LAUNCH VID THEORY EXIT VIDEO THEORY KEVAN F. DRINKWALTER

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2 WELCOME TO... VIDEO (Theory). This course will focus on the planning and production of your self promotion video. With the world gone digital it is important to have a digital presence. HOW IT WORKS... WELCOME LECTURE COMPONENT: Each class is divided into two components. The first component is the lecture session. New topics will be introduced each class. Included in each lecture component will be a review of past topics since all learnings build upon each other. Lecture lengths vary and is determined by the nature of the topic and the length of review. Digital notes should be at hand each week for lecture / assignment reference. LAB COMPONENT: Each class could also include a lab component. The lab component is where a portion of your mark will be accumulated (in-class assignments). Each in-class lab assignment will have direct relationship to the lecture learnings of the day.

3 CLASSROOM ETIQUETTE... - please arrive on time. If arriving late do not open a closed door until waved in (aadd) - all communication devices will be shut off and put away - once lights dim it is time to start - laptop lids will be closed during official lecture component - laptop lids will be closed during official assignment criteria read overs - no talking while anyone has the floor CLASS - there will be multiple breaks... please arrive back at designated restart time >repeat above< - participation is encouraged during shout out review sessions

4 TERMINOLOGY.... VIDEOGRAPHY Videography can be described as the art of shooting video. It s a way to provide viewers of your material an experience by employing techniques to make your footage look edgy, colourful and full of life. Videography also refers to the process of capturing moving images on electronic media. This can include production of feature film, television programs and commercials, web content, video blogs, marketing videos, corporate videos, event videos, wedding videos and special-interest home videos. VIDEO EDITING / PRODUCTION Video editing is the process of editing segments of motion video production footage, visual effects and sound recordings in the postproduction process. The goals of editing is to manipulate footage to bring the communication closer to the original goal or target. It is a visual art. TERMINOLOGY AUDIO EDITING / PRODUCTION Editing audio digitally offers a multitude of possibilities for manipulating sound. From getting rid of unwanted noises, adjusting levels, adding effects, to re-shaping a recording by editing the sequence, duration and looping. FRAME In video, film, and digital movies, a single picture or image. FRAME RATE The speed at which film or video frames are captured or displayed. The frame rate used for video in North America is 30 fps. The NTSC (National Television Standards Committee), broadcast video format is fps. Film plays at 24 fps. SAMPLE RATE The rate at which audio samples are captured or played back, measured in Hertz (Hz), or samples per second. SMPTE Timecode The SMPTE (Society of Motion Picture and Television Engineers) timecode standard used to identify each frame & the duration of a file in terms of Hours:Minutes:Seconds:Frames. Ex. 30 fps = frames. Nonlinear Editing (NLE)

conferences and conventions, products and services, and sales.

entertainment shows, documentaries, news magazines, sitcom and reality shows.

5 VIDEO TYPES... CORPORATE VIDEO corporate Communication, Training and Education, videotaping conferences and conventions, products and services, and sales. TELEVISION BROADCAST Inlcudes television commercials, infomercials, newscasts, entertainment shows, documentaries, news magazines, sitcom and reality shows. TYPES EVENT VIDEO Video production can be used at sporting, school, stage, wedding, and similar events. Itproduction can also be used to broadcast events live to viewers at home such as a press conference or concert. EXPLAINER VIDEO Explainer videos incorporate animation as the primary visual element. Used to convey messages that are technical in nature.

VIDEO TYPES... TRAINING VIDEO Training videos are commissioned by organizations to promote or make changes in workforce.

Such videos would include safety, first aid, time management, sales skills, etc.

They range from television advertisements to internet commercials and viral videos. TYPES INTERNET VIDEO PRODUCTION Video content shot for websites.

6 VIDEO TYPES... TRAINING VIDEO Training videos are commissioned by organizations to promote or make changes in workforce. This can range throughout the organization from training for those that need to learn simple, repetitive tasks and up to executive training. Such videos would include safety, first aid, time management, sales skills, etc. MARKETING VIDEO promotes an organization / product and create awareness among consuners. They range from television advertisements to internet commercials and viral videos. TYPES INTERNET VIDEO PRODUCTION Video content shot for websites. Testimonial videos, web presenter videos, help section videos, interviews, parodies, product demonstrations, training videos, thank you videos and apology videos. FEATURE FILM A feature film (or just feature ) is a simply full-length film, the kind you buy a ticket for at your local theatre for entertainment purposes.

FOR BETTER VIDS... 1. THINK IN SHOTS Watching a video, you can look only where the camera looks. If the camera looks at the same thing for too long, the viewer gets bored.

7 FOR BETTER VIDS THINK IN SHOTS Watching a video, you can look only where the camera looks. If the camera looks at the same thing for too long, the viewer gets bored. Every time you point the camera ask yourself: Who are you pointing at? What are they doing? Is it interesting? When it s not, cut and find something else to shoot. 2. SEE THE WHITES OF THEIR EYES In IMAX, theatres or large screen tv s, long or wide shots can often be impressive. Scale the video down to a computer monitor, website or mobile device, it looks tiny, blurry and holds no details. When people communicate, half of everything they say is with their mouth and the other half with their eyes. Miss the eyes, and you miss half the message. MAKE EM BETTER 3. KEEP SHOTS UNDER 10 SECONDS If you watch great video you ll notice that nobody uses shots that are more 10 seconds long, often much less. Shooting shorter shots gives your video greater impact, will engage the viewer s interest. 4. ZOOM WITH YOUR FEET Major production studios have high-end cameras with huge lenses that can zoom in from across a baseball field onto the stitching on the catcher s glove. T If you zoom without this equipment, the smallest little move or bump will become a huge jump in the frame. It s better to get physically closer to the subject with the camera. 5. STAND STILL & NO ZOOMING DURING SHOTS it s best to treat your video camera like a still image camera. Look at the camera s LCD screen to make sure your picture is good, keep your finger off the zoom button, and press start. Stop when you ve got the shot, and repeat. The rhythm you re going for is Move, Point, Shoot, Stop Move, Point, Shoot, Stop. The result will be a series of well-framed shots.

8 FOR BETTER VIDS KEEP THE LIGHT BEHIND YOU When using automatic camera settings, if there is a bright light in the frame, the lens automatically closes down to let less in, which will leave other subjects in the frame dark and under exposed. 7. DON T USE THE CAMERA S DIGITAL EFFECTS Digital Effects can be added in post production using software like Adobe Premiere or Adobe After Effects. If you shoot with an effect, you are stuck with it and can never remove it. Always work non-destructive!! 8. FOCUS ON WHAT REALLY INTERESTS YOU Find the passion in your assignment. Even boring topics have some fascinating aspects about them. Your best video will always come from shooting what you love. MAKE EM BETTER 9. KEEP YOUR VIDEO SHORT There s two old show-business expressions Always leave them wanting more & When in doubt, cut it out. Anything worth saying in a video is worth saying shorter. TV commercials tell a complete story, entertain us, inform us, and sell us - all in 15 / 30 seconds. The best way to make your video shorter is to aim for short. 10. USE AN EXTERNAL MIC WHEN POSSIBLE Most cameras adjust their own sound levels of what it hears and boosts it to a constant, listenable level. Unfortunately, if it hears crowd noise around you, it boosts that. Traffic noise, sirens - it all gets boosts. If you use a lav / clip on mic, it will hone in on what audio should be recorded and avoid the issue. You can try using the internal camera mic if you re in a quiet location and the camera is close to the subject that you are shooting.

SHOTS / FRAMING... EXTREME LONG SHOT This can be taken from as much as a kilometre (or more) away, and is generally used as a scene-setting, establishing shot. It normally shows an exterior, e.g. the outside of a building, landscape, big picture of surrounding area.

The subject doesn t need to take up the whole width / height of the frame.

It would also look uncomfortable if the feet and head were exactly placed at the top and bottom of the frame.

It also shows part of the subject in more detail while still giving an impression of the whole subject.

9 SHOTS / FRAMING... EXTREME LONG SHOT This can be taken from as much as a kilometre (or more) away, and is generally used as a scene-setting, establishing shot. It normally shows an exterior, e.g. the outside of a building, landscape, big picture of surrounding area. There will be very little detail visible in the shot, it s meant to give a general impression rather than specific information. LONG SHOT In the long shot, the subject takes up the full frame. The subject doesn t need to take up the whole width / height of the frame. The small amount of room above and below the subject can be thought of as safety room you don t want to be cutting the top of the head off. It would also look uncomfortable if the feet and head were exactly placed at the top and bottom of the frame. FRAMING MEDIUM SHOT Contains the subject from the waist up and is normally used for dialogue scenes, or to shows detail of the action. It also shows part of the subject in more detail while still giving an impression of the whole subject. CLOSE-UP SHOT This shows very little background, and concentrates on either a face, or a specific detail in the scene. Everything else may just be a blur in the background. This shot magnifies the object and shows the importance of things, be it words written on paper, or the expression on someone s face. The close-up takes us into the mind of a character. EXTREME CLOSE-UP SHOT Generally magnifying shot beyond what the human eye would experience in reality. This is a very artificial shot, and can be used for dramatic effect. Extra care must be taken when setting up this shot - the slightest shake is very noticeable.

SHOTS / FRAMING... CUT-AWAY SHOT Cutaways are used in the editing process to fill in footage which is different from the main action. B-roll is often used for cut-aways.

This is used as a buffer between shots (to help the editing process), or to add interest/information.

more detail and to add additional information and interest. Like we saw when Bilbo Baggins was walking through a mountain of treasure.

It is usually established by being placed after a shot of a character looking at something. A POV shot need not be the strict point-of-view of an actual single character in a film.

10 SHOTS / FRAMING... CUT-AWAY SHOT Cutaways are used in the editing process to fill in footage which is different from the main action. B-roll is often used for cut-aways. An example might be a cut away of a bird singing if the scene is focused on a couple walking in the woods. This is used as a buffer between shots (to help the editing process), or to add interest/information. CUT-IN SHOT Similar to a Cut-away except instead of cutting to a scene that is related to the shot but not the subject, the camera jumps to focus on another part of the subject to show more detail and to add additional information and interest. Like we saw when Bilbo Baggins was walking through a mountain of treasure. FRAMING POINT OF VIEW SHOT This shot shows what the subject is looking at (represented through the camera). It is usually established by being placed after a shot of a character looking at something. A POV shot need not be the strict point-of-view of an actual single character in a film. Sometimes the point-of-view shot is taken over the shoulder of the character, who remains visible on the screen. NODDY SHOT Common in interviews and film, this is a shot of the person listening and reacting to the subject. In fact, when shooting with one camera, the usual routine is to shoot the subject (for the entire scene) then shoot some noddies of the secondary subject. The noddies are edited into the video later in post production to look like they are happening at the same time.

They are common since they are neutral. They often have no dramatic power. They are ideal for interviews & news casting.

They are also good Point of View shots of an adult talking with a child.

The effect of the lowangle shot is that it makes the subject look powerful, dominant, or aggressive.

Familiar objects viewed from this angle might seem totally unrecognizable at first.

11 SHOTS / ANGLES... EYE LEVEL Camera isplaced at the subject s height, so if the actor is looking at the lens, he wouldn t have to look up or down. They are common since they are neutral. They often have no dramatic power. They are ideal for interviews & news casting. HIGH ANGLE The camera is above the subject, looking down. This position makes characters look weak, submissive, or frightened. They are also good Point of View shots of an adult talking with a child. LOW ANGLE Camera is placed below the actor s eyes, looking up at them. The effect of the lowangle shot is that it makes the subject look powerful, dominant, or aggressive. ANGLES BIRD S EYE VIEW This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognizable at first. This shot puts your audience looking down on the action. People/objects can be made to look insignificant, ant-like, part of a wider scheme of things. WORM S EYE VIEW This is an extreme low angle shot and the opposite of a bird s-eye view. This can serve to make the subject appear tall and imposing. Worm s eye views are common in videography as a means of making characters appear more powerful. SLANTED / TILT This can be used for dramatic effect and helps portray unease, disorientation, frantic or desperate action, intoxication, or madness.

12 SHOTS / MOVEMENT... PANS A pan is a horizontal camera movement in which the camera moves left and right about a central axis. This is a swivelling movement, i.e. mounted in a fixed location on a tripod or shoulder. To be a great panner, practice the shot several times at several speeds before you feel comfortable with it. Example: TILTS Similar to a pan, a tilt is moving the camera vertically, up or down without raising its position. Also like panning, used to follow a subject or to show the top and bottom of a stationary object. With a tilt, you can also show how high something is. For example, a slow tilt up a Giant Sequoia tree shows its grandness and enormity. Example: MOVEMENT PEDESTAL Pedestal shots are another movement of the camera in space vertically. The difference between a tilt and pedestal is that instead of pivoting up and down to view the range of areas in the shot, the camera actually moves (rather than rotating) up and down from the bottom point to the top, or the opposite. Example: DOLLY / TRUCKING / TRACKING Dolly Refers to moving the camera towards or from that subject matter. Trucking refers to camera movement from left to right. Complicated dolly/trucking shots will involve a track being laid on set for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping cart. Example:

13 SHOTS / MOVEMENT... HAND-HELD When the action is quick and unpredictable this calls for making the camera to be more mobile and able to follow the action of a scene. Most times the camera will simply be held by the operator Example: CRANE / JIB Basically, dolly-shots-in-the-air. A crane can be used to lift a camera / operatpr from low to high shooting positions. It can move up, down, left, right, swooping in on action or moving diagonally out of it. Example: MOVEMENT ARC A difficult shot to pull off hand-held. The camera rotates around its subject, keeping the same distance but changing the angle at which it views that subject. The slow-motion arcs in the Matrix movies are perhaps the best and most widely recognized example of this technique. Example: ZOOM A video zoom lens can change the position of the audience, either very quickly or slowly, without moving the camera. ser together than they really are. Example: ARIEL A variation of a crane shot, usually taken from a helicopter or drone. This is often used at the beginning of a film, in order to establish setting and movement. Example:

14 PRE-DOCUMENTS... PROJECT BRIEF There are several key questions that needs answers to craft an effective video brief. What s the goal of this video? Why are we making this video? Who is the audience? What are the takeaways / learnings of the video? What s our call-to-action? What do we want viewers to do after. VIDEO SCRIPT / SCREENPLAY A successful video needs a story. If your story has more dialogue and/or detail that you can easily hold in your head, it needs a script. A script is nothing more that a written version of your video, including the spoken lines and a short description of the visual. PRE-DOCS CAMERA SHOT LIST A shot list is a full log of all the shots you want to include in your film; essentially it is a checklist. Shot lists help you consider shooting footage based on location and setup. Mutliple locations are shot at once then edited. STORYBOARDS Traditionally a frame-by-frame representation of what your video is going to look like. Storyboards may show the placement of actors, camera angles, and indicate the action. Storyboard visuals may be detailed advanced illustrations, stick figure drawings or even still photographs. Most storyboards have a description panel for writing down important information that describes in detail what the illustration doesn t show or enhances what is drawn in the frame above / beside. For example, include any important dialogue, camera directions, scene numbers, or special / visual effects instructions. > FULL SIZE 17 X 11 SHEETS AVAILABLE FILING CABINET - L208 <

15 STORYBOARDS... STORYBOARD

THE CAMERA... (1) VIDEO RECORDING MODE To begin shooting a video, set your power switch to video recording mode, located at the top of your camera. (2) DO I SHOOT IN MANUAL FOCUS, OR AUTO FOCUS?

(3) VIDEO SETTINGS - SHOOTING IN AUTO MODE - Move the Mode Dial to s elect a Basic Zone mode. - Before shooting, focus on your subject. - Shoot the movie.

16 THE CAMERA... (1) VIDEO RECORDING MODE To begin shooting a video, set your power switch to video recording mode, located at the top of your camera. (2) DO I SHOOT IN MANUAL FOCUS, OR AUTO FOCUS? Until you are a seaosoned videographer understanding your camera s capabilities / settings - use automatic. (3) VIDEO SETTINGS - SHOOTING IN AUTO MODE - Move the Mode Dial to s elect a Basic Zone mode. - Before shooting, focus on your subject. - Shoot the movie. Press the icon (on the back of your camera) to start and stopping. CAMERA (4) THE NEGATIVES OF USING AN INTERNAL MIC Using the camera s built in mic can result in poor quality - the audio is unlikely to be clear and accurate, and background noise, such as wind can interfere. (5) USING A TRIPOD When a steady image is needed. This includes zooming in or out. To use a tripod, you can attach your camera directly with the socket located on the bottom of your camera. (6) COPYING FOOTAGE TO A COMPUTER - Remove the SD card in the card slot and place it into your computer s card reader or - Use the provided interface cable to connect your camera to your personal computer

17 A.P. INTERFACE... A - Source Panel - view/mark raw footage B - Program Panel - view/edit clips - timeline C - Project Panel - organize imported assets D - Toolbar - various tools for selecting, editing and navigating E - Timeline Panel - edit multiple clips / tracks into finished sequence F - Audio Meter - monitor the audio levels AP INTERFACE

18 A.P. INTERFACE... PROJECT PANEL A - Search & bin navigation B - Asset thumbnail C - List view D - Icon view E - Panel zoom F - Sort G - Automate to sequence H - New bin I - New Item AP INTERFACE J - Delete item

19 A.P. INTERFACE... SOURCE PANEL A - Source view B - Timecode C - Zoom level D - Drag video/audio only E - Playback resolution F - In/out duration G - Source Panel Playhead H - Add marker I - Mark in & out AP INTERFACE J - Navigate Source Panel Timeline K - Insert edit L-Overwrite edit M-Export frame

20 A.P. INTERFACE... PROGRAM PANEL A - Program view B - Timecode C - Zoom level D - Drag video/audio only E - Playback resolution F - In/out duration G - Program Panel Playhead H - Add marker I - Mark in & out AP INTERFACE J - Navigate Program Panel Timeline K - Lift L - Extract M - Export frame

21 A.P. INTERFACE... TIMELINE PANEL A - Timecode B - Timeline C - Timeline Panel Playhead D - Video Track (layer) E - Audio Track (layer) F - Clip G - Hor/Vert Timeline Zoom AP INTERFACE

22 A.P. INTERFACE... A - Selection - select clip or clips B - Track Select Forward - selects all clips forward from where clicked C - Track Select Backward - selects all clips backward from where clicked D - Ripple Edit - trim the In or Out point of a clip while closing gaps E - Rolling Edit - roll the edit point between two clips in a timeline F - Rate Stretch - speed up or slow down a clips playback G - Razor - make one or more incisions (splits) in clips in a timeline AP INTERFACE H - Slip - change the In and Out points of a clip, while keeping the time span between them constant I - Slide -move a clip to the left or right while simultaneously trimming the two clips that surround it J - Pen - set or select keyframes, or to adjust connector lines in a Timeline K - Hand - move the viewing area of a Timeline to the right or left L - Zoom - zoom in or out in a Timeline viewing area

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25 VID TECH PICTURE IN PICTURE SPLIT SCREEN AUDIO LEVELS

production 3. MASTER THE CAMERA To access our full set of Into Film mini filmmaking guides visit intofilm.org mini filmmaking guides

production 3. MASTER THE CAMERA To access our full set of Into Film mini filmmaking guides visit intofilm.org mini filmmaking guides mini filmmaking guides production 3. To access our full set of Into Film mini filmmaking guides visit intofilm.org DEVELOPMENT (3 guides) PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM