Sponsored by
James Moriarty will teach participants how to effectively use their smartphones and DSLR cameras to make digital films. The FREE workshop will consist of four 2-hour classes. Each class will focus on a different aspect of video production and will highlight the Digital Lab’s resources: computers, software and Whisper room. The classes will be designed to be hands on, and the participants will learn by helping make a video from start to finish.
FILMMAKING 101 OVERVIEW CLASS 1-INTRODUCTION TO DIGITAL FILMMAKING Date: September 9, 2017 – Time: 10 AM to Noon • CCPL Digital Lab walk-through • How to develop an idea for a video • How to script and storyboard CLASS 2 – VIDEO PREPRODUCTION Date: September 16, 2017 – Time: 10 AM to Noon • Breaking down your script to get it ready for filming • Building a production team and getting permissions CLASS 3 – VIDEO PRODUCTION Date: September 23, 2017 – Time: 10 AM to Noon • Camera and audio basics • Directing tips and tricks CLASS 4 – POST PRODUCTION Date: September 30, 2017 – Time: 10 AM to Noon • The Ins and outs of video editing • Getting your video ready for on-line distribution
LOCATION: Carmel Clay Library’s Digital Media Lab (DML)
23 East Main Street, Suite 100, Carmel, IN 46032
JAMES E. MORIARTY: INSTRUCTOR James E. Moriarty is the owner of Moriarty Media and the producer of the Carmel Film Forum. He is an awarding artist and the recipient of arts grants from the City of Carmel and the Indiana Arts Commission. James earned his Bachelor of Fine Arts (BFA) from the School of the Art Institute of Chicago in 1991, where he majored in graphic design, photography and filmmaking. He has taken those artistic skills and turned them into his life’s work by continually advancing his knowledge of the technology required to produce digital media. James and his associates have produced a variety of media projects such as: fundraising music videos, industrial films, independent documentaries, commercials, educational websites, and interactive kiosks. To see James’ work visit MoriartyMedia.com. Contact him at
[email protected].
CLASS 1-INTRODUCTION TO DIGITAL FILMMAKING Date: September 9, 2017 – Time: 10 AM to Noon
INTRODUCTIONS AND PERSONAL INTEREST IN FILMMAKING SCREEN EXAMPLE OF JAMES’ WORK: “BYTE THE PREQUEL” CLASS PROJECT Make a short documentary about the Digital Media Lab (DML)
WALK THROUGH OF THE DML WHAT IS A FILMMAKER? A filmmaker is an individual who is proficient in all aspects of movie making. A filmmaker produces, writes, directs, shoots, and edits his/her films.
TYPES OF FILMMAKING • • • •
Narrative form tells stories (Hollywood Style). Narrative films present facts in a chronological order, just like life. Documentary form exposes reality. Documentary films use a thesis. All the interviews and documentation presented in the documentary must reinforce the thesis. Experimental form, also known as “avant-garde," is a type of film that is trying to do something new or different from the narrative or documentary styles. Mutli-form films combine two or all three types.
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FILMMAKING LANGUAGE/VOCABULARY
GLOSSARY OF FILM TERMS
From AFI Education (screennation.afi.com) Frame: In filmmaking, video production, animation, and related fields, a film frame or video frame is one of the many still images which compose the complete moving picture. Within the frame, the filmmaker creates several different types of shots, which are generally characterized by the relationship between the size of the objects in the frame. Two common frame aspect ratios are 4:3, the universal video format of the 20th century, and 16:9, universal for high-definition television. Establishing shot or master shot: A shot that shows at a distance the relationship among important figures, objects, characters and setting. From the establishing or master shot, the film then cuts to more detailed shots (often called coverage) that bring the audience closer to the characters. Long shot: A framing in which the scale of the object shown is not distant but relatively small. A standing human figure, for example, generally appears nearly the height of the screen. Medium shot: A shot that shows human figures from the waist up. Close-up: A framing in which the scale of the object shown is relatively large. Most commonly, a personʼs head is seen from the neck up, or an object fills most of the screen to emphasize its importance. Point of View (POV) shot: A shot taken with the camera placed where the character's eyes would be to show what the character would actually see. This type of shot is usually cut in before or after a shot of the character looking at whatever the POV shot contains.
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Crane shot: A shot accomplished by having the camera above the ground and moving through the air in any direction. Focus: When light, people, places and objects are captured on film showing sharp outlines and distinct textures through manipulation of the camera lens. Deep Focus: A use of the camera lens and lighting so that both close and distant planes are shown in sharp focus. This technique allows the filmmaker to emphasize a character or object that appears far away. Depth of Field: The area or field between the closest and farthest planes captured by the camera, in which everything appears in sharp focus. A depth of field from five to 16 feet, for example, would mean that everything closer than five feet and farther than 16 feet would be out of focus. Zoom: A lens which allows the focal length—the distance between the camera and the object being filmed—to change during a single shot. The camera can zoom in by going closer to an object, or it can zoom out by pulling back from an object. Pan (or panning shot): A camera movement with the camera body turning to the right or left. On the screen, it produces a mobile framing, which scans horizontally. Panning shots can also emphasize movement. Dissolve: A transition between two shots during which the first image gradually disappears, while the second image gradually appears. For a moment, the two images blend in superimposition. B-Roll: Images that the editor will cut together over the Interviewee’s voice. Usually they relate to the subject being discussed by the Interviewee. For example, if the Interviewee is discussing the architecture of a building, you would want to get some wide shots of the entire building, as well as close-ups that illustrate the finer details. Cutaways: These are usually close-up shots recorded with a second camera (if one is available). Cutaways isolate details about the Interviewee, such as hand movements or facial expressions. The purpose for taking cutaways is to give the editor more choices in editing. Crosscutting: Editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously. Crosscutting is often used during a key dramatic sequence to increase tension. Flashback: An alteration in the story order in which the plot moves back in time to show events that have taken place earlier than those already shown. Clapperboard: A device used in filmmaking and video production to assist in the synchronizing of picture and sound, and to designate and mark particular scenes and takes recorded during a production. The sharp "clap" noise that the clapperboard makes can be identified easily on the audio track, and the shutting of the clap-stick can be identified easily on the separate visual track. The two tracks can then be precisely synchronized by matching the sound and movement.
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HOW TO DEVELOP AN IDEA FOR A VIDEO • Find inspiration: Cats playing, personal family story, business promotional video, web series, etc. • Decide the film’s target audience: YouTube followers, family, co-workers, etc. • Identify the project’s goals: Type of film, length, finishing date, distribution, etc. • Research subject matter • Brainstorm creative approaches: Robert Rodriguez List Robert Rodriguez List: When the American Director Robert Rodriguez decided to make his first film, El Mariachi, the first thing he did (even before writing the script) was sit down and make a list of all the possible resources he had available to him.
WATCH VIDEO
The Robert Rodriguez: 10 Minute Film School Youtube.com/watch?v=W-YpfievjSk CREATING A NARRATIVE SCRIPT • Write a draft. • Appeal to the mind and heart of the audience. • Precise, efficient, clear message • Read out loud, record it on your smart phone and listen to it. • Rewrite and repeat until you have a final draft of your screenplay. • Create Audio visual (AV) script
CREATING A DOCUMENTARY SCRIPT • • • • •
Create a thesis. Research topics that support your thesis. Find interviewees to explore your thesis. Write open-ended questions rather than ones that produce yes or no answers. Write your script based on your findings.
SCREENWRITING BOOK • The Foundations of Screenwriting by Syd Field: A step-by-step guide from concept to finished narrative script. Sydfield.com SCREENWRITING WEBSITE • Muse Storytelling Musestorytelling.org/blog
FREE SCREENWRITING SOFTWARE • CeltX discontinued its FREE desktop app, but it can found at Screenplayreaders.com/celtx/
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PRE-VISUALIZE EVERY SHOT FROM YOUR SCRIPT Audio visual (AV) scripts separate the audio and video components of the script into two columns. The Audio column contains information about the narrator (character) and the dialogue. AV scripts are commonly used in movies with voice overs such as advertising, corporate videos, and documentaries.
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CREATE STORYBOARDS FROM THE SCRIPT Storyboards are illustrations displayed in sequence for the purpose of crafting a film. In preparing to shoot a film, a storyboard provides a visual layout of events as they are to be seen through the camera lens. When storyboarding, most technical details involved in crafting a film can be efficiently described in pictures, or in a brief notation. BYTE STORYBOARD v1 - January 26, 2016 1
EXT/DAY: Highway/Keystone Ave (LS) Biker rides his motorcycle along highway. He speeds by the car with the crew filming him.
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INT: Palladium Dressing Room (CU) Eve's reflection in the dressing room mirror. She holds her cell phone to her chest as a make-up artist and hair stylist primp her.
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INT: Warehouse Cage (LS) Foobar carries the Commodore Datasette machine. He unlocks the cage containing his computer equipment. He slides open the door and walks in.
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EXT/DAY: Park Parking Lot (MS) Biker drives up and parks.
By James Moriarty
WATCH VIDEO Storyboarding For People Who Can't Draw (Like Me!) Youtube.com/watch?v=ux_Em1lVsjI&feature=youtu.be
STORYBOARDING SOFTWARE • StoryBoard Quick 6 Powerproduction.com
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CLASS 2 – VIDEO PRE-PRODUCTION Date: September 16, 2017 – Time: 10 AM to Noon
BUILDING YOUR PRODUCTION TEAM
AND SCHEDULING SHOOTS GLOSSARY OF FILM TERMS
From AFI Education Screennation.afi.com Producer: The person or group responsible for managing the production from start to finish. The producer develops the project from the initial idea, makes sure the script is finalized, arranges the financing, hires the personnel to make the film and oversees its distribution. The producer also coordinates the filmmaking process to ensure that everyone involved in the project is working on schedule and on budget. Director: The person that is primarily responsible for overseeing the shooting and assembly of a film. He or she is most directly responsible for the pictureʼs final appearance. A director works at the center of film production but is inextricably linked with dozens of other people to get the job done. Screenwriter: The screenwriter does far more than provide dialogue for the actors. He or she also shapes the sequence of events in a film to ensure that one scene leads logically to the next, with the story being told in a logical and interesting way. When using a novel or play as a starting point, the screenwriter inevitably rearranges, adds or eliminates scenes to make sure the final order or sequence of scenes makes sense when presented on the screen. The screenwriter also includes descriptions of settings and often suggests movements or gestures for the actors. Production Designer: Before one inch of film is shot, the production designer is the first artist to translate the script into visual form. He or she creates a series of storyboards that serve as the filmʼs first draft. A storyboard is a series of sketches, paintings or watercolors arranged on panels to show the visual progression of the story from one scene to the next. The production designer determines the palette of colors to be used and often provides important suggestions about the composition of individual shots. Creating this sketch of the film on storyboards also ensures the visual continuity of the film from start to finish. Storyboards serve as the directorʼs visual guide throughout the production. Art Director: The art director is responsible for the filmʼs settings: the buildings, landscapes and interiors that provide the physical context for the characters. Art direction and production design are often and easily confused. While the production designer determines the big picture—the overall appearance, color palette and basic visual composition of the film—the art director provides the individual pieces within this framework, which includes everything but the actors themselves.
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Costume Designer: Costumes convey a great deal about the filmʼs time period and the characters who wear them—their economic status, occupation and attitude toward themselves. Cinematographer: After the production designer, art director and costume designer have finished their work on the filmʼs physical elements, the director of photography, or DP, is responsible for capturing their handiwork on film or video. The DP is an expert in photographic processes, lighting and the cameraʼs technical capabilities. When the director wants a shot to achieve certain visual or atmospheric qualities, the DP achieves it through his or her choice of lighting, film stock and careful manipulation of the camera. During shooting, the director and cinematographer work closely to shape each shot, using the storyboards created by the production designer as a guide. This craft is referred to as cinematography. Sound Person: The sound guy/gal is the member of a film crew responsible for recording all sound on set during filmmaking. Editor: Shortly after shooting begins, the editor begins to organize the footage—known as the daily rushes—and arranges individual shots into one continuous sequence. Even in a single scene, dozens of different shots have to be chosen and assembled from hundreds of feet of film. The editorʼs choices about which shots to use, and the order in which to place them, have a profound effect on the appearance of the final film. Actors: For the audience, actors are the most visible and tangible part of the production. While they are obviously essential to any film, they are pieces in a much larger puzzle. Behind every actor is a director guiding his or her performance, a cinematographer creating the perfect light and film exposure, a screenwriter providing plot and dialogue, an art director designing the physical environment and a costume designer providing the proper attire. Considering an actorʼs role within this larger context suggests that his or her job is much more difficult than just appearing on the set and reciting lines. Music Supervisor: Music supervisors place music in media such as movies, television shows, video games, and commercials. They work with studios, musicians and their representatives to select appropriate music, and then secure the licenses to use it.
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SCRIPT BREAKDOWN A script breakdown is an important filmmaking process that allows you to determine and list every single element needed to prep, schedule and budget your film production. It's an incredible tool to determine the unique considerations and needs for every department, both on the technical and creative side. Use highlighters to mark you script elements. This is helpful when you go back through to make your lists.
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BUDGETING Now that you’ve done the script breakdown, you can make the budget. Templated spreadsheets are a great resource. If you’ve never created a budget before, the best thing to do is to first become familiar with reading budget documents. Google “film production budgets”, study the samples and templates and notice the variety of budget structures, but also notice how line items are pretty much the same across budgets. A top sheet is a summary or subtotal of the costs estimated for different budget categories also called departments or accounts. A top sheet gives you a great first overview of production activities that need to be accounted for. These categories are universal and many can also be applied to budgets for business video and short indie film production. Departments or budget categories might include camera, sound, make-up, transportation, set construction, office expenses, test shoots, location expenses, special effects, travel and living expenses and data capture. Some budgets are structured according to preproduction, production and post-production activities. The top sheet will give you subtotals for each of these.
BUDGETING SOFTWARE Celtx: Film budgeting software and much more. Celtx.com
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SCOUT LOCATIONS • •
•
• • • •
Know your script. Choose a site that matches the setting of your story. Look at light. As you're scouting locations, pay attention to whether a given spot is in full sun, partial sun or full shade. Interiors usually feature low amounts of available lighting. Check light levels by shooting a few seconds of test footage with your camera phone. Follow the sun and examine the elements. Sun, rain, wind, snow, heat, cold all can help or hurt, depending on what you're hoping to capture on film. So, it's critical to check the forecast as you're scouting. Check for power. Many outdoor locations are far from power sources and even some indoor locations can pose challenges. Many lights need AC. Equipment batteries need charging. Listen: The whooshing of traffic, the white noise of moving water, and the echoes of voices can all get in the way of high-quality audio. Decide where to set up. Make sure that there's adequate space for you to set up all of your gear. Get permission. Be aware that you'll need to secure permits and other legal permissions to shoot at certain locations.
LOCATIONS SCOUTING FORM PRODUCTION TITLE: ______________________________ INTERIOR OR EXTERIOR
DAY OR NIGHT
SCENE # _________________
LOCATION NAME & ADDRESS: ______________________________
CONTACT NAME AND PHONE: ______________________________
PERMISSION REQUIREMENTS: ________________ AVAILABILITY (DAYS/TIMES) _____________
PARKING ____ REST ROOMS ____ EQUIPMENT STAGING & SECURE STORAGE ______________ CLOSEST POLICE STATION __________________ CLOSEST HOSPITAL______________________ POTENTIAL SAFETY HAZARDS ______________________________ AMBIENT & AVAILABLE LIGHT (WINDOWS, PRACTICALS, ETC) ____________________
POWER CAPACITY, ACCESS AND DISTRIBUTION:______________________________ AMBIENT SOUND AND ACOUSTICS:______________________________ THE LOOK (OBSERVATIONS ON PHYSICAL SPACE, BACKGROUNDS, COLORS, SET DETAIL, ETC.):
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LOCATION RELEASE PRODUCTION COMPANY ______________________________ PROJECT TITLE ______________________________ Permission is hereby granted to [YOUR NAME] to use the property located at
______________________________ consisting of ___________________________
for the purpose of photographing and recording scenes for the above program produced by [YOUR NAME] ______________________________ Permission includes the right to bring personnel and equipment onto the property and to remove them after completion of the work. The permission herein granted shall include the right, but not the obligation, to photograph the actual name connected with the premises and to use such name in the program(s). The undersigned hereby gives to [YOUR NAME], its assigns, agents, licensees, affiliates, clients, principals and representatives the absolute right and permission to copyright, use, exhibit, display, print, reproduce, televise, broadcast and distribute, for any lawful purpose, in whole or in part, through any means without limitation, any scenes containing the above described premises, all without inspection or further consent or approval by the undersigned of the finished product or of the use to which it may be applied. [YOUR NAME] hereby agrees to hold the undersigned harmless of and free from any and all liability and loss which [YOUR NAME], and/or its agents, may suffer for any reason, except that directly caused by the negligent acts or deliberate misconduct of the owner of the premises or its agents. The undersigned hereby warrants and represents that the undersigned has full right and authority to solely enter into this agreement concerning the above described premises, and that the undersigned hereby indemnifies and holds [YOUR NAME], and/or its agents, harmless from and against any and all loss, liability, costs, damages or claims of any nature arising from, growing out of, or concerning the use of the above described premises except those directly caused by the negligent acts or deliberate misconduct of [YOUR NAME], or it's/his/her agents. BY (PROPERTY OWNER/MANAGER) ______________________________ DATE ______________________________ FILMMAKER/FILM LOCATION MANAGER ______________________________ DATE ______________________________
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LOCATION CALL SHEET Issued to the cast and crew of a film production to inform them of where and when they should report for a particular day of filming.
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TALENT RELEASE FORM The talent release form gives you (the filmmaker) permission to distribute and sell your video or film with the approval of your talent. Talent is considered anyone on screen. In some journalistic situations, simply having your talent say, “I give ____ permission for this interview” is enough, but in the case of narrative films or large productions, a physical form is vital. If your talent is under the age of 18, you must get the parent or legal guardian to sign the form as well. PRO TIP: Get the Talent release form signed before you shoot while the talent is still excited to be filmed. TALENT CONSENT AND RELEASE FORM PRODUCTION COMPANY ______________________________ PROJECT TITLE ______________________________ LOCATION ______________________________ I have participated as indicated on the above motion picture (the “Picture”). In consideration of my appearance in the Picture, and without any further consideration from you, I hereby grant permission to you to utilize my appearance in connection with the Picture in any and all manner and media and all rights of every kind and character whatsoever in perpetuity in and to my performance, appearance, name and/ or voice and the results and proceeds thereof (the “Performance”) in connection with the Picture, and I hereby authorize Production Company to photograph and record (on film, digital, video, tape, or otherwise), the Performance; to edit same at its discretion and to include it with the performance of others and with sound effects, special effects and music; to incorporate same into the Picture or other program or not; to use and to license others to use such recordings and photographs in any manner or media whatsoever, including without limitation unrestricted use for purposes of publicity, advertising and sales promotion; and to use my name, likeness, voice, biographic or other information concerning me in connection with the Picture, commercial tie-ups, merchandising, and for any other purpose. I further acknowledge that Production Company owns all rights to the results and proceeds of my services rendered in connection herewith. I agree that my participation in the Picture may be edited in your sole discretion. I consent to use of my name, likeness, voice and biographical material about me in connection with Picture publicity and related institutional promotional purposes. I expressly release you, your agents, employees, licensees and assigns from and against any and all claims which I have or may have for invasion of privacy, defamation or any other cause of action arising out of production, distribution, broadcast or exhibition of the Picture. TALENT SIGNATURE ______________________________ LEGAL GUARDIAN SIGNATURE (If talent is under the age of 18) ______________________ PRINT NAME ______________________________ PHONE ______________________________ DATE ______________________________
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KNOWING THE EQUIPMENT Practice with each piece of equipment before you take it in the field. •
Video camera: The camera you choose depends on your budget and the type of shooting you're doing (static, stealth, run-and-gun, etc.). You can shoot a documentary on anything from your iPhone to a DSLR. Whatever camera you choose, make sure you capture excellent audio.
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Lenses: Wide Angle, Polarizer, Zoom Lens, Macros, etc. Have you ever seen those cool fish-eye scenes? That's from using a special wide angle lens. If you're shooting in super sunny situations, a neutral density (ND) filter or a circular polarizer can dramatically improve the image. A macro len will provide a super close-up of a bug or flower.
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Tripod with Fluid-head: Get a tripod with a fluid head for smoother looking pans.
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Smart Phone Mount: Attach your smart phone horizontally to a tripod. Use your phone during the capture of a photo, video, time-lapse, etc,
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Portable Digital Audio Recorder: DSLR cameras and smart phones only come equipped with a mini-jack audio input which doesn't capture professional/broadcast quality sound. Because of that, you'll need some way to capture professional audio.
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Boom Pole and Shock Mount and Shotgun Microphone: A boom mic set-up comes in handy to capture audio from a group interview, crowd scenes or any situation where you need to gather professional audio quickly. In addition to the boom pole, you'll need shock mount and a shotgun mic. A shock mount keeps the mic steady on top of the pole and prevents the mic from picking up "bumping" sounds when the pole is moving around. A shotgun mic is great for pinpointing the exact audio you want without the problem of audio interference from surrounding ambient noise.
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Wireless Microphone: Unless you have an audio person who can hold a boom mic, a wireless microphone provides great flexibility for walk-and-talk interviews, etc.
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Audio (XLR) Cables: Cables that attach to professional microphones.
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Headphones: Monitoring audio during a shoot is critical to avoid any nasty audio surprises when you get back from the shoot.
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Camera Lights (Three-Point Lighting Kit): You need a lighting kit if you're planning to do a lot of shooting inside. Creating a well lit scene usually involves a 3-way lighting set-up.
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Camera Light: A camera light is a nice accessory to have, especially in a documentary/news style shoot where you might not have time for a full 3-point lighting set-up.
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Light Reflector: This is a must-have item for your documentary filmmaking kit. It bounces light to fill shadows.
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Batteries, power cables and strips: You never want to get caught out on a shoot without enough batteries and power cables.
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Flash memory cards: You'll need somewhere to record all that footage you'll be shooting.
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Video/Photo Camera Bag: You need something sturdy and weatherproof to store your equipment.
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Specialty Gear for the "Cool" Shots: If you are ready to take your filmmaking up a notch, try some of these specialty video production equipment items to get those cool Hollywood-looking shots. (Slider, dolly, jib crane, steady cam, etc)
PRO TIP: When using rented gear, take a smart phone picture of the gear before you unpack it from its case. This way, if needed, you’ll have a reference when repacking the gear after your shoot.
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FILMMAKING: DSLR VS. CAMCORDER Should you get a camcorder, a A Digital Single-lens Reflex Camera (DSLR), a mirrorless camera or something else? What’s the difference? • A camcorder is designed specifically for shooting video. Most of them have built-in zoom lenses and tilt-and-swivel screens. More expensive pro camcorders have good built-in microphones and professional XLR audio inputs. • A DSLR is mainly designed for still photography. It takes interchangeable lenses. A mirror reflects the image up to the viewfinder, and flips up, blacking out the eyepiece, when you take a photo. So when you shoot video with it, you have to use “Live View” on the main screen instead. • A mirrorless camera is like an DSLR. You can swap lenses, but it doesn’t have a mirror. You view the image on the main live view screen or an electronic eye-level viewfinder, if it has one. They’re usually smaller and lighter than a DSLR. Why would you shoot video on a camera designed for stills? Most camcorders have quite small sensors and fixed zoom lenses. These small sensors aren’t great in low light, which can give DSLRs, which have much bigger sensors, a big advantage. Big sensors also have much shallower depth of field; so at the same aperture, less of the shot is in focus. DSLR images look more “cinematic”.
If DSLR video looks so great, why doesn’t everybody do it? • Cost: DSLRs and mirrorless cameras aren’t cheap. You can get a Canon, Sony or Panasonic HD camcorder for less than $250. You’ll need to spend around $400 for the cheapest new video-capable DSLR. • Audio: Many DSLRs and mirrorless cameras don’t have headphone sockets, and some can’t record good audio even with a separate microphone, so you may need to use a separate audio recorder. • Focus: Judging focus on a live view screen can be slow. You may need to magnify the image with a separate viewfinder or ‘loupe’. If you’re trying to hold focus on moving subjects, shallow depth of field can be a nuisance rather than an advantage. DSLRs usually have great, fast autofocus for stills, but “Live View” autofocus, with the mirror up, can be much slower. • Handling and stabilization: These cameras can be awkward to hold steadily and to move smoothly for video shots. You may need a tripod, a monopod, or a special rig. Most camcorders have good image stabilization, so they’re easier to use handheld. Most DSLR video isn’t recorded from the whole sensor at once. Instead, it scans down the sensor. This can cause “rolling shutter” distortion when you move the camera sideways or use it handheld. • Size and complexity DSLRs, and to a lesser extent mirrorless cameras, are bigger than equivalent camcorders, and you usually need accessories to get good results.
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But with camcorders, you can just pick them up and start shooting. Many have such good image stabilization that you don’t really need a tripod. Who should use what? • For events, good camcorders are better. The audio has more advanced features, and they’re easier to pick up and start shooting. (Often, I’ll put the camcorder on a tripod for a “master shot” and use the DSLR for closeups.) • DSLRs and mirrorless cameras are best if you’re interested in getting that film-like image quality. They are great for film students and ultra low-budget filmmakers. What else could I use? If you’re on a really tight budget, you could use a smart phone with a good filming app. Smart phone video is popular with mobile journalists and documentary makers.
DEMO TRIPOD WITH FLUID-HEAD AND SMARTPHONE MOUNT SOFTWARE • FilmicPro: iPhone video camera app that gives more control to lock white balance, focus and exposure. Filmicpro.com/filmic-pro/ VIDEO TUTORIAL Shooting Video with an iPhone Wistia.com/library/shooting-video-with-an-iphone
DSLR CAMERA BASICS A Digital Single-lens Reflex Camera (DSLR) is a digital camera that combines the optics and the mechanisms of a single-lens reflex camera with a digital imaging sensor, as opposed to photographic film. • •
•
ISO is the digital camera sensor’s sensitivity to light. Aperture is a structure in your lens that works much like the iris in your eye. It opens and closes to let more or less light in, and also changes the depth of field, or how many different objects can remain in focus in the shot at the same time. Shutter speed controls how much time the camera’s shutter remains open when taking a photo. A longer shutter opening will let in more light but may also cause blurring if any motion occurs while the photo is being taken.
When shooting video with a DSLR, it is suggested that you double the frame per second (FPS) to get the working shutter speed, so when shooting at 24 FPS, use at least 1/50 shutter speed and when shooting at 30 FPS, use at least 1/60 shutter speed. You can use a slower shutter speed, which will show more blur in moving objects—and likewise you can use a higher shutter speed (60 FPS) 1/125, which will freeze the action on screen.
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Info-Graphic explains how aperture, shutter speed, and ISO work in still photography.
Created by Daniel Peters at Fotoblog Hamburg
WATCH FIRST 15 MIN. OF VIDEO How to shoot video with a DSLR camera
Wistia.com/library/shooting-with-a-dslr
SOFTWARE • Magic Lantern is a free software add-on that runs from the SD/CF card and adds a host of new video features to Canon EOS cameras that weren't included from the factory by Canon. Magiclantern.fm/index.html
CAMERA DEMONSTRATION
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AUDIO RECORDING You might have some beautiful footage, but it won’t make any difference if you can’t hear or understand anything being said by the person(s) being filmed.
RECORDING AUDIO BASICS • The goal is to record clean audio with proper volume levels. • Get the microphone as close as possible to the talent’s mouth without the mic being in the shot. • Use a boom or shotgun microphone attached to a stand above the talent or record with a lavalier microphone hidden under clothing. • Record in a quiet environment, free of echo and noise or in an environment similar to the one being portrayed in the script. • Use blankets, rugs and cushions to dampen echo if necessary. • Use the Volume Unit (VU) meter to ensure the audio being recorded is not too quiet or too loud. • Digital audio VU meters use -12 Decibel (dB) as a “sweet spot” • Digital audio crackles or “clips” when the recorder is overwhelmed by signal. Avoid clipping at all costs! • A crew member should wear over the ear headphones or earbuds and monitor the audio while audio is being recorded. • Record with the file settings: WAV or AIFF Uncompressed audio, 44.1 or 48 KHz • Clap to sync when shooting with DSLR/Smartphone and Digital recorder set-up. VIDEO TUTORIALS • Choosing a Microphone Wistia.com/library/choosing-a-microphone • Shooting Video with an iPhone: Wistia.com/library/shooting-video-with-an-iphone • Basic DSLR/Digital audio recorder how to video Youtube.com/watch?v=lJYdjHbnrV0 • Using your Zoom Recorder with a DSLR Camera Youtube.com/watch?v=EqTOxP3JLm4 • Sync Sound: How to Work With Pocket Audio Recorders Videomaker.com/article/c4/15106sync-sound-how-to-work-with-pocket-audio-recorders
AUDIO DEMONSTRATION
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LIGHTING THREE-POINT LIGHTING refers to the classic use of at least three lighting elements to light a subject in a scene. Each lighting element fulfills a different purpose — acting as the Key Light, the Fill Light or the Back Light. •
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The Key Light is a lighting element that acts as the main light illuminating the subject. It can also be thought of as the brightest light on the subject. The Fill Light is a second lighting element that illuminates the subject and “fills in” the shadows on the subject created by the key light. The amount of fill light used on the subject can create a more dramatic or a softer, more romantic effect on the subject. The Back Light is a third lighting element that is aimed at the subject from behind it (thus the name). It casts a light on the subject’s hair and shoulder in order to keep the subject from blending into the background. The back light does not need to come from above the subject, but can also come from the side or below.
What if I don’t have a light kit? • Be creative with other inexpensive light sources (work light + diffusion material or bounce the light off of white wall) • Bounce the light off of white cardboard to fill in shadows, decrease contrast • Use a common sense approach to natural light: • Always have the light behind the camera. • Turn off overhead sources that hurt more than help! Remember to White Balance (WB) your camera every time you move into a new lighting environment. WB is the process of removing unrealistic color casts. Proper camera white balance has to take into account the "color temperature" of a light source.
WEBSITE ARTICLE Color Temperature En.Wikipedia.Org/Wiki/Color_Temperature#Digital_Photography
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CLASS 3 – VIDEO PRODUCTION Date: September 23, 2017 – Time: 10 AM to Noon
VIDEO FRAMING AND COMPOSITION Simply put, the rule of thirds is a method of composing your shots. Imagine that your frame has lines running though it, two horizontally, and two vertically. Together these lines divide the frame into 9 squares. Where the lines intersect are points where you want to put your subject. Aesthetically this will make your shots more interesting to the eye. Generally it’s boring to perfectly center a subject, you want it a bit to the left or the right of center. This also applies with horizon lines, don’t center the horizon so it divides the frame into even top and bottom halves. Instead have the horizon run across the lower or upper “third” of the frame.
WATCH VIDEO
Framing and Composition Vimeo.com/1461280
THE 180° RULE
The 180° rule is a cinematography guideline that states that two characters in a scene should maintain the same left/right relationship to one another. This is called the 180 degree rule because the camera can’t move more than 180 degrees (half a circle) around the characters. This helps orient the characters in this space and keeps the viewer from being confused. When the camera passes over 180 degrees or the invisible axis connecting the two subjects, it is called “crossing the line” and the shot becomes what is called a “reverse angle”. Instead of facing each other, the characters now look as if they are facing in the same direction. If you’ve got more than two characters, the same line may not work for everybody. You may have to change to a new line. There are several ways to do this without the audience getting confused: • Include a shot where the camera itself tracks (moves sideways) or moves in an arc across the line.
• Cut to the master shot (a long shot or very long shot that shows the whole scene).
The 180 degree rule works for interviews as well, cutting between interviewer and interviewee. But you can get problems with eye-line if you’re filming up close and wide angle:
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the interviewee may seem to be looking well off to one side, which seems evasive. You can reduce this effect by keeping both camera positions really close to the axis and moving back to reduce the angle between the interviewee’s eye-line and the camera.
WATCH VIDEO
Breaking Down the 180-Degree Rule Youtube.com/watch?v=HinUychY3sE
REHEARSE, DIRECT AND SHOOT “HOLLYWOOD STYLE” • • • • •
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Block – Determine where the actors will be on the set and where the camera will be positioned. This is based on the storyboard or director’s shot list. Light – Light the set and position the camera. Rehearse – Rehearse on camera with the actors and crew. When directing, keep notes. Discuss after takes. Tweak – Make lighting and other adjustments (camera, audio, costumes, etc.) Shoot – Shoot the scene, then repeat the process until it is right or you’re out of time. • Get multiple takes of the scene and a variety of shots. • Get B-roll footage. Review footage/make notes for the edit. INTERVIEWING AND DIRECTING TECHNIQUES “DOCUMENTARY STYLE”
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Select Interviewee. • The best Interviewees are passionate and articulate when they speak. • Have the Interviewee sign a Talent Consent And Release Form before you begin filming What information do you want viewers to learn from the person you have chosen? Ask open-ended questions rather than ones that produce yes or no answers. Position the Interviewee slightly off center in the frame. The Interviewer should sit diagonally from the Interviewee and stand as close to the camera as possible. The camera should be positioned at or just below eye level of the Interviewee. Ask the Interviewee to repeat the question in his/her own words, and then answer the question.
Never cut short an Interviewee’s answer. Let the Interviewee finish their thought process.
Try to be silent in your acknowledgement while your subject is responding, by nodding or smiling, so that your voice doesn’t get recorded over the answer.
Maintain eye contact with the Interviewee at all times. This will prevent them from looking into the camera and keep them looking in the proper direction.
Help the Interviewee to feel at ease. If he or she is nervous, it will show on camera.
Pick up additional footage. • Try to get cutaways of the intervieweeʼs hands or other details. A good time to do this is between questions or during less important parts of the interview. • Get some footage of the interviewee in action. For example, if you are interviewing a shopkeeper, you might what to get him/her greeting a customer. • After the interview is over, you can get footage of the interviewer asking his/her questions and his/her nonverbal acknowledgements to help with the editing.
SET UP AND SHOOTING DEMONSTRATION: CLASS PROJECT 22
CLASS 4 – POST PRODUCTION Date: September 30, 2017 – Time: 10 AM to Noon
EDITING THEORIES & PRINCIPLES CONTINUITY EDITING The basic concept is to create an illusion of continuity while leaving out parts of the action that slow the film's pacing. Continuity editing compresses real time to screen time to hide the pieces of time missing from the sequence. For example, if an action takes five minutes in real time, viewers will get bored watching it. Cutting out all the boring stuff and keeping only that which gives the illusion of continuity will keep the viewers attention. Imagination fills in the missing parts.
NEWS EDITING News editing is an approach video editors use to create documentaries, instructional videos, advertising, corporate promotions, and other presentations which call for editing footage of spontaneous, unscripted action. You must try to tell the story visually. Usually there is no specific order to the footage and no control over the situation. Events happened once and without warning. However, with the right shot choices, an editor can re-create the chronological sequence of events, thus giving an illusion of continuity.
MOTIVATED CUTS Any edit breaks the illusion of continuity. When there is a reason for a different shot, a motivated cut is the least disruptive. When an actor looks to one side in a dramatic scene, we can cut easily to whatever the actor is supposed to be seeing. When someone is talking about something, viewers expect to see it.
USE INSERTS Cut-aways and cut-ins add visual information. They are often used over "talking-head" videos to make the moment more interesting or to show what the speaker is discussing. Inserts hide edits in the speaker's audio track, show response to what is being said, introduce visual variety, illustrate speaker's comments, graphically present information, and cover other visual problems.
TITLES Adding graphics to your video makes it easier for your audience to understand what they are watching. Graphics title the program, list the names of the crew and identify people or places. Graphics are used to communicate and emphasize detailed information such as prices, sizes, technical specifications, ingredients, and procedures. Titles MUST communicate clearly. Make your type size as large as possible. Choose plain sans-serif type styles.
PLAY IT SAFE AROUND THE EDGES Every TV set displays its picture differently. Information at the edge of the screen is often lost. To make sure your title isn't cropped, keep it near the center of the frame. Leave at least a one-inch margin on all sides of the title. This is less a problem with panel TVs such as LCD or Plasma.
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NON-LINEAR EDITING • • •
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Import: Import into your computer’s video editing program all of your video clips, photos, and audio files. Organize and label: Label your files and organize them in bins. In an editing program, folders are called “bins”. Fine cut: • Create a timeline. Choose a clip. In the clip, select its IN point where you want it to begin. Do the same with the clip’s OUT point? Drag the clip onto the timeline. Repeat this process until you have laid out your video. • Add music, sound effects, voiceover. • Add transitions, titles, video effects. Export finished project: Export onto your computer a full-resolution video master file. Distribution: • Compress master file as needed for online viewing and uploading (Vimeo, YouTube, Facebook, etc.). • Import master file into DVD authoring program to burn DVD. Archiving: Backup master file using removable media, external drive, or server.
SOFTWARE FOR VIDEO EDITING • iMovie (Mac) • Final Cut Studio Pro (Mac) • Premiere (Mac and PC) • Windows Movie Maker (PC)
EDITING DEMONSTRATION: CLASS PROJECT CLOSING COMMENT Filmmaking is both an art form and a technical craft. Make friends that are using the medium and collaborate on each other’s projects. Collaboration will help you grow as a filmmaker both creatively and technically. OTHER VIDEO SITES THE TEACH FILMMAKING • Film Riot: youtube.com/user/filmriot • Stillmotion Blog: stillmotionblog.com • No Film School: nofilmschool.com
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FILMMAKING 101 @ THE DML
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