Video Production 101

1. Video Production 101 James Falkofske

2. Sections • Planning • Scripting • Shooting Setups • Camera Movements • Lighting • Audio

3. Planning

4. Objective of Video • What purpose will the video serve • Who is the intended audience • What viewer knowledge is already assumed (“prerequisites” to viewing the video) • Are there measurable objectives that can be tested after viewing the video (feedback / assessment)

5. Planning the Video • Determine: • what scenes will need to be shot • locations and props necessary for each scene • sequence of events and sequence of shots (what needs to be displayed at each stage) • which scenes can be “ganged” (shot at the same location – but out of time sequence)

6. Continuity • Think about time progression and time lapses needed in then finished video • Avoid continuity errors (changes in clothing in shots that are “minutes apart”, jewelry and hairstyle changes, daylight changes (morning sun to high noon) • Scenes that are supposed to be different days should result in different clothing/hairstyle changes – even if recorded in the same hour

7. Narrator Costume (hint) • Having a “standard costume” of the same professional outfit in every scene (as narrator or lecturer) establishes a “look” that can be used for all narration and lectures • A standard costume avoids continuity errors of scenes shot on different days • Encourages “professional dress” in players

8. Outlining the scenes • Break up the video into a series of scenes • Each scene should have a specific purpose and a clear beginning and ending • Transitions between scenes should be anticipated and addressed in the scripting and shooting • If an educational video, each scene should have a preview and a review section

9. Planning – Review • Objective of Video and Intended Audience • Sequence of shots and locations • Addressing Continuity • Outlining the Scenes

10. Scripting

11. Scene Scripting • What dialogue is needed among the actors? • Tightly edit the script to remove all but the crucial and necessary information • Keep language simple; limit jargon • What information is being communicated, and how can it be shown most efficiently • What props, locations, or people are needed for the scene

12. Storyboarding • Completed after scene is scripted • Storyboard “previews” each transition in camera shots (what angles and what is shown in each shot) • Assists in the placement of equipment and making the shooting of scenes quicker and more efficient (you have a “plan”) • Try to manage scenes as 10 to 30 second shot segments (MTV attention span)

13. Sample Storyboard • Indicate which persons are on camera • Indicate direction they are facing • Show Props in Shots

14. Shots Derived from Storyboards • Determine what scenes will be shot • Determine the locations and props needed • Scenes do not have to be shot in sequence • Plan least moves of equipment • Shoot in a nonlinear fashion to gang scenes needing the same camera setups • Start scene with a sequence number (scene and take)

15. Sequencing Shots 1 2 3 4 5 6 7 8 9 10 11 12 1 3 6 9 11 2 5 7 10 4 8 12

16. Shooting Setups

17. 2 Camera Setups Work Best

18. 2 Cameras • dramatically reduces work load – since the transition shots can be done in one-take • allows one camera to do a cut-away shot while the other camera repositions • if tracks are in-sync, editing transitions and audio tracks is easier and more efficient

19. 2-Camera Setups • One Person Narrative • Front • Side • Two Person Interview • 35 degree left • 35 degree right • One Person Lecture • Front • Visual Aids

20. One Person Narrative • One camera face close-up • One camera on angle (newscaster spin)

21. Two Person Interview • Cameras “over the shoulder” of each speaker • Cut video back and forth for exchanges

22. One Person Lecture • One camera face close-up • 2nd Camera is movable for documents and for demonstrations • Video feed from computer can also be taped Document camera

23. Demonstration Setup • Two cameras that can pan quickly to capture motion and action • Overhead camera useful for capturing work surfaces Panning Cameras

24. Group Activities • One camera is wide-angle • Another camera for tele-zoom shots

25. Camera Movement Hints

26. Establishing Shot (opening credits sequence) • Start wide angle / still (background / setting) • Cut new camera angles / still (opening credits / sequence) • Some simple backgrounds to overlay text

27. Begin Scene Shot • Zoom in close (on detail or face) • After establishment of scene, slowly zoom out • Slow pans (Left/Right) to show context of scene

28. Dialogue • Wide shot to include all speakers • Cut aways (instead of panning camera) to each speaker • Cut aways to listeners (to get reactions and nods)

29. Demonstration • Wide shot to include setup • Close-up on narrator’s face as preview is described • Cut-away shots (during narration) to show items needed • 2-angle shots (one wider, and one close-up on action)

30. Lecture / Labs • Wide shot to include classroom • Close-up shot on speaker during introduction • 2-camera setup on speaker • One camera for close-ups on speaker • Lecture: 2nd camera is wider to show whiteboards & screens • Labs: 2nd camera is on a dolly to move to show action

31. Live Action (Theatre / Sports) • Wide angle camera to show context • 2-camera setup (wide & motion) • Wide camera is to cut-away as the motion camera repositions • Motion camera on tripod or dolly to allow for smooth pans and zooms

32. Lighting

33. 2 Light Setup – One Person • Main Light: Front Umbrella at slight angle • Background / separation light (hair halo) at opposite side of main light

34. 2 Light Setup – Two Person • Main Light: Overhead & back light • Front fill light

35. 2 Light Setup – Lecture / Demonstration • Main Light: Overhead & front • Side Accent Light

36. Classroom/Wide Setup • Wide / broad lighting at 30-angles to subjects • One light closer (to create shadow depth)

37. Audio

38. Single Speaker / Narrator (on-camera) • Wireless microphone positioned 6” under chin

39. Narration (not on camera) • Microphone placed about 8” above of and in-front of speaker • Avoids “popping” the P’s on the microphone • Avoids desk “shuffle noise” • Allows clear site of script

40. Dialogue / Conversation • Boom microphone placed above and in-between speakers, OR • Separate lapel microphones on each speaker run into a mixer

41. Group Activity (Theater / Classroom) • Separate microphones routed into a mixer • Microphones placed above participants at equal distances from center or action • If possible, recording each microphone on a different audio track (so that in post-production, microphone levels can be adjusted or dropped from the mix)

42. The End!