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camBefore shooting a video, you need to do some planning. Develop a script or storyboard, gather equipment, and set up the shots.

Video Production Equipment

The equipment most often used for local production is a video camcorder unit that incorporates a color video camera integrated with a built-in microphone and videocassette recorder or digital video recorder. Additional equipment might include a tripod for supporting the camcorder, a wired microphone, and an auxiliary lighting kit. For many, the basic camcorder unit is all that is available. The addition of a camera tripod is the easiest way to improve the quality of any video production. By stabilizing the image, your video becomes more crisp and sharp.

For a complete and easy-to-understand explanation of video recording, check out How Stuff Works: How Camcorders Work.

Video Production Terminology

Video production has its own language and terminology. Some of the terms are shared or adopted from the field of photography. In order to speak alike, you need to understand the general meaning of these basic video production terms.

Scenes and Shots

bridgeA number of terms are associated with the visual sequencing involved in video programs. Scene refers to the location of the subject. Shot means the action being recorded. Shots are further denoted as being either a long, medium, or close-up shot; all referring to the relative distance of the scene from the viewers’ or camera’s perspective. When the video subject is a person, the shots can be further defined as being either a head shot, a head and shoulders shot, a waist shot (from the waist up), or a full shot. A sequence is a series of related shots that depict one idea.

For example, let's say you're doing a golf video for a high school golf class. The first shot shows a golf grip where the hand forms a "V". The camera pulls out to a medium shot showing that the "V" of the hand grip should point toward the golfer's shoulder. The final long shot shows the golfer's overall stance.

Transitions

A transition is the term used for a number of video techniques that are used to connect, or join (hence the use of the word transition) separate shots or separate video sequences. The more commonly used transition techniques or types are cut, fade, mix/dissolve, and wipe. A cut is a direct, dynamic splice to another shot and scene. A fade involves fading out (from the scene to black) and then fading in (from black to the scene) on the next shot. Many camcorders have a fade button you can use. When one scene is blended into the next it's called a mix or dissolve. Finally, wipes are any of a number of decorative type transitions and are closely related to mix/dissolves. Some cameras and editing systems have sophisticated wipes that look like rain falling, an iris opening, a curtain closing, doors opening, or even toasters flying! When a particular shot ends one sequence and leads to another it's called a transition scene.

Other terms define the physical movement of a camera during the recording of a scene. Pan means to swivel / turn the camera to the right or left (horizontally) from the camera-person’s position. Tilt means to vertically tilt the camera either up or down. Dolly means to move the camera physically in closer to the subject or to back out away from the subject. Truck is to move parallel along-side the subject within the scene. Closely related to these camera movement terms is the zoom, which is afforded by lens technology that allows the camera to effect apparent movement by zooming into or away from the subject.

When using any of these techniques, consider the purpose. Why is it necessary to zoom or pan? If you can't think of a good reason, don't do it! These techniques can easily be overused. Panning can make viewers dizzy. Zooming isn't a natural movement, so it can be distracting. It's like running toward someone at high speed.

Movie producers can use these techniques to produce particular effects. For example, trucking makes it look like you're "following" someone and zooming is a way of "listening in" on a conversation.

Lighting Considerations

hawkWhen recording outside, make sure that the sun is behind you and the camera. Do not shoot directly into the light. For indoor shooting, remember that the brighter the subject, the more vivid the resulting video picture will be. Aim the camera away from windows and other bright lights. Direct the light onto the subject and onto the background, but not directly at the camera. In some instances, additional video lighting is needed to supplement inadequate indoor lighting. Uneven lighting can cause as many problems as low lighting when today’s auto exposure cameras try to ‘average’ the highlighted and shadowed areas within the same scene. In general, pick shooting locations that are as brightly and evenly lit as possible.

Camcorder / Video Recording Techniques

The effectiveness of your video production will depend on carefully setting up your camera for each shot. Read the materials that come with your camera and get to know it's features.

Supporting the Camera

Even with the high-tech "steadying" features available on many new video cameras, it's a good idea to use a tripod to ensure stable pictures. If a tripod is not available, the camera operator must adopt a stance that avoids excess shaking or movement. Some tips to improve handheld camera work include holding the camera securely against your head and eye so that it moves together with your body movement. Be sure that the camera is held in a level position. Keep your arms in close to your body with one hand on the camera body side for support and the other positioned near the start/stop button. The camera should be equipped with either a hand or neck strap; use one or both. Once a camera is dropped, extensive damage and its accompanying costly repair prices are almost a given. Both feet should be firmly planted.

When video shooting conditions are favorable, adopt a stance that provides additional camera-steadying support. For instance, whenever possible lean against a wall or structural column for support. If the subject is on a counter or table surface, sit with your elbows on the flat surface. Sometimes a structural post, a railing, or even a stack of books can be used to firmly brace the camera. When shooting subjects low-to-the-ground, crouch down, balancing the camera on your knee. If your video subject is a small child, rather than shooting down from the “on-high” adult position, it is better to get the camera position down to a level even with your subject. For even lower shots, lie on the ground, propping yourself and the camera up with your elbows. Remember that the eyepiece on most cameras can be turned up or down for easier viewing angles, and that the eyecup can sometimes be turned aside. Avoid walking while operating the camera if at all possible; however if you must walk while shooting, be sure to keep both eyes open and pay attention to the surrounding terrain.

Focusing the Camera

Use the autofocus feature on your camera for most shots. Some cameras even have an auto tracking focus setting for moving subjects; the focus is automatically adjusted even if the subject moves from the center of the viewfinder screen. However, there are some subject situations which are difficult to shoot appropriately using the autofocus camera setting. In these cases, you will probably have to use the manual focus to shoot the subject properly:

Another related focus problem or error often occurs when a camera’s zoom feature is used with a manual focus, and the camera is first focused on a subject while in the wide angle setting. Then as the camera is zoomed from the wide angle to the telephoto position, the subject’s image becomes unfocused. To prevent this error, first make focus adjustments at the telephoto position, then return to the wide angle position for beginning the recording.

Depth of field refers to the range of distance within a camera shot in which all objects appear focused. You will find that when focusing, the depth of field will be small or shallow in the telephoto position and larger or deeper when the lens is at the wide angle position. Also recognize that in brighter lighting conditions, your camera’s depth of field will be larger, while in darker lighting it will be less or shallow.
Manual focusing can sometimes be effectively used for scene transitions or scene endings. If carefully planned and rehearsed, a scene or sequence can be started by using manual focusing. Begin recording with the subject correctly framed, but out-of-focus as far as possible, and then bring the subject gradually into focus. Reversing this procedure can be used to end a scene, by gradually moving from a focused picture to a unfocused scene.

Image Exposure

problemNotice the problem with lighting in the still shot of the blacksmith on the right. Most of today’s cameras and camcorders have built-in auto exposure systems. As with the autofocus feature, the auto-exposure system is best for most shooting conditions; however, for a subject that is darker or brighter than its background, manual exposure adjustment will be needed. A bright background can override your camera’s auto exposure system, making the subject appear too dark in the picture. In such a case, zoom in the camera lens so that the subject fills the screen as much as possible and adjust the camera lens iris for a wider opening.

Some cameras have a backlight compensation feature that can be switched on, automatically opening the iris to lighten the subject’s image. These conditions suggest the use of a trial shot, that can then be viewed carefully to evaluate its exposure quality. When the subject is too bright, such as when it is spotlighted with a dark background, zoom in so that the subject fills the screen and adjust the lens iris for a smaller opening.

Using the Zoom Lens

applesA video camera with a zoom lens allows for coming close or moving away from the subject without changing the camera position. As mentioned previously, new or naive camera operators often overuse the zoom lens feature causing their audience discomfort as they repeatedly zoom in and out from one shot to another. Do not overuse the zoom feature; in fact, limit your use to shooting situations where the zoom is absolutely required.

The still shot on the left shows apples drying on a rack. You'll want a wide shot showing the rack, then zoom into an individual apple.

In cases where use of the zoom feature is required, use power zooming for a smooth effect. Zoom in or out slowly and use a tripod whenever possible. Be sure to test the zoom before the actual shooting, to ensure the desired framing and effect. In other words, zoom in close and get the closeup image framed as you desire, then zoom out until you reach the desired starting point. Now record the segment zooming in slowing. This technique will reduce the need to pan or tilt the camera while you zoom.

Panning the Camera

Panning the camera means moving the camera horizontally from one side to another. As with the camera’s zoom feature, use of the panning technique should be avoided and used only in scenes where it is absolutely required. When required, panning should be completed using a tripod to firmly support the camera.

Panning can be used to record a setting, a landscape, or to follow a moving subject. First, decide the area that you want to cover with the panning technique. Rehearse the shot by placing yourself at the end of the panning angle, then turning the camera on the tripod (Hand held camera: turning at the waist without shifting the feet) to the beginning position. Then, when recording the panned shot, allow at least 3 or 4 seconds “hold” time at the beginning and also at the end of the sequence, in order to establish the start and finish and to ensure more smooth results. In executing the pan, move slowly allowing ample time for the viewer to take in each new image.

Using the Tilt Technique

This type of shot is sometimes useful in recording buildings, trees, or other tall subjects. The tilt down can sometimes be used as an effective introductory shot, while the tilt up is used to accentuate the viewer’s sense of height.

Applying the Fade Technique

Many video cameras and camcorders have an auto fade feature. Executing the auto fade feature usually is done by pressing a specific button switch. Pushing it before the shot starts will cause the image to automatically fade in from a dark image. Executing the auto fade while recording a scene will cause the image to automatically fade out to a dark image. This fade in and fade out technique can be used as a transition to start and stop scenes.

Audio Recording Techniques

The audio portion of video production is often neglected, but this important program component must be given its fair share of attention in order to have clear and effective sound tracks. First, when using a camera with a built-in microphone, approach your subject as close as possible for the clearest possible audio recording.

micExternal microphones are called for (1) when the subject is far from the camera, or (2) when the location is surrounded by unwanted noise. Let's define the microphone types:

Sit the microphone on a soft cloth or surface where it won’t roll. Eliminate background and unnecessary noise such as table drumming, paper shuffling, and prop knocking. Before final recording, do trial runs to eliminate distortion, provide consistent sound levels from the varied sources, and insure that performers use good microphone skills. In strong wind conditions, good sound recording is difficult or impossible. At such times, try covering the microphone with a cloth or foam cover (a rubber-banded handkerchief) and shield the microphone from the wind as much as possible.

A useful sound accessory is an audio mixer that allows the combining of live sounds with pre-recorded audio such as a music CD or cassette. In the absence of a mixer, pre-recorded music can be played live as the scene is videotaped. Some camcorder or videocassette recorder units allow for voice-over narration, music, and other audio effects to be added after the initial video recording is completed using an audio-dub feature. However, do not count on being able to complete such post-production work without first checking the equipment available for your use.

There are a number of other audio considerations to keep in mind while producing video programs. First, develop a script. It does not have to be a word-for-word script to be memorized, but should outline all message content that is to be delivered by the on-camera performer(s) and off-camera narrator(s). Pace the message concepts, and control their rate of delivery by performers. Make sure that the listening audience can identify all sounds, and that they also identify the speakers. Have performers project their voices and enunciate clearly. Try to match the sound levels so that a strong audio track is recorded. Avoid moving or yelling into the microphone.

Composing Video Scenes

holeVideo scenes are defined by the type of camera shot that is used. The relative length of a shot; whether it is a long, medium, or close-up shot, is dependent on how much of the screen is filled with the subject, how close the subject is, and how general or specific a view is given. Make sure that each scene is captured in sharpness and clarity. This is done by ensuring that the camera is focused on the subject and that the scene is bright and evenly lit. Make sure that the camera is held steady. You definitely need that tripod.

Who do you think lives in the burrow on the left?

Long Shot

The long shot gives a full view of the scene’s subject at a distance. Remember, long shot is a relative term. For one video, a long shot might be a whole body shot of the on-screen performer; in another, it might be a wide sweeping vista that takes in a broad view of the action or setting. Long shots are used to establish a setting, reveal the location, develop a mood, set the environment, or follow action. It can be used to show subjects interact and to connect scenes.
The long shot provides lots of visual information, but does not focus on the detail. In fact, overly long shots can sometimes leave the audience wondering where the subject is hiding. The long shot should be used where needed, but as sparingly as possible.

Medium Shot

The medium shot assumes that the viewer already has an understanding of the setting and that they recognize the subject’s location. The medium shot, like the long shot, can be used to connect scenes and to show interactions. It is often used to re-establish the setting after a series of close-ups. The medium shot gives a complete view of the subject.

Close-up Shot

Close-up shots are tight shots of the subject that focus the viewer’s attention. They can show detail. Keep in mind that if you get too close, sometimes the viewer gets confused and cannot identify the subject. Technically, the close-up shot demands for tighter control of the camera and demands optimum lighting. Overuse of close-up shots can sometimes cause the viewer to lose their sense of the spatial relationships within the setting. The close-up shot is an excellent way of showing emotions and reactions. It is also the best way of illustrating motor skill procedures, like how to knot a tie.

chickenA long shot is used to show the chicken coming in at feeding time. A close-up demonstrates how the chicken eats. The close-up would not be meaningful to the audience without the earlier shots of the chicken coming in for lunch.

Other terms are applied to specific types of camera shots: a top shot that is from overhead, a high shot that is steeply inclined downward (sometimes used to reduce impact or importance), an eye-level or chest-level shot, a low shot that is inclined upward (a depressed shot used to dramatize situations), or a low-level shot along a floor or surface. When people are the subjects, the shot is often defined as a group shot. The shot can be identified by person (the first person, 3rd person, and so on), or as a subgroup such as a 2-shot or 3-shot, making sure that production team-members know which two or three people are designated.

Setting Up Scenes and Shots

Producing good video scenes is more than just pointing the camera toward the subject and pressing a button switch. First, use as many close-up and medium shots as possible, filling the screen with the subject. You need to know the focus limit of your lens. In other words, how close can you be to the object and still be able to sharply focus the lens on the subject? If you get too close with your camera, you’ll lose sharpness. Don’t forget to check this, using your zoom lens in the telephoto as well as the wide angle setting. Limit the number of objects in the frame, thereby focusing your viewers’ attention on what is important. Get up as close to the action as possible without cutting anything out. Remember to apply the rules for composition such as symmetry and balance. Select the best point of view for each shot and adjust the framing so that the subject is well placed. Make each shot as visually interesting as possible.

Producing visually interesting video requires that subjects be placed or composed optimally in each shot. For instance, flat subjects are usually shot straight-on in order to avoid distortion. Shots of an isolated object still need to have border space around them. Solid objects are shot from an angle to show their dimensional quality. Scenes that are to be shown in depth are also shot at an angle, with objects within the scene placed and grouped for interest and unity.

Television is often referred to as a “flat” medium referring to its characteristic loss of depth or lack of three-dimensional effects. Therefore, placement of grouped persons or objects within a scene takes careful consideration. Groups need to be placed closer together than they naturally would be. Avoid large central gaps within your scenes and empty space between people. This often means lining people or objects up at a slight angle, not perfectly parallel with the camera. For instance, if the scene calls for two persons talking to each other, they might be positioned in a V-formation, close-together with the open wedge to the camera. When the performers speak their dialog, they are actually angled frontward toward the camera. However, on-screen they appear to be facing each other. If a series of shots calls for the camera moving from one person to another, don’t line them up causing them to be different distances from the camera. Rather, try lining them up in a arc that is equidistant from the lens as it pans to each performer. Care should be taken to avoid people or objects blocking other performers. Rehearse performers as they move to and from the camera rather than across the scene, and have them avoid making entrances from the side.

There are several other specific considerations for making camera shots of people. Many have to do with what is called “headroom.” Certainly avoid shots that visually cut-off part or all of a performers head; don’t decapitate people. Likewise, don’t use bodiless shots. Be sure that some space is shown above the performers head, but avoid excess headroom. Note that if you are unfamiliar with a camera, you should make a test recording and compare what is seen in the viewfinder monitor with what is actually recorded and shown on-screen. Provide enough headroom so that the shot isn’t crammed to the top of the screen. In close-ups, frame performers eyes at about 1/3 space from the top of the screen.

Center a person on-screen unless there are other persons or objects that balance that scene. Take care that performers do not seemingly lean or rest on the side of the frame. Also avoid close-up shots that combine persons sitting and standing; such scenes distort the height differences. Look carefully at the sets and settings of your video programs. Avoid over-prominent set dressings that clutter and confuse the background and distract from the subject. Look for and eliminate any background lines that merge into your performer’s bodies, causing distracting, confusing, and sometimes humorous visuals.

Sequencing is the term for linking scenes together, forming the body of your video program. The standard form is to begin with an establishing shot (either a long or medium shot). Follow with a medium shot with dialog. Then, move into a close-up (maybe to show a reaction). Follow with another medium shot (more dialog) and so forth. It is important that continuity be maintained as the program proceeds in some logical fashion that is discernible to the viewing audience. Sequences are tied to other video sequence strings by using a transition. In this fashion, the entire video program is connected together.


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