1. RTV 322 Camera use: Shooting to Edit
Film and Video
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2. Project Start Training and certification Must learn correct use
Follow directions and/or read provided instructions
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3. Project Start
Watch and learn from the tutorials available on the course outline.
Be prepared to apply that understanding.
Student workers for extra training and support
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4. The gear Camera Camera mounted light Mic and cable Tripod Batteries
Mic clip
Tripod
‘shoe’ / plate & balance indicator
Batteries
Dolly
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5. Reminder Your own MiniDV tape (maybe)
Your own 16GB or higher SDHC or SDXC memory card, Class 10
‘CLASS 10’
Ability to shoot in Manual Mode
Ability to edit on FCP X
Note: Be prepared to continue to develop skills and understanding
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6. Reminder Canon camera replacement cost, $2500
JVC camera replacement cost, $2500
Camera battery or light replacement cost, $125
Sony mic replacement cost, $200
Mic clip replacement, $25
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7. Other reminders ‘PA’ room / check out room
Reserve gear before needed for checkout – allow time for check-out and check-in
ONLY an on-duty PA
Reserve your edit station before every needed use
Only your assigned station
No sharing check-out / station
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8. Folder structure Summer 2017 RTV 322 YourName folder
Project 1, Project 2 and Project 3 folder – new Library for each
Never save to the desktop
Settings on FCP BEFORE starting
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9. Camera control Loading SD card Mounting battery Plug in and check mics
AGC, Gain adjustments
ND filter
MF / AF
‘shutter speed’
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10. Lenses Camera body vs. lens Zoom or fixed (prime) -- critical focus
LENS CAP!
Optical vs. Digital zoom
Diaphragm / aperture -- f-stops / t-stops / number means what?
Manual vs. autofocus
Sharp focus, Selective focus, follow focus, rack focus, soft focus, swimming focus
Depth of field is affected by focal length, aperture, and the distance of objects from the camera.
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11. Camera mounts Tripod and pedestal Crane vs. jib Dolly / track
Friction head / Fluid Head
Crane vs. jib
Dolly / track
SteadiCam vs. Handheld
Image stabilization
Robotics, follow me, Segue, drone, cable mount, etc.
Bean bag, other options
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12. Shot Composition Rule of Thirds Point of View Angle
High angle, low angle, high level, low level, bird’s eye view, canted / Dutch angle
Cut off lines, look space, lead room, head room, eye line
Terms: WS, OTS, 2/S, etc.
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13. Shot Composition Master Shot Shooting Method
Establishing / Master Shot
Coverage
Demonstration, Star Trek Enterprise (watch video)
Also talked about as ‘shooting & editing sequences’
Wide shot / medium shot / CU / reverse angle, OTS, etc.
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14. Technical vs. aesthetics
What kind of camera? What kind of lighting? What kind of lens?
1-chip / 3-chip / chip size
Consumer vs. Prosumer vs. professional cameras
How the story is told? ‘Language’ of visual storytelling -- Hollywood style, home movies style, new media style, NPPA / news style
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15. Remember Artist with paint and canvas – the art of visual storytelling
Songwriter creating a new song – creative development of content for a target audience
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16. Video Shooting Tips
(will talk through in a bit)
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17. Next week Camera use training and practice exercise THEN:
(1) using one or two actors, demonstrate a creative way (different sequences of shots / camera angles) to show 'getting from one place to another' -- using at least 20 different shots, no more than three being WS, in a :50 - :70 scene. Audio/dialogue not required, and there should be NO audio.  Be sure it has a beginning, middle and end and reveals a story when viewed.
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18. Next week Camera use training and practice exercise THEN:
(1) (cont) Include (1) a 360 shot, (2) a swish pan / whip pan, (3) a snap zoom, (4) an L-cut and (5) a long pull back or push in shot to open OR close.  Then, search for at least two other examples of interesting camera angles or transitions (look in your favorite shows) and include those. Audio/dialogue not required, and there should be NO audio.  Once edited, insert lower-thirds graphics to identify each shot.
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19. Next week
THEN: (2) using one or two actors, demonstrate a series of continuing action shots in a :50 - :70 scene, using several invisible edits (one edit that has a 'wardrobe change' / 'continuity change'), and also including (1) at least one sound overlap at an edit point (L-cut / J-cut), and (2) a transition shot; also include in your shots: (3) objective, presentational AND subjective shots, (4) high angle and low angle shots, and (5) an effective Z axis composition, PLUS your own extra creative shot and/or transition. Audio/dialogue not required, and there should be NO audio. Be sure it has a beginning, middle and end and reveals a story when viewed. Once edited, insert lower-thirds graphics to identify each shot.
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20. Next week Project Guide updated and posted soon
You need to read the shooting exercises directions and create a shot list for each
You will see a sample shot list
“Pre-production”
Keep in mind who target audience would be
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21. Next…
Items from the linked shooting to edit tips
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22. Planning Your Shoot
Talk over your shoot with other members of the production team and make sure you're clear on what shots you need to tell the story.
If you're on your own, write up a list of shots you need. Write the story beforehand in your head, and list the elements you want to get video of to do that story.
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23. Planning Your Shoot
Think about what's going to look good visually, and how your shots are going to come together sequentially.
Try viewing your piece as a skeleton, and you're shooting the flesh for all those bones.
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24. Roll Blank Tape Before You Shoot
Before you start shooting, roll your tape for 30 seconds at the beginning of your tape with the lens cap on (or with color bars - see your camera manual for setting your camera to display color bars).
SD card is a different issue – still have ‘padding’ in each shot
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25. Check Your Audio
Be sure to plug a set of headphones into the camera and check your audio to make sure you're getting an audio feed.
It's easy to forget to plug an audio cord into the camera or to properly set the audio level - and wind up with great video but no audio to accompany it.
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26. Shoot Selectively
Think before you shoot. Be aware of what you're shooting and when the tape is rolling. Don't record unless you're taking a shot.
Don't roll tape when you're changing from one shot to another or focusing. Wait until you have the shot you want before rolling record.
4-to1-shooting ratio.
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27. Shut Up When You Shoot
When you press the record button, shut up already!
When the camera is rolling it picks up all the ambient sound.
Don't talk while the camera is rolling, either to yourself or with other members of your team, and no humming.
‘Good nat sound’
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28. Hold Your Shots
Hold your shots for at least 15 seconds, before you pan, zoom or go onto another shot.
You can always take a 15-second clip and make it a 2-second clip during editing, but you can't take a 2-second clip and make it into a 15-second clip.
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29. Excessive Panning and Zooming
Don't constantly pan from side to side or zoom in and out with the camera - hold your shots and look for the one moment that's really captivating.
Instead start with a static shot, and hold it for 15 seconds.
‘Let the action move in front of the camera’
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30. Shoot in Sequences
To capture a person arriving at work in the morning on her bicycle -- that's one sequence.
It could be made up of the following shots: the person pulling up to the building, getting off the bicycle, chaining the bicycle to the bicycle stand, taking off gloves, taking off her helmet … (cont.)
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31. Shoot in Sequences
…tucking gloves into the helmet, and walking into the building. Every little detail is important. You can't shoot enough details.
A good ratio to shoot for (literally) is 50 percent close-ups and extreme close-ups, 25 percent medium shots, and 25 percent or less wide shots.
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32. Repeat that
50 percent close-ups and extreme close-ups, 25 percent medium shots, and 25 percent or less wide shots.
NEVER put two wide shots together back to back.
Cut from ‘master shot’ to cut-in (insert) shot – ‘coverage’
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33. Framing and Composing Your Shots
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34. Headroom and Noseroom One approach is the rule of thirds:
one third of the frame should be above the person's eyes
one third of the frame should be the person's face and shoulder area
one third of the frame should be the person's lower torso.
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35. Depth of Field
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36. Change Angles and Perspectives
Don't shoot everything from eye level - it's boring.
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37. Get People in Your Scenes
‘Don’t just shoot the water at Niagara Falls’
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38. Tripods for Steady Shots
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39. Anticipate Action
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40. Interviews
Have the person you're interviewing to look at you, not at the camera. (objective POV)
Avoid a straight-on shot - shoot the person from a slight angle to the left or right.
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41. Microphones
Use hand-held (stick ) mic only when in a live interview situation (so, never for what we do)
With a lav mic, you'll need to "dress the mic" - properly attach it to the person you're interviewing
Ask the person to run the cord to the lav mic up the inside of their shirt (so the wire won't show in your video).
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42. Avoid High Contrast in Lighting Situations
For example, don't place an interview subject against a bright window or white wall or with sunlight behind the person.
It's usually best to shoot with the sun to your back.
Also – dark skin, white shirt
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43. …is the art of capturing and controlling light.
Photography
…is what we are doing.
…is the art of capturing and controlling light.
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44. Check White Balance
Has to do with differences in color caused by the relative level of reds and blues in light and how a video  camera compensates for these differences in color.
MUST white balance every time lighting conditions change.
Must set for dominant light source.
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45. Manual Exposure
The auto exposure on digital video cameras is generally very good at setting the correct lighting.
Professionals always set the correct light and manually set the camera for that light.
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46. Get All the Shots You Need
Visual storytelling
‘See it, say it’ / ‘shoot to the pictures’
‘Pictures’ as jargon means video
Interviews / people on camera / main subject of shot (A-roll)
Footage that supports main content (b-roll)
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47. In the end…
Visualize what your ‘story’ will be – beginning, middle, end
Script what you plan to shoot
Shot list, outline, full script
Gather the raw footage with a strategy for what the final ‘story’ will look like
Plan for what the final production needs will be
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5/19/2018