities, an MCU will probably be sufficient.MCU

9. Sequence of shots Ref: http://www.urbanfox.tv/creative/sequences.htmlhttp://www.urbanfox.tv/creative/sequences.html

10. SHOOTING A SEQUENCE Ensure that you record the complete action e.g. Frame up on a telephone, start recording and keep recording as the hand comes in to pick up the receiver - then put the receiver back - the hand goes out of shot - hold - then stop recording. Now your editor has flexibility to start (or end) the shot at any given point in the action.

11. Minimise Zoom/Pan/tilt It doesn't look good to edit into or out of moving shots. Keep zooming, panning and tilting to a minimum. Hold the camera steady and let the subject provide the movement and visual interest.

12. Let subject leave frame Letting your subject enter shot or exit, acts as a reason to edit. A kind of visual full stop. If you let your subject leave shot, then you can change location and see them enter shot for the next sequence.

13. SHOOTING A SEQUENCE CONTINUITY: Keep a close eye on what the subject is doing – which hand did they use to pick up the phone – continuity errors can spoil a good sequence. HOLD your shots. The average shot is about 4 seconds long. BUT, you must shoot enough to leave the editor some flexibility- as a general rule record shots that are at least 10 seconds long.

14. Crossing the Line You must try not to cross the line. Be clear in your mind where the line of action runs and stay one side of the line. cross the line

16. Cutaways Don't forget to shoot the CUTAWAYS, e.g. if someone is using the photocopier, appropriate cutaways might be: » the buttons being pressed » the copy coming out of the machine CUT ‘TO’ – cutaways should make sense.

17. Sound Remember: Beautiful pictures are useless without good sound It is easy to concentrate so hard on getting the pictures right that you end up forgetting about the sound. Reduce background noise on location Always take a level of the subject’s voice before /location sound before recording.

18. Sound Place mic as close to source of sound as possible, keeping out of shot. Keep mic handling noise to a minimum. Use of wind shield –always use when outside on gun mic & lavalier/radio mics. SOUND and sound perspectives? – is CU shot accompanied by CU sound, and likewise from distance? ALWAYS wear HEADPHONES.

19. Location Sound When you arrive at a location, listen. You should aim to reduce background noise as much as possible. Eliminate unnecessary background noises. Be aware of background noise/ambience. Always take a recording of this ambience (known as wildtrack or atmos). Ask people to turn off background noise where possible. Difficult to edit with. Close windows and doors, turn radios and fans off and make sure mobile phones are fully turned off - they can produce interference on your recordings, as well as unwelcome interruptions.

20. Extra References Urban Fox: http://www.urbanfox.tv/workbooks/anycam/inde x.htm http://www.urbanfox.tv/workbooks/anycam/inde x.htm Ward, Peter, 2003. Picture Composition, Focal Press: Oxford. BBC: BBC Academy of Production http://www.bbcacademy.com/academy/news- article.php?article_xml=http%3A%2F%2Fwww.bb cacademy.com%2Fbbc%2Fapi%2Farticle%3Fid%3 DEKP000049030 http://www.bbcacademy.com/academy/news- article.php?article_xml=http%3A%2F%2Fwww.bb cacademy.com%2Fbbc%2Fapi%2Farticle%3Fid%3 DEKP000049030