Video

1. Video An illusion where pictures move so rapidly that our eyes feel like the subject is moving in the screen. For example: 24 fps, 30 fps Scope of videography: Fiction Films Documentaries Video ads Video News Entertainment shows

2. A-roll: interviews Anything that comes in the video where subject speaks to the camera; interview bites, talk shows or anchor Audio storytelling with evidence and emotions Interviews are best when they have proper framing, good sound quality, proper exposure and the right focus Different conditions for interviewing Indoor Vs Outdoor interviews Sit down Vs moving subjects Staged Vs real settings

3. A-roll: interviews Sit down interview Setting up lights, microphones and arranging positions, background Ask the interviewee some time if you need to arrange things well, even if it is his office Check out the source of available lights Prefer outdoor if possible but also consider noise, try to get as much depth behind the subject as possible

4. Filming an interview Camera Setting for A-roll BLAH Background Light Audio Head

5. Filming an interview Framing for interview Tight vs. loose frame Depends on organization’s preference but also number of considerations: Going tight is usually preferred when in hard investigative interrogations. Nose room and head space. Going loose is preferred when if interviewee seems to move position, hands and refer to something while talking

6. Filming an interview Framing for interview Your position Stand just by the side of the camera so that the interviewee looks at you, not the camera. Don’t stand on the wrong side, based on how you are framing the interviewee

7. Filming an interview

8. Filming an interview Don’t rush after you are done Cutaways Shoot some cutaways of your interviewee. If you are doing the filming and reporting alone, use remote control for record if possible or do some enacting for the cutaways.

9. B-roll; other than interviews Filming in sequence; to tell complete story through visuals Order of shots is important to generate meaning Shot varieties are essential; to smooth editing, to provide details, to keep viewers interested REPETITIVE ACTIONS NON REPETITIVE ACTIONS SHOT SIZES & MATCHING ACTIONS ANGLES FIVE SHOT SEQUENCE FORMULA

10. Repetitive actions FIVE SHOT SEQUENCE FORMULA Extra Close up/Close Up shows clearly what is being done Medium shows who is involved Wide shows the scene and context OTS or POV Shows subject’s perspective Creative wrack focus or some creative compositions

11. Non repetitive actions Formula for filming non repetitive actions Enters the frame Does some activity Exits the frame

12. Continuity Continuity of Action What happens in what order? SHOT 1: a boy is riding a bicycle SHOT 2: the boy is swimming Is is meaningful? What can be done? Continuity of Direction Do not cross the line; 180 degree rule Change your position 30< change> 180 OR Change the shot size

13. Camera Movement Types Tilt, Pan and tracking A tilt goes up > down OR down > up You want to show a tall building A pan goes turns camera to left or right You are following a moving subject Tracking is moving the position of camera horizontal to the object. Shooting from a window of a moving car

14. Camera Movement Types Movement rules: Easy on eyes Start slowly > speed up smoothly > slow again to a gradual stop A proper and fluid head tripod is essential for this If you have time, rehearse the move before actually recording. Make sure the move is no longer than several seconds, you cannot shorten it in editing

15. Natural Vs. Artificial • Light can be used to; • Control the mood • Guide the viewers • Priming the subject or elements in the frame • Make people look soft, bold or beautiful as required. Lighting

16. Light Direction Direction of light impacts on the effects as well as meaning Shadows and textured surfaces help create the dramatic images/visuals We can control the amount of light and direction of its source.

17. Light Direction Side Lighting Side lighting reveals texture. It doesn’t make the subject look beautiful. But helps create effects – bold or dramatic. Side lighting brings out shadows Back lighting reveals form. It shows the outline of the subject and creates silhouette effect. Back light separates foreground objects from background.

18. Light Direction Front Lighting Front lighting hides texture and shadows. It makes the subject look soft and beautiful but least dramatic. Known as glamour lighting! Hides a model’s imperfection Front lighting can also be boring as it is flat with no drama.

19. Light Quality Hard light vs. Soft light Look at the shadows created by hard light and soft light Hard lights create distinct hard-edged shadows whereas soft light creates soft-edged shadows. People look best under a soft light.

20. Light Quality Creating soft light How to change hard light into soft light? The rule is; bigger the source of light softer the light is. For example – using an umbrella (diffusion material) to transmit the light from a bulb. OR – using reflectors to disperse the light coming from a smaller source.

21. Light Intensity Closer the subject to the source of light, more is the intensity.

22. THREE POINT LIGHTING TECHNIQUE Three point lighting adds dimensions – creates illusion Key Light: The main light. Usually placed as side light. Fill Light: Softening the shadows created by key light. Back Light: Separate the subject from the background

23. THREE POINT LIGHTING TECHNIQUE

24. Sound • Video without good sound becomes boring • How to record good sound? • Does your camera support good sound quality? • Different types of microphones; Unidirectional, dynamic and lapel mics

25. Camera Setup Camera Battery Memory Card Tripod Microphone Headphone Lights Background Framing

26. Camera Setup Camera Battery Memory Card Tripod Microphone Headphone Lights Background Framing

27. Camera Setup Camera Battery Memory Card Tripod Microphone Headphone Lights Background Framing

28. Camera Setup Camera Battery Memory Card Tripod Microphone Headphone Lights Background Framing

29. Camera Setup Camera Battery Memory Card Tripod Microphone Headphone Lights Background Framing

30. Camera Setup Camera Battery Memory Card Tripod Microphone Headphone Lights Background Framing

31. Camera Setup Camera Battery Memory Card Tripod Microphone Headphone Lights Background Framing

32. Camera Setup Background (Indoor vs. Outdoor & Plain vs. texture) Framing

33. Camera Setup Background (Indoor vs. Outdoor & Plain vs. texture Framing

34. Camera Setup Framing (rule of third, foreground & Background)

35. Camera Basics: FEWA Audio White Balance Exposure Focus

36. Camera Basics ALWAYS PREFER USING A TRIPOD Do not forget the tripod-plate or keep elsewhere than on the tripod itself. Planned and purposive hand-held are sometimes good. Anything like plane crash is okay hand held.

37. Camera Basics Audio Multiple inputs (line and mic) Types of microphones Audio levels White Balance Color Temperature (measure in Kelvin) Indoor (2800 to 3400) Vs Outdoor (5200 to 12,000) (3,200 degrees Kelvin light is standard light under which white is white)

38. Camera Basics Exposure Over exposed Underexposed Iris and Shutter Speed Focus Auto focus and Manual Rack focus

39. Camera Basics Right exposure; where is the control? Shutter Speed Aperture (for DSLR) /Iris Gain/ISO (for DSLR) ND Filter Amount of Natural or artificial lights

40. Editing Selection is all about editing in video news Avoid jar shots and jump cuts: Avoid similar shots and same angles Avoid shots with contrasting lighting conditions Don’t forget to change angle but remember continuity too Matching rhythm in repetitive action is important

41. Editing Cutting bites Cutting two grabs of interview shot; cutaway or shot size Back to back cutting of two persons’ interview at a place Covering Shots of interviewees>Cutaways>Interviewee J-cuts and L-cuts

42. Editing Try to maintain equal length for all shots Faster for news, slower for features Sequence! Reduce distance and time Voice Over Nat Sounds

43. Equipment:safety first No big shot is bigger than your camera! Camera is like your child; treat it as such Keep it with you; security checking or in bumpy roads, it rests on your lap, inside a protective bag Don’t walk away leaving camera on a tripod Develop a habit of packing gears in a specific order

44. Be attentive!! If you leave your equipment in a restaurant, on a bus, taxi or outside libraries, you will have less chance of getting them back, depending on how secured society you live in.  Don’t do this!! If you carry your camera freehand and something surprises or suddenly frightens you, you will probably drop it.  Don’t do this!! If you don’t manage the cables while or just after filming, you will probably entangle with those cables.  Don’t do this!!

45. First Aid Kit Prepare a first add kit for your team when you go for reporting with your gears! Don’t be stubbornor over confident in taking risk like climbing towers, visiting construction sites, filming nearby cliffs or riverbanks. At least follow security measures and wear essential overcoats, helmets, boots, masks, etc. as required, while filming under unusual sites such as construction sites.