1. 10/13/20151 RTV 322 Camera use: Shooting to Edit Film and Video

2. 10/13/20152 Project Start Training and certification Must learn correct use I cannot resolve your failure to follow directions or read provided instructions

3. 10/13/20153 Project Start You must watch and learn from the camera tutorials available on the course outline. Be prepared to apply that understanding.

4. Our cameras Canon XH A1 (mini DV)  Manual mode Manual mode  ‘point and shoot’ JVC HM 150 (SDXC card)  Class 6 or above  Brand matters  Georgia tutorial Georgia tutorial  Our settings:  SD(DV), QuickTime, 16:9 (Canon XA 20 / 25): MP4 10/13/20154

5. The gear Camera Camera mounted light Mic and cable  Mic clip Tripod  ‘shoe’ / plate & balance indicator Batteries Dolly 10/13/20155

6. Reminder Your own MiniDV tape Your own 16GB or higher SDHC or SDXC memory card, Class 10 Ability to shoot on either Ability to edit on FCP X  Note: You must have shot on SD card to edit on FCP X or Adobe Premiere 10/13/20156

7. Reminder Canon camera replacement cost, $3000 JVC camera replacement cost, $2500 Camera battery or light replacement cost, $125 Sony mic replacement cost, $200 Mic clip replacement, $25 10/13/20157

8. Other reminders ‘PA’ room / check out room Reserve gear before needed for checkout – allow time for check-out and check-in ONLY an on-duty PA Reserve your edit station before every needed use Only your assigned station 10/13/20158

9. Folder structure Fall 2015 RTV 322 You create a YourName folder You create a Project 2, Project 3 and Project 4 folder Never save to the desktop Settings on FCP BEFORE starting 10/13/20159

10. Camera control Loading tape and SD card Mounting battery Plug in and check mics Power, stand-by, lock settings AGC, Gain adjustments ND filter MF / AF ‘shutter speeed’ 10/13/201510

11. 10/13/201511 Lenses Camera body vs. lens Zoom or fixed (prime) -- critical focus LENS CAP! Optical vs. Digital zoom Diaphragm / aperture -- f-stops / t-stops / number means what? Manual vs. autofocus  Sharp focus, Selective focus, follow focus, rack focus, soft focus, swimming focus Depth of field is affected by focal length, aperture, and the distance of objects from the camera.

12. 10/13/201512 Camera mounts Tripod and pedestal  Friction head / Fluid Head Crane vs. jib Dolly / track SteadiCam vs. Handheld  Image stabilization Robotics, follow me, Segue, ‘copter, cable mount, etc. Bean bag, other options

13. 10/13/201513 Shot Composition Rule of Thirds Point of View Angle  High angle, low angle, high level, low level, bird’s eye view, canted / Dutch angle Cut off lines, look space, lead room, head room, eye line Terms: WS, OTS, 2/S, etc.

14. 10/13/201514 Shot Composition Master Scene Shooting Method Establishing / Master Shot Coverage  Demonstration, Star Trek Enterprise Also talked about as ‘shooting & editing sequences’  Wide shot / medium shot / CU / reverse angle, OTS, etc.

15. 10/13/201515 Transitions What is a shot? Fade / cut / Diss / Wipe / DVE ‘Changing shots’ in a one-shot Multi cam shoots vs. film style Real time to Filmic time Invisible / seamless edits  Sequences Master Shot / cover shot Jump cuts / pop cuts

16. 10/13/201516 Camera movements Pan, tilt, truck, dolly, arc, zoom, boom/pedestal DVE Crane, tracking, feather, 360 shot, follow, swish pan / whip pan, snap zoom (use as transition) #

17. 10/13/201517 The Static Frame Storytelling involves interplay of blocking, lighting, costumes, and setting -- as captured by the camera Balanced shots? Edge of the frame / off-screen space

18. 10/13/201518 Technical vs. aesthetics What kind of camera? What kind of lighting? What kind of lens? Consumer vs. Prosumer vs. professional cameras How the story is told? ‘Language’ of visual storytelling -- Hollywood style, home movies style, new media style, NPPA / news style

19. Remember Artist with paint and canvas – the art of visual storytelling Songwriter creating a new song – creative development of content for a target audience 10/13/201519

20. 10/13/201520 Video Shooting Tips http://multimedia.journalism.berkeley.edu /tutorials/shooting_tips/

21. Planning Your Shoot Talk over your shoot with other members of the production team and make sure you're clear on what shots you need to tell the story. If you're on your own, write up a list of shots you need. Write the story beforehand in your head, and list the elements you want to get video of to do that story. 10/13/201521

22. Planning Your Shoot Think about what's going to look good visually, and how your shots are going to come together sequentially. Try viewing your piece as a skeleton, and you're shooting the flesh for all those bones. 10/13/201522

23. Roll Blank Tape Before You Shoot Before you start shooting, roll your tape for 30 seconds at the beginning of your tape with the lens cap on (or with color bars - see your camera manual for setting your camera to display color bars). SD card is a different issue 10/13/201523

24. Check Your Audio Be sure to plug a set of headphones into the camera and check your audio to make sure you're getting an audio feed. It's easy to forget to plug an audio cord into the camera or to properly set the audio level - and wind up with great video but no audio to accompany it. 10/13/201524

25. Shoot Selectively Think before you shoot. Be aware of what you're shooting and when the tape is rolling. Don't record unless you're taking a shot. Don't roll tape when you're changing from one shot to another or focusing. Wait until you have the shot you want before rolling record. 4-to1-shooting ratio. 10/13/201525

26. Shut Up When You Shoot When you press the record button, shut up already! When the camera is rolling it picks up all the ambient sound. Don't talk while the camera is rolling, either to yourself or with other members of your team, and no humming. ‘Good nat sound’ 10/13/201526

27. Hold Your Shots Hold your shots for at least 15 seconds, before you pan, zoom or go onto another shot. You can always take a 15-second clip and make it a 2-second clip during editing, but you can't take a 2-second clip and make it into a 15-second clip. 10/13/201527

28. Excessive Panning and Zooming Don't constantly pan from side to side or zoom in and out with the camera - hold your shots and look for the one moment that's really captivating. Instead start with a static shot, and hold it for 15 seconds. ‘Let the action move in front of the camera’ 10/13/201528

29. Shoot in Sequences To capture a person arriving at work in the morning on her bicycle -- that's one sequence. It could be made up of the following shots: the person pulling up to the building, getting off the bicycle, chaining the bicycle to the bicycle stand, taking off gloves, taking off her helmet … (cont.) 10/13/201529

30. Shoot in Sequences …tucking gloves into the helmet, and walking into the building. Every little detail is important. You can't shoot enough details. A good ratio to shoot for (literally) is 50 percent close-ups and extreme close-ups, 25 percent medium shots, and 25 percent or less wide shots. 10/13/201530

31. Repeat that 50 percent close-ups and extreme close-ups, 25 percent medium shots, and 25 percent or less wide shots. NEVER put two wide shots together back to back. Cut from ‘master shot’ to cut-in (insert) shot – ‘coverage’ 10/13/201531

32. Framing and Composing Your Shots 10/13/201532

33. Headroom and Noseroom One approach is the rule of thirds: one third of the frame should be above the person's eyes one third of the frame should be the person's face and shoulder area one third of the frame should be the person's lower torso. 10/13/201533

34. Depth of Field 10/13/201534

35. Change Angles and Perspectives Don't shoot everything from eye level - it's boring. 10/13/201535

36. Get People in Your Scenes ‘Don’t just shoot the water at Niagara Falls’ 10/13/201536

37. Tripods for Steady Shots 10/13/201537

38. Anticipate Action 10/13/201538

39. Interviews Have the person you're interviewing to look at you, not at the camera. (objective POV) Avoid a straight-on shot - shoot the person from a slight angle to the left or right. 10/13/201539

40. Microphones Use hand-held (stick ) mic only when in a live interview situation (so, never for what we do) With a lav mic, you'll need to "dress the mic" - properly attach it to the person you're interviewing Ask the person to run the cord to the lav mic up the inside of their shirt (so the wire won't show in your video). 10/13/201540

41. Avoid High Contrast in Lighting Situations For example, don't place an interview subject against a bright window or white wall or with sunlight behind the person. It's usually best to shoot with the sun to your back. Also – dark skin, white shirt 10/13/201541

42. Photography …is what we are doing. …is the art of capturing and controlling light. 10/13/201542

43. Check White Balance Has to do with differences in color caused by the relative level of reds and blues in light and how a video camera compensates for these differences in color. MUST white balance every time lighting conditions change. Must set for dominant light source. 10/13/201543

44. Manual Exposure The auto exposure on digital video cameras is generally very good at setting the correct lighting. Professionals always set the correct light and manually set the camera for that light. 10/13/201544

45. Get All the Shots You Need Visual storytelling ‘See it, say it’ / ‘shoot to the pictures’ ‘Pictures’ as jargon means video Interviews / people on camera / main subject of shot (A-roll) Footage that supports main content (b-roll) 10/13/201545

46. In the end… Visualize what your ‘story’ will be – beginning, middle, end Script what you plan to shoot  Shot list, outline, full script Gather the raw footage with a strategy for what the final ‘story’ will look like Plan for what the final production needs will be –### 10/13/201546