Making Movies:
Digital Video
Techniques
By Troy Carnie
Aspects Of Movie Making
From idea and camcorder to film
Script/Set
Directing/Acting
Producing/Editing
Presenting/Premiere
Script /Set
Ideas
Script Writing
Finding Location
Set Creation
Costumes
Makeup/Masks
Directing/Actin
Directing
g
Acting
- Stunts
- Voice, Expression, Gesture
Shooting Video
- Equipment - Cameras, Microphones,
Lighting
- Video Techniques
Producing/Editing
Editing Film
Special Effects
Dubbing Sounds
Adding Text/Titles
Dubbing Music
Presenting/ Premiere
Marketing
– Billboards, Posters, Trailer etc.
Premiere
Box Office Sales
The Potential of Movie Making in the Classroom
Basic Video
Techniques
1. Using Your Camera
Holding
Capturing
Zooming
Focusing
Panning & Tilting
Basic Video
Techniques
2. Camera Techniques
Shot Size
Shot Angles
Composition
Visual Flow
Basic Video
Techniques
3. Other Elements
Sound
Light
Holding Your Camera
One skill you will need to master is holding your
video camera steady. Whether you hold the
camera yourself or use a tripod, there are steps
you can take to help make your capture shakefree.
Tripod
Hand-Held vs. Tripod
Although the tripod may take longer to set up initially, the
disadvantages are fewer by comparison. The tripod is
specifically designed for video use and offers distinct
advantages such as a)Take steady shots every time,
b) Ensure smooth camera movements, c) Keep the camera
level during pan and tilt shots & d) Shooting complex shots
more easily
Hand-held
Capturing
When capturing video it is ideal to hold a shot for a 3–10
second duration. This will give you enough video to edit
and allow you to engage the attention of an audience
with a lot of short shots instead of long, drawn out single
shots.
Zooming
Zoom lenses can vary their angle of
view from wide angle to telephoto
settings. The main advantage of a
zoom is its flexibility in composing
a shot with different angles of view
from the same perspective.
Zooming in and out should be done
when the camera is paused. Avoid
‘yo-yo’ shots that zoom in and out
again while filming as they have an
unsettling effect on the viewer.
Focusing
Most video cameras can control the focus manually or
automatically. Although auto-focus is sufficient most of the time,
it can misread some situations, especially in low light.
Manual focusing enables you to focus the lens precisely on the
area you want to draw the viewer’s attention to.
When focusing manually, here is a tip to check your focus.
1. Set up the shot
2. Zoom in to a close-up of the subject on which
you wish to focus
3. Adjust the focus until detail is sharp
4. Zoom out, then compose the final shot this
method of focusing ensures that the subject is
sharp and remains in focus throughout any
subsequent zoom movement.
Panning
The pan shot is a camera movement that involves swivelling the camera
through a gentle arc, left to right vice versa, in one slow, smooth and
continuous movement. Care must be taken that the first and last
images are held for about 3 seconds each, so the purpose is clear and
be careful not to overuse this technique to avoid the movement
becoming tedious or confusing to the viewer. Panning is best used for :
• Scanning subjects that are too large to get in one shot, eg coastlines,
landscapes or city skylines.
• Showing relationships between things, eg panning from a child’s face,
to the object of her attention.
• Following the action of a moving subject, eg a dog running after a
ball.
When hand-holding the camera, start with your body twisted in the
opposite direction to the panning movement. As you pan, uncurl and
move only from the waist up.
Tilting
Tilting is pivoting the camera in a smooth, continuous, vertical
movement (a vertical pan). Tilting, as with panning, is effective
when the subject justifies it,eg tilting from the bottom to the
top of a tall building or mountain. As with panning, the same
rules apply with tilting:
1. Think about what you are trying to show and determine the
beginning and end images
2. Rehearse the tilt before shooting.
3. Hold the 1st image for about 3 seconds, then tilt slowly and
smoothly, in one direction.
4. End by holding the final image for about 3 seconds; do not
stop abruptly or tilt past the final spot.
More Panning & Tilting Tips
Shot Size
Wide Shot
Medium Shot
Close-Up
Extreme Close-Up
Cutaway
Two Shot/Three Shot
Wide Shot
Wide shot or Long Shot shows the whole scene and helps
to set the stage letting the viewer knows where he/she
is. These shots are also used when a scene involves a lot
of movement.
Medium Shot
In a Medium Shot the camera
seems closer to the subject.
You use this shot when you
want a closer look at your
subject, or when you need to
transition between wide shots
and close up shots.
Close-Up Shot
A Close-Up Shot shows an even smaller
part of the subject or scene. If you were
interviewing someone, this shot would
show the person from the top of the
chest or shoulders up.
Extreme Close-Up
This extreme close-up shot
gives an exaggerated view
and shows further details.
It is a shot full of impact
and drama and for these
reasons should not be
overworked.
Cutaway Shot
A cutaway is a shot that's usually of
something other than the current action.
It could be a different subject (eg. this
carabiner that the subject is hanging
from), a close up of a different part of
the subject (eg. the subject's hands), or
just about anything else. The cutaway is
used as a "buffer" between shots (to
help the editing process), or to add
interest/information. Once you cut away
from your master shot, you can return
to it seconds or minutes later and your
audience will assume what they’ve been
watching is in real time.
Two Shot/Three Shot
A two shot has two people in the
frame. A three shot has three
people in the frame. Because
you have to be some distance
from the people to get them all
in the frame, this is usually a
medium or wide shot.
Shot Angles
Your shot angle is the level from which you look at your
subject. The relationship between the camera and the
object being photographed (i.e. the angle) gives
emotional information to an audience, and guides their
judgment about the character or object in shot. The
more extreme the angle (i.e. the further away it is from
eye level), the more symbolic and heavily-loaded the
shot.
Eye-Level
Birds Eye View
Low Angle
Arcing
High Angle
Others
Eye-Level Angle
Eye-level angle is one of the
most commonly used shots.
The camera is positioned as
though it is a human actually
observing a scene. If you're
shooting a person, make sure
you shoot at their eye-level, not
yours.
Example
Low Angle
A Low Angle shot has the camera looking up at the subject,
making it seem important or larger than it is to the viewer. An
example of this would be you might be sitting on the ground
looking up at
someone who is
standing .The
background of a
low angle shot
will tend to be just
sky or ceiling.
The seemingly
added height of
the object may
make it inspire
fear and insecurity
in the viewer, who is psychologically dominated by the figure on
the screen.
Example
High Angle
High Angle has the camera
looking down on the subject,
making it seem smaller, and less
significant, giving the audience a
sense of power. In this case, the
camera is elevated above the
action where you'd be shooting
higher than the subject (maybe
they're sitting, or maybe you're
standing on a desk) looking down
at them. The object or character
often gets swallowed up by their
setting - they become part of a
wider picture.
Example
The 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
unrecognisable at first
(umbrellas in a crowd,
dancers' legs). This shot does,
however, put the audience in
a Godlike position, looking
down on the action. People
can be made to look
insignificant, ant-like, part of
a wider scheme of things.
Example
Arcing
When arcing the camera is moved in a left to right curve
where the subject remains in the centre. For example:
A Point-of-view shot of bullies circling around a young
victim.
Example
Composition
There are many ways to compose a shot, depending on
your story and what you want to achieve. You want to
be aware of what is in the shot and what isn't. Can you
clearly see what you intend for the viewer to see?
Here are some things to remember:
Rule Of Thirds
Rule of thirds divides the frame into
thirds both horizontally and
vertically. The points where the
vertical and horizontal lines cross
are aesthetically pleasing spots to
place subjects or to have perspective
lines converge. It is usually best to
avoid placing horizon lines exactly
in the middle of a frame, but to
place the horizon either above or
below centre, approximately onethird or two-thirds up the height of
the frame.
Framing Faces
When composing a
medium close-up or a
close-up shot, arrange for
the eyes to be positioned
about 1/3 of the way down
the screen. This gives a
comfortable feel within
the frame.
Talking/Walking Room
Talking/Walking Room - If you are interviewing someone or have
video of someone talking, you generally do not want them looking
directly at the camera (again, it depends on your goals - certain
situations may call for that). Generally you want the person to be
looking off to the left or right of the camera a bit. When you do
this, frame your shot so that there is some talking room. That is,
you want to leave some extra space in front of their face as if you
were going to draw a dialogue box in for them. This space is
"talking room." If the person is talking to another person, this
shows space between them. Walking room, if the person in motion,
gives them space to walk to. Talking/Walking Room leaves space in
the shot for the action, whether it be words or movement.
Example
Walking/Talking Room
Visual Flow
Creating visual flow in your movie requires
mastering all the aspects previously mentioned
and putting them together so that they flow.
This is called sequencing. The key is to think
visually – not in terms of single attractive shots,
but in sequences of effective images that
progress the sense or feeling of the subject.
This ‘visual literacy’, in time will become
second nature.
For example, a very basic sequence could be a wide shot
of a mountain (this establishes to the viewer of the
location/conditions), followed by a medium shot of
mountain climber on a cliff face (this shot is a bridging
shot from the wide shot to the close-up shot), followed by
a close-up shot of climber from the waist up (this shot
shows to the viewer detail and facial expression i.e.,
physical strain of the climber).
Another example of a sequence
Sound
Audio can be just as important as the picture in doing a
video story. The following are some suggestions for
capturing good sound.
1.
Pay special attention to the distance from the source
audio to your microphone and the background noise.
These will be the most important variables in getting good
audio
2.
Use a clip-on microphone or a hand held
microphone if possible. The closer the microphone is to
the source of sound, the better. If you use the on-camera
microphone, the ideal distance is about 3 feet - just far
enough away to focus on a good head and shoulders shot.
Light
Where’s the Light? Shoot away from
windows and other forms of intense
background light. Example
If light is intense, use your camera's
backlight feature. The backlight
feature allows your camera to
compensate for bright light. If lighting
is poor use a portable or camera
mounted light. Always light your
subject.
Resources
• Lewis, R. (1995). The video makers handbook (Rev.ed).
London: Marshall Edition.
• Parker, S. (1996). Camcorder. London: HarperCollins.
• http://csmp.ucop.edu/tcap/nbpts/tutorials/video.html
• http://accad.osu.edu/~midori/Materials/camera.html
• http://www.tsof.edu.au/research/reports03/bowden.asp
Useable Resources
Useable Resources
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Project Pitch
Shots And Angles
Video Log Sheet
Script
Storyboard
Hand-Held
Always use both hands to steady
your camera, pulling your elbows
into your chest and stand with your
feet apart. Alternatively, rest your
elbows on an object, kneel, sit or lie
down.
Tripod
______ Quick Release Platform
Pan Handle
Pedestal Column
Pedestal Crank
Legs
Pedestal Column
Brace
Leg Locks
Feet
• The correct stance with a tripod is to
position yourself comfortably between its
legs. Hold the pan handle firmly with one
hand, keeping your elbow close to the
body. Use the other hand to adjust the
camera’s controls.
• To get high-angle shots make use of the the
tripod’s central elevating column. Lowlevel shots are easy with all the sections of
the tripod collapsed to their carrying
positions. When tilting, steady the camera
even more by placing your hand on the
body of the camera.
Panning & Tilting
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•
•
Avoid reverse pans or tilts
Pan with the action. Panning against the
flow of traffic, for example, unless done for
a specific effect, may disconcert the viewer.
In the telephoto position (zoomed in) slow
down the pan or tilt, since the subject and
any movement in the shot will be
exaggerated and hard to keep in focus
• As a rule, do not cut during a pan.
• A whip or zip pan makes an effective transition between shots by creating, a
deliberate blurring of the image. Make a rapid pan away at the end of a shot and a
rapid pan on, in the same direction, to start the next. The briefer the pan whips the
more effective, but ensure both movements are made at the same speed.
Other Angles
• Framing – For example shooting through a car window
where the subject is framed by the window. Example
• Mirrors – Shooting into a mirror where the subject is
viewed in the mirror. Example
• Oblique Angle - Sometimes the camera is tilted (i.e. is not
placed horizontal to floor level), to suggest imbalance,
transition and instability. This technique is used to
suggest Point-Of-View shots (ie when the camera becomes
the 'eyes' of one particular character,seeing what they see
- a hand held camera is often used for this). Example
A dramatic low angle opens
the sequence and
establishes the fairground
theme
A wide shot reveals the
location and introduces the
two main characters
A shot that allows walking
room pans ahead of the
subjects, confirms screen
direction
A medium shot focuses the
attention on the activity
that will form the storyline
A cutaway shot continues
the action, which can now
be expanded
A close-up serves to
concentrate interest and
leads the viewer to the next
shot
A cutaway, taken as a pointof-view shot, develops the
action
A reaction shot taken from a
low angle, dramatises the
moment of success
A change of height adds
variety to the shots and
helps direct attention
A cutaway shot of the prizes
on the shelf, acts as an
effective link shot
A reverse angle shot
concludes the sequence
The Potential of Movie Making in the Classroom
“The potential of computer based digital video in expanding and extending a student’s capability to think,
learn, understand and communicate is enormous.Desktop video production is providing students with
unique opportunities to enhance their learning in creative ways. Video is a wonderful and affordable
medium for students to mix moving images, text, sound, music, still images and dialogue into compelling
stories, documentaries and research projects for sharing.With a digital video camera, a computer and
user-friendly video editing software teachers and students have an ideal starting point for video
making.Video is a versatile and global medium for sharing information. It can be used extensively in all
curriculum areas and at all year levels. Imagine a project, a story, a poem, a biography, a news report, an
interview, a documentary, collaborative research or a science experiment coming to life through
video.Video productions can be compressed and used in web pages, placed on CD ROM or DVD, printed
directly to video tape, or embedded into multimedia presentations.Students derive as much of their
knowledge from visual texts as they do from printed texts. Just as there is written language there is visual
language with many similarities between reading and viewing.Just as it takes a planned approach to write
a book or an essay (a structure that links words to sentences to paragraphs), it's also possible to create a
video in much the same way using a series of shots, sequences and scenes.In addition to gaining an
understanding of the basic mechanics of how to use a video camera and video editing software, students
need to develop a greater visual awareness and visual literacy.Classroom video production supported by
supplementary viewing, discussion and planning activities not only gives students opportunities to
broaden their literacy repertoire and to use creative production tools but it provides a richer
understanding of how to create video stories that make sense, create an impact and tell a story.Video
production works powerfully in a classroom that encourages exploration, inquiry, investigation, and
discovery approaches to learning.There is evidence of improved self-esteem, increased confidence, and the
development of leadership skills in students when they are given opportunities to explore visual language
and focus on using video as a learning and communication tool. Students are becoming highly creative in
harnessing this powerful ICT tool.” - Technology School Of The Future Website: www.tsof.edu.au
The End