|
Composition |
| The
composition of a shot refers to the meaning generated
by the elements within the frame you are shooting and
how these elements relate to and interact with each other.
Shot composition also deals with the size, angle and perspective
and lighting of the shot. |
| Well-composed
shots are appealing to an audience when they have interesting
angles, direct attention through the use of light and
colour, are well balanced and adhere to the rule of thirds.
This is a rule used widely in television, photography
and filmmaking. Imagine a frame is divided into horizontal
and vertical thirds. The most interesting spots to place
subjects and the horizon are along these imaginary lines
and at the intersection points. |
| Applying
the rule of thirds helps create a more appealing, dynamic
and balanced shot. |
| The
‘depth of field’ also influences the composition
of a shot. This refers to the objects in a shot that are
kept in focus based on the distance of the camera from
the objects. |
| A
deep focus keeps all objects in focus in the shot, whereas
a shallow focus keeps only certain (or a single object
such as a person) in focus and blurs the rest of the objects
in the shot including the background. |
| Sometimes
selective focus is used to clearly accentuate an object
or subject with the surrounds or background being out
of focus or blurred. |
| Rack
focus is where selective focus is used to move focus from
one object or subject to another. |
| The
mise en scene refers to all the elements contributing
to a shot, such as setting, colour, lighting, props and
camera placement. It also refers to how these elements
are presented or arranged, or, how they influence a shot
and generate meaning. |
| The
180 Degree Rule is one of the standard rules of filmmaking
and is often referred to as ‘Not Crossing the Line’.
Basically it works that once an axis is set up within
a scene it cannot be crossed by the camera operator without
confusing the audience. |
Framing |
| Framing
video shots plays an important role in communication.
Framing is about what stays in the camera shot and what
gets left out. Framing can exclude objects or people from
a shot to create meaning such as tension, mystery and
anticipation. Carefully compose and frame your shots.
If you’re videoing a central character or object,
take note of the background (whatever is behind the person
or object) and avoid unbalancing elements such as trees
or poles. Don’t place every subject in the centre
of your frame. |
Lighting |
| Lighting
is an expressive and powerful tool when used properly.
It can convey emotion, make a character appear evil, show
contrast or create a general mood. A desk lamp, standard
lamp or light from a window can be used to effectively
light a scene. |
| Watch
out for shadows and backlighting when shooting. Keep the
sun behind you when shooting outdoors. |
| If
you have portable lights, you can dramatically improve
your shots using the three-point lighting technique based
around a key light, a fill light and a backlight. This
particularly helps when lighting a person for an interview. |
Sound |
| Most
camcorders come with built-in microphones. These camera
mics are generally not high quality, meaning they have
a tendency to pick up a lot of unwanted noise. Most locations
where you shoot will almost certainly have lots of unwanted
noise from things like air-conditioners, traffic, planes
or other people. |
| Placing
the microphone close to your subject helps decrease the
amount of ambient noise that is recorded. Always use headphones
to monitor sound and levels. |
| There
are several types of microphones. Each one has certain
characteristics that make it appropriate for specific
applications. |
| A
shotgun mic is a unidirectional microphone, meaning it
picks up sound in the direction where it’s aimed.
This type of mic works well if you are shooting alone
because it’s generally mounted on the camera. |
| A
handheld mic is also usually unidirectional. For best
results, keep the microphone close to your source. A handheld
mic is typically used for informal interviews. |
| A
lapel mic is a small microphone, usually clipped onto
clothing and easily hidden from the camera. Some lapel
mics are wireless and transmits a signal back to a receiver
generally mounted on the camera. |
Equipment |
| Before
going out on location for a shoot have a printed checklist
to make sure you have all the equipment you will need
plus backup equipment. |
| Always
take your storyboard and script as a reference. |
| Use
a clapperboard to introduce each take of a particular
scene. |
| Before
recording, have your props and costumes organised and
tape log sheets prepared. |
| Gather
your equipment and check it works. Charge batteries and
keep spare tapes on hand. If possible, check out the shoot
location in advance and try to visualise the shots and
the setting. Choose the talent (actors) carefully and
rehearse as much as possible. |
Recording
Interviews |
When
preparing for a formal interview:
1. Generate an initial list of questions for the interviewee
2. Eliminate any questions that can be answered yes or
no.
3. Eliminate any questions that can be answered from other
sources: biographies, encyclopedias, other reference books.
4. What interests you about the thoughts and ideas of
the person you are interviewing? Make a list of understandings,
concepts, or attitudes you would like to find out about.
5. From draft questions, generate a list of final questions
to be used in the interview.
6. Focus on questions that elicit an opportunity to share
their thoughts, understanding and knowledge, experiences,
predictions etc.
7. Make sure the interviewee has the questions well in
advance of the shoot to rehearse.
8. Allow time to shoot some rough practice takes first |
When
shooting an interview:
1. Set up the shot
2. Light the shot with 3 point lighting if possible
3. Position the camera about 30 degrees to the left or
right of the subject (not straight on)
4. Frame the shot giving the subject plenty of head and
nose room (space in front of the face)
5. Have a person (generally the interviewer) sit and face
the interviewee so they have someone to connect with and
talk to.
6. Organise cue cards if necessary
7. Have a lapel microphone or shotgun microphone for the
interview
8. Keep the record light turned off on the digital cam-corder. |
Unrehearsed
Interviews:
These sorts of interviews are generally quick unrehearsed
comments from subjects in an informal situation.
1. Use a hand – held microphone
2. Quickly frame the subject and interviewer
3. Take note of shot background and ambient sound
4. Make sure after asking the question and speaking into
the microphone you position the microphone in front of
the subject for a response. |
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