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Using Video Production As a Communications Tool

Using Video Production As a Communications Tool. Production: Making Good Images, Capturing Good Sound, and Asking Good Questions. Review . It is assumed that you: A re doing a basic documentary video for research, informational, or persuasive reasons Have a script and a production plan

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Using Video Production As a Communications Tool

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  1. Using Video Production As a Communications Tool Production: Making Good Images, Capturing Good Sound, and Asking Good Questions

  2. Review It is assumed that you: • Are doing a basic documentary video for research, informational, or persuasive reasons • Have a script and a production plan • Will be shooting interviews, recording audio for VO, and will be shooting supporting b-roll.

  3. Shot Structure What is shot structure? What does it mean? • It is the“dance of the camera” that takes the viewer’s eye and moves it where the director wants it. • It has a “grammar” that related to the composition of the shot(s).

  4. LS • Establishes location • Shows a subject completely, from top to bottom • Gives clues about the environment

  5. MS • Focuses on a specific character • Shows detail • Is framed above or below a joint point • One of the most common shots

  6. CU • Shows detail • Shows emotion • Is personal • In classic Hollywood shooting and editing style, this shot is the last one in the dance

  7. ECU • Shows detail or emotion very well • Is rather uncomfortable for the viewer if held for too long… why? • Deep inside personal space

  8. Composing pleasing images • Headroom, noseroom, leadroom • Mergers • Rule of thirds • Camera angle

  9. Headroom

  10. Noseroom

  11. Image Planes <Background <Middle ground <Foreground Pay attention to each!!

  12. Directional Merger What’s strange about this photo?

  13. Color or brightness merger

  14. Rule of Thirds • It is common to line the body up with a vertical line, and having the person's eyes in line with a horizontal one. If filming a moving subject, the same pattern is often followed, with the majority of the extra room being in front of the person (the way they are moving).

  15. CAMERA ANGLE

  16. CAMERA ANGLE- Eye level Natural look.

  17. CAMERA ANGLE- Canted (Dutch) Angle Strange. Makes the scene feel off, odd, bizarre.

  18. CAMERA ANGLE- High How does this shot make you feel about the subject?

  19. CAMERA ANGLE- Low How does this angle make you feel about the subject?

  20. BOTTOM LINE • Pay attention to foreground, middle, and background • Pay attention to noseroomand headroom • What does the camera angle say about your subject? What does the way you have framed the subject tell the story? • Put the camera on a tripod. • Push record and step away. Don’t “hose” the scene. If you are going to shoot, shoot at least 30 seconds. • Get what you need. Plan your shots. Shoot more than one take where you can.

  21. Camera • Don’t be afraid. You just need to check a FEW things.

  22. FEW • Focus • Exposure • White Balance ALWAYS!

  23. Focus • Zoom the camera all the way in • Focus the camera • Zoom out • Never, ever, never use autofocus.

  24. Exposure What controls the exposure? • IRIS • Also controls depth of field (DOF). • F-stops • Camera’s aperture

  25. Exposure F-stops

  26. Iris • The lower the f-stop, the greater the amount of light that makes it though the lens, the higher the f-stop, the lower the amount of light that gets to the lens. • Going to a higher f-stop (darker) is called stopping down • Going to a lower f-stop (brighter) is called stopping up

  27. Iris • Each time you stop up (say from f-2 to f-1.4) you are letting in twice the amount of light. • Each time you stop down (say from f-4 to f-5.6) you are letting in half the amount of light.

  28. Exposure • Overexposed

  29. Exposure • Underexposed

  30. Exposure • Properly exposed

  31. White Balance • White light is actually made of many different colors. • Outdoor light is primarily bluish • Incandescent light (from regular light bulbs) is orange • Your eye, one of the most advanced optical devices on the planet, has the ability to autocorrect the light’s color temperature. The camera does not. So you have to constantly tell it what is white.

  32. White Balance • Blue (cold)

  33. White Balance • Warmer balance

  34. White Balance • Balanced

  35. AUDIO • Get the mic as close as you can to their face. Ideally 4” from the face (thanks to Tori Meyer, AA&T for that) . • Wear headphones and monitor the audio at all times • Limit noise- turn off phones, fans, AC’s close doors, etc. • Get ROOM TONE • Don’t let the audio clip

  36. Where do I get cameras and lights and such? • The Media Center • 24 hour checkouts • University loan video and still cameras for EVERYONE • Need a current student ID card • Media Cards with more specific equipment are possible with a conversation.

  37. MORE INFORMATION • Lynda.com • Creative Cow • Equipment manuals on the Media Center website: http://www2.webster.edu/acadaffairs/asp/mediacenter/media_index.html • Me: Aaron AuBuchon- aubucaar@webster.edu • Block, Bruce A. The Visual Story: Creating the Visual Structure of Film, TV and Digital Media. Amsterdam: Focal/Elsevier, 2008. Print. • Class- Introduction to Video Production: VIDE 1000

  38. INTERVIEWING • Plan questions to provide responses covering specific areas in the script • Tell the interviewee exactly what to expect. Remember to tell them where to look before you start. • Explain the model (and location, if applicable) release and get them to sign it. • Make some small talk and get the person to feel loose around you. Introduce the crew as well. • Before you ask questions, ask them to look into the camera, say their name and spell it, and give you permission to videotape them. Get room tone. • YOU provide the direction of the interview. • Don’t “Step on” the interviewee.

  39. INTERVIEWING • Never think about the next question; listen! Nod at appropriate times, laugh when something’s funny. But not out loud. • MAINTAIN EYE CONTACT!!!!!!!!!!! • Editing out interviewer’s voice. You may not want the interviewer to be audible during the actual program, and will have to remind interviewees to rephrase questions in their answers. • Start with factual stuff, and move into the emotional stuff as they get less wooden. • Remember, this is an editable medium. You have more than one take. If they stumble, ask them to repeat the answer. • Check with the camera person and audio person often to see if everything’s okay. They may have some insight on what’s going on. • The interview is the crux of the story, it’s how the plot is carried or the message delivered. Listen well, and make sure you don’t leave without what you need.

  40. QUESTIONS?

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