OrateMate – A Case Study

The Rhetoric Seminar

Benjamin Harding of 2 Bee Videos and James Cullen of OrateMate came into contact in 2015 through one of James’s brilliant seminars on rhetoric at the Guild Hub in Bath. After going through a couple of videographers in the ongoing year, James decided to approach 2 Bee Videos with his need for an online marketing video with his brand OrateMate, a workshop service helping you to speak with eloquence, present with persuasion and pitch with power. To find out more about OrateMate visit: www.oratemate.com

The Goal

The OrateMate marketing video brief:

  • Three minutes in length.
  • Showcase James’s skills and benefits using video coverage of an OrateMate workshop.
  • Avoid showcasing trade secrets.
  • Conduct a filmed testimonial interview with workshop client.

After James delivered his brief notes over a Skype call with Benjamin, James asked for the best approach to this project. Benjamin replied with a plan of action that included:

  • Two camera videography setup covering the workshop.
  • All audio recordings from a radio microphone attached to James at all times.
  • Using the filmed testimonial to steer the video in the desired direction with appropriated pre-written questions.

When James discovered that the content of his teachings had mirrored similarities to the way Benjamin approaches a marketing video script, James happily green lit the project without concern. This also included the list of questions proposed by Benjamin in order to generate the required content to create a story for the video.

Filming The Workshop

James Cullen was wearing a lapel radio microphone and recorded at all times of the workshop. The main roaming camera focused on James when he presented to the room and then focused on workshop attendees when they engaged in set tasks. It wasn’t always appropriate to film the workshop tasks due to how visually engaging these were. There is no time during filming an event to construct a sequence of shots to make a person completely engaged in a reading activity visually stand out of the screen.

The designed approach to framing the workshop in camera and visually interpret James’s skills was to frame him above everyone in the room during moments of his seminar and alternatively frame him on a level with individuals or groups during a moment of selected engagement. One shot visibly shows the frame adjusting to keep the line of action between James and a workshop attendee leveled straight when he moves.

The proposed questions listed by Benjamin were then filmed with client Rob Hart at the end of the day. The answers to these questions successfully generated the required content to create the backbone of the video for OrateMate.

In The Edit Suite

All workshop video content was imported into a separate sequence in it’s entirety. From this sequence all relevant video to give the interview answers context were pieced together.

The only colour correction needed for this project was the grass. The workshop took place in a hotel conservatory and outside is a garden. In the original footage the grass was very green and distracted the view from the workshop. A simple fix with the skills of a colour grader using the application Apple Color from Final Cut Studio.

With the aesthetic colour grading Orate Mate’s primary brand colour orange was used in the palette. The warmth the colour orange provides was a perfect fit for the subject and overall feel for the final video. It is used ever so subtly in the highlights of the video image.

During the final days of editing James and Benjamin discussed what worked and what needed to be shortened taking the video from three minutes to two. The resulting video pleased both parties and OrateMate now has a video that can be shown to potential clients showcasing how the service works.

The final result:



Gifted Organs Music Videos – A Case Study

First Meeting

James Tottle is the lead singer and manager of music band “Gifted Organs”. The bands music is a celebration of life and this comes from the unique fact that select members are organ transplants. As the band’s manager, James’ goal was to show social media fans, whom had not seen them live, how the band perform. 2 Bee Videos had become a contact to James through various networking groups connected through 2 Bee Videos’ main operating office The Guild Hub in Bath. James decided to approach 2 Bee Videos to achieve his goal.

The Goal

James’ brief music videos brief:

  • Produce a music video each for songs “Love Is A Wonderful Thing” & “Little Yellow Bird”.
  • Introduce the band’s personality to viewers for the first time.
  • To be filmed at Real World Studios whilst recording of the songs takes place.

With this brief the challenge in presenting the band’s personality lied within the limitation of the filming location and filming around the recording of the songs. This brief detailed a studio based music video and centred around the band themselves. During the planning stage 2 Bee Videos pitched to James Tottle the use of text to simply state each organ transplant members history. James liked this idea and agreed to put it into effect.

james_slide

Video Design Part 1 – Lights & Camera

2 Bee Videos were given demos of the songs in order to write a video production script. Both songs had different beats and emotional tone and the scripted camera framing and movements of all shots were pre-written in accordance with these beats and tones.

The same process was used when writing the lighting setup for the band and each song. “Love Is A Wonderful Thing” uses a three point lighting setup to create a full romantic feel that best represents the romantic tone of the songs music and lyrics. With “Little Yellow Bird” the music and lyrics are romantic but has a darker edge so a two point lighting setup was used. One light from the side to give the darker edge and a back light to give the visuals a romantic glow.

Filming Begins

The lights went up, makeup applied and the entire two days of filming went by with no problems. The band had enough takes for camera to be on every band member at least once. 2 Bee Videos had plenty of dailies to edit together two music videos. The key to a successful film shoot is always good planning.

Video Design Part 2 – Post Production

Sequence editing for the music videos was simply starting with all takes of band members synced to the final music track. In the same approach to designing the lighting and framing, the beat of the music, the emotional tone and a meticulous ear dictated the length of each shot and where a cut would take place.

2 Bee Videos always uses a technicolor image filter during filming in order to give the colour grader a full dynamic image that can be changed aesthetically during the editing process. Love was the theme of “Love Is A Wonderful Thing” thus a red colour pallet was used in the grade to reflect this theme. Your starter for 10, which colour pallet was used in the colour grade of “Little Yellow Bird”? Yellow is close to green in the RGB colour range and also gave the visuals that darker edge I talked about in “Video Design Part 1”.

The Client Review

Always a tense moment to find out by client reaction if the goal was successful. Video producer Benjamin Harding and James Tottle sat down to preview the first music video “Love Is A Wonderful Thing”. 2 Bee Videos will never forget the moment and a first for the brand, that a client was emotionally moved by what had been created. Understandable as this was a project that was close to James’ gifted and talented heart. A happy tear speaks volumes and the same was clear for “Little Yellow Bird”. The visuals of the video were a success.

The Future

Talks with James Tottle on more Gifted Organ music videos have taken place. Are you the member of a band? Are you a band manager? 2 Bee Videos would definitely enjoy producing more Gifted Organ videos and music videos for others. So if you’re convinced 2 Bee Videos could produce music video content for you, don’t hesitate to inquire: info@2bee.co.uk



A Guide To Visual Effects

If you want to know anything about how visual effects in film and video are achieved, there’s one word you should keep in mind…layers. All visual effects and optical illusions are constructed on the bases of images layered on top of each other. Before the advent of computers, visual effects were achieved by placing paintings in front of the camera, appearing on top of the action in order to create bigger and more fantasized locations. Another method was to reprint two layers of action into one single image to create an optical illusion.

matte

As technology advanced, filmmakers perfected methods to composite images together to create optical illusions. These advances came with the advent of motion controlled cameras and chroma keying (also known as blue or green screening). The ability to remove a single colour (blue or green) from one image, and replacing the colour with another image.

before-after-green-screen

We’re now in the digital age, we use computers for nearly everything, and so do filmmakers. Computers are now used for compositing images for optical illusion. They’re also used to create computer generated images. The most recent advancement is motion capture technology, giving a performer the ability to give life to a computer generated character. Whatever the method, the images created are always layered and composited from a range of sources to create a visual effect.

Lord Of The Rings Two Towers: the character Gollum who's role is crucial to the journey of Frodo and Sam--Gollum's movements are performed via computer program by actor Andy Serkis.  Photo: New Line Cinema
Lord Of The Rings Two Towers: the character Gollum who’s role is crucial to the journey of Frodo and Sam–Gollum’s movements are performed via computer program by actor Andy Serkis. Photo: New Line Cinema

Are you thinking of creating a visual effect for your film or video and unsure where to start? Then here’s my advice. Start by drawing the shot you’re trying to create. Now break it down into sections, this could include location and background, performers, and anything else that is moving in your shot. Think about what sections of the image you are definitely able to capture in camera on a one to one scale. Now think about the sections of the image that are more of a challenge to capture in camera. Could you use miniatures, puppeteers, animation and/or computer generation? It’s in this section where blue or green screening becomes an effective method of separating your elements and compositing them together into one image.
Things to keep in mind when creating your images are the lines between where one section of your image meets another and the one to one scale elements you can not miniaturize which are light, water and fire.



A Guide To Colour Grading

Before continuing with the subject of this article, I would like to acknowledge that the reason this article has been long over due is to the amount of exciting work that has been happening recently. There will be some case study articles to be released in the days to come and I cannot wait to share the behind the scenes info with you. Now onto the subject of this article, colour grading.

Colour grading is a post-production effects based process for your film or video project. The creative process of your project means having complete control over the look and feel of your images, colour being a part of this process.

Before continuing with this article, let us take a step back to something I mentioned in my previous article on The Guide to DSLR Video…The Picture Style. The picture style is the final outcome of what you are filming, and the information you can work with in your editing suite. In this article I will specifically talk about what you can edit when it comes to the information of light and colour captured in your images. This is why the Neutral Picture Style or the Technicolor Picture Style is a popular use among camera operators, because the style provides a dynamic range of image information to correct and adjust afterwards.

colorgrading

Primary Colour Grading

The first thing you want to make an adjustment to is what’s called the primary adjustments. This is the actual correction part of the process, making sure the light is balanced. In colour grading tools, a histogram should be visible, to aid you in making these adjustments. I always find starting with the dark areas helps. For dark areas you want the bottom peak of the information in the histogram to just touch the baseline. Then with lighter areas, you want the peak of the information in the histogram to just about touch the 100 line. There will always be some overexposed areas with the whites, so it doesn’t have to be exact. Have the video showing to make sure it looks correct. As an extra tip, I find making the image black and white helps as a guild to getting your definitive contrast between light and shadow, and then restore the colour afterwards.

Don’t change colour saturation until you are ready to move onto the secondary colour grade. The last thing you need to do before moving on to this is to correct any colour balance issues. Is there too much of a singular colour in your image, is it too green or blue. Using the three colour wheels in your toolbar, make adjustments to balance the colours in your image.

Secondary Colour Grading

Now that your image has been corrected, it’s on to the secondary adjustments. This is the aesthetic process of your colour grading, the design of how your image is meant to look and feel. Let’s look at your image as a whole, how colourful do you want it to be. Colour grading also has an emotional effect over your audience. Desaturating the colour will give an expression of sadness and gloom, where as high saturation in colour can uplift the mood of your audience.

Now I want you to break down your image into every single colour that is there. Which ones do you want to be more saturated and which ones do you want to be less saturated, or not in there at all. Your colour grading tool can allow you to achieve this. Using a mixture of markers, geography and colour wheels, you can manipulate your image to get a balance of the only colours you want in your image.

In summary you can make the colour in your film or video look the way you want by:

  • Balancing the light and shadow in your image.
  • Correcting the reds, greens and blues in your image.
  • Making changes to the saturation in your image.
  • Break down your image into objects and their colours, which ones should change and be enhanced.


A Guide To Video Editing

Hello

2 Bee Videos have been away for a couple of weeks due to a big project in the editing suite. It is now complete and I will be releasing a case study article about the project sometime soon. Now that I’m back it’s onto this week’s main article.

 

So you have finished filming your content, now you’ve got to cut it together. In this article I will go through the processes and techniques professionals use to create the structure of their final film and video projects.

An Introduction To Video Editing
The way your video is edited together is something that should be thought through in the pre-production process when choosing how you are going to capture your subject on video. We all process information sequentially, so the job of the video editor is to make the audience forget they’re looking at a screen filled with a series of images and concentrate on the fact that they are watching a story. In summary the video editor has to hide the fact that they have created cuts, this is called seamless editing. This is done by joining two separate shots that have a physical or emotional connection between them. So if you make a list of shots contained in your video, you are also creating cut points and how the video is edited together. It’s important to know how your shots will be cut together before you start filming.

Before I move on and talk to you about the different kinds of cuts between shots, I should mention one more thing. Just like when I mentioned in my previous article about framing shots and how it has an emotional effect on it’s audience, the same is said for video editing. If I have less frequent cuts and/or a long shot duration with no cutting, then the video gives a slow expression. This intention for not cutting very much is perfect for scenes of a calm nature because the slow nature of the editing matches the emotion of the scene. It’s the same for more frequent cutting, lots of cuts between shots gives a fast expression and is perfect for past paced action scenes because the fast nature of the editing matches the emotion of a fast paced action scene.

Before, On & After
Most cuts in film and video happen around a specific action within the frame. Simply put, you can cut before an action, on an action or after an action. Each way of cutting effect the emotional outcome of how an audience reacts emotionally to the scene and the story.

Match Cutting
Match cutting is a technique in which two images that have a physical likeness are cut together. Edgar Wright is a brilliant film director and a master when it comes to staging shots for the edit. A good example of match editing from “The World’s End”, the use of empty pint glasses on a table outside during the day with someone walking past frame is used to cut into the next scene starting with someone walking past frame to reveal full pint glasses on a table inside during the night. The two shots are framed perfectly so that the table and pint glasses physically match the same space they occupy on screen, as a way of transitioning from one scene to the next.

edit1-1 edit1-2

Using The Frame Or Camera
Using the camera and frame in order to make a cut is a great way of making seamless cuts. This is done by matching the movements of the camera or frame from one shot to the next. A great example I’ve used previously is the camera swipe cut. This is using the camera to pan quickly in one direction at the end of a shot, and then continue the same movement at the start of the next shot to create a transitioning cut between the two.

Cut-in & Cutaway
A cut-in and cutaway edit is the cutting together of two shots with the same angle but at completely different lengths. The use of and effect of a cut-in edit is to identify details that the camera cannot see from a distance, and the visa versa for a cutaway.

edit2-1 edit2-2

Scene Transitions
There are two typical uses for transitioning from one scene to the next. The first is cross dissolve, involving blending the end of one shot to the next with a fade. The other is to fade the end of one shot to black, and then fade from black into the next shot. The effect of both these transitions shows the movement of time and space in the story.

Using Light
The use of light can be used create edits also. Most commonly a crescendo in overexposure at the end of one shot and cutting into an overexposed shot ascending in exposure. The effect has a thriller intention with the film’s audiences.

Editing On Sound
Using sound as an edit point is also used to create effective cuts. Usually in a dialogue scene the cut is made on the moment the sound of the other person starts talking, not before, to create a more seamless cut. Matching sounds from one shot to the next is also a good way of editing between two scenes.

 

In summary you can make a great edit for your video or film using the following kind of editing techniques:

  • Cutting Before, On or After an action.
  • Creating a Match Cut using two shots with a physical resemblance.
  • Using the Frame or Camera to create an edit point.
  • Enhance details by using a Cut-ins & Cutaway.
  • Using cross dissolves and fades to create Scene Transitions.
  • Using Light or overexposed shots to create edit points.
  • Editing On Sound to create seamless cuts.


A Guide To Sound Design & Mixing

Happy New Year!

How was your Christmas and New Year Celebrations? Hope it was festive. Now on with this weeks topic, sound design and mixing.

As I said in my previous article on capturing sound, sound is as, if not more important than the visuals. Sound has to go through the same amount of cleaning and editing as the video.

Before I carry on with this article, it is worth pointing out, I only know information about the sound tools that I am using, and how they effect my audio files. I do not know the physical science behind sound, I am not a scientist. Now that I’ve got that out of the way, let’s begin.

Introduction To Sound Effects
In your sound editing software you should have a library of effects you can use to correct and create your sound. There are so many it would take me a lifetime to go through all of them and what they achieve. In this article I will start with the basics. Leveling, Noise Reduction, Parametric Equalization, Multi-band Compressor, Hard Limiter, Dynamics Processing and Reverb.

Leveling
The first stage in creating your master sound mix is to level everything contained within the sound file. For example if you have two voices in one clip and one voice is louder than the other, it’s important that both voices peak at the same level. If you read my previous article on sound recording, I mentioned the sound meter starting at -48dbs increasing to 0dbs. Your sound editing software should have the same meter and a waveform reader. Your sound should be kept between -24dbs and -6dbs. Pick a level between these numbers and keep your voices peaking at this level.

sound_levelling

sound_noisereduceNoise Reduction
No matter what microphone you use, it’s inevitable to pick up other noises. The first to look at removing is background hiss. In every sound recording there is a certain amount of background hiss. This process is simple, first highlight the only segment of your clip containing the hiss and tell your software to analyse it. Then highlight the whole clip and tell your software to reduce the background hiss. However there are some limitations. If the background hiss is quite loud, your audio will sound like it’s coming out of baked bean tin when reduced. There are settings you can adjust to get the perfect hiss reduction, but this is why it’s so important to get the capturing of sound spot on.

Now that the hiss has been reduced from your sound clip, you will notice certain clicks, pops and unwanted sound. For this it’s best to use a histogram reader whilst listening to your sound clip to become aware of them. Using the tools in your sound editing software you can reduce the unwanted noises in your histogram.

sound_EQParametric Equaliser
Simply put, the parametric equaliser tool in your sound editor is there so you can balance the frequencies in your sound file. When highlighted the graph presented to you should read on the Y axis the frequencies from 0hz to 48,000hz, and on the X axis how loud the frequency is in decibels. The line on the graph allows you to adjust the volume on each set of frequencies. As a baseline standard for vocals I like to use the preset “Vocal Enhancer”, and then click the LP on the right side of the toolbar to lower any high frequencies. This setup should be a good step in getting a nice crisp sounding vocal.

sound_multibandMulti-band Compressor
This is a different form of making sure your sound frequencies are perfectly levelled and do not peak above a certain decibel. In the Multi-band Compressor tool is the preset “Broadcast”. Once you select this you will notice a considerable jump in volume. Use the master decibel notch to take it down by three decibels. This setup will raise the desired frequencies to give you a nice crisp
sound without peaking too loud.

 

 

 

 

sound_dynamiccompressHard Limiter & Dynamics Processing
These two tools are a variation on the same job. These two tools again make sure that your sound file doesn’t peak too loud. The hard limiter is more of a harsh tool for making sure your sound doesn’t peak above a selected decibel. I prefer to set mine to 6db. With the Dynamics Processing tool, it uses a graph to create a more dynamic cut off point for loud peaking sounds. Your original sound decibels appear on the X axis of the graph, ranging from 100 to 0. On the Y axis is the final decibel output of your sound. By adjusting the line on the graph you have control over the output of your decibels. On my graph, I create my first point at X-20 and Y-20, and a second point at X-0 and Y-0. I take my second point and drop it to Y-10 on the graph.

 

Reverb
Reverb is the adjustment of yours sound’s reverberation. Noises sound different depending on the location and how the sound waves react to it’s surroundings. Reverb is an effect that allows you to adjust the way your sound reacts to it’s location, or create a location for your sound. For example you can use this tool to make something sound as though it’s coming from a grand hall, a small bathroom or a cave. Check out it’s presets and see what happens.

In summary you should now be able to create a sound mix for your vocal soundtrack and other sound recordings in your editor by:

  • Leveling your sound file using the decibel and waveform reader.
  • Reduce hiss, clicks, pops and other unwanted sound using Noise Reduction.
  • Equalize your sound frequencies using the Parametric Equalizer.
  • Level your sound frequencies using the Multi-band Compressor.
  • Create a harsh cut off point for your loud peaking sounds using Hard Limiter.
  • Create a dynamic cut off point for your loud peaking sounds using Dynamics Processing.
  • Create an environment for your sound using Reverb.


A Guide To Recording Sound For Video

This is where a lot of filmmakers fall short. It’s imperative that your video has good sound. Video and sound are as important as each other. If your visuals aren’t looking great, make sure your sound mix is perfect, and your audience will forgive you. If your visuals are much better than your sound mix, it will get ripped to shreds. A lot of this boils down to a great sound design in post-production, and in the film & video industry, more money is put into creating a top notch master sound mix. First you need good sound recordings to use for your master sound mix.

Listen To My Voice
All sound mixes in video productions are completely artificial. There are two things you want when recording sound during production. The first is good quality voice recording. All other sounds have the ability to be re-recorded and manipulated after production. The second is ambience. Because the sound gets mixed in post-production, the only thing the sound designer wants from the production recordings is crisp clear dialogue. The ambient sound is mixed under this.

microphoneH4n_screen_meterDirectional Microphones & Metering
There are different types of microphones used for a specific purpose. I use a directional microphone capturing 90° of the sound from where I point it, thus getting the specific sound I intend to capture. On my sound capturing device is a sound meter in decibels from -48 going up to 0. It’s best to avoid recording anything over -6bd as your sound will be distorted when played back. I recommend capturing sound between -24db and -6db.

Setting Up Your Sound Recording Device
Like a camera, you can set how many frames per second of sound you want to capture. I recommend keeping it as the same frame rate on your video. The last setting you can change is the frequency. Simply put this is the information of your captured sound. Most sound frequencies in the final video is outputted at 48000 kilobytes of information per second. I record 92000kps so I have as much dynamic range to manipulate in post-production, and then export at 48000kps.

boomopAs Far In As You Can
In video production you want to get the microphone as close as you can to the subject without the camera seeing it. You simply have to communicate with the camera operator to mark this position, and then camera can roll. A good tip I picked up from sound recordist Eduardo João Gama is to point the microphone at the person’s chest to get good quality voice recordings. (Don’t know why, possibly something to do with acoustics, all I know is it works.) I have a 3 metre boom pole, which is great for getting the microphone into medium sized shots. However, in a single take you might want to film a close-up of someone talking and zoom out to a wide shot. This is where a radio lavalier microphone comes in handy. Connecting a receiver to your sound recording device, and a transmitter with an attached microphone hidden under the shirt of the person you are filming, you will be able to hear everything they’re saying without getting a boom pole in the frame.

@EduardoJoaoGama

Recording Sound Effects
With recording sound effects and other sounds that is not dialogue on screen, the process is the same as when you record dialogue on set. Make sure that the sound is recorded clearly for the sound editor and mixer. Using a playback monitor to show the video you want to overlay with sound can help you judge the length, volume and intensity of the noise you are producing for your sound effect.

Know Your Sound Recording Device’s Limitations
With limitations to the amount of time sound devices can record, they’re pretty good. I use a Zoom H4N and the most amount of time I left it recording was three hours to record a stage show. However it was pretty hot when I picked it up. The next time I recorded for that amount of time, it packed in, so know the limits of your sound recording device. For recording a whole day of sound I recommend using a 16GB SDHC memory card with your sound recording device. Now you know how to capture good sound. Later I will be covering how to clean, manipulate and mix sound in post-production.

So when recording dialogue and sounds, remember:

  • The voice is key. Everything else can be rerecorded after.
  • Use a directional microphone.
  • Pay attention to your sound meter whilst listening.
  • Use the appropriate settings on your sound recording device.
  • Get the microphone as close you can without it being seen, using a boom pole or radio
    microphone.
  • Sound effects are recorded during post-production.
  • Know the limitations of your sound recording device.


A Guide To DLSR Video

Introducing The DSLR (Digital Single Lens Reflex)
DSLR cameras are a great tool for capturing high quality video with cinematic capabilities. This is because the sensor inside the camera captures full 1080i HD video, and the choice of lens can give a cinematic look. There are limitations and it’s best to know what your camera can and cannot achieve before using it for a project. Especially if that project is set to a strict schedule with no extra time.

Changing The Battery And Lenses
Have more than one battery. Currently my DSLR battery will last half a day with the camera kept switched on. With lenses, a basic kit zoom lens size of 18-55mm is good for when shooting fast, giving you the ability to shoot from wide angle to close up in a second. But it will not look cinematic, for this you need a prime lens size. In my kit I have a 11mm for wide shots, a 28mm for medium sized shots and a 50mm for close ups. These lenses have a very low f.stop of 1.4. (An f.stop is the size of the aperture.) This means it has the ability to shoot shallow depths of field, thus giving a cinematic look. Never ever touch the sensor inside the camera or the inside of a lens.

The Ideal DSLR Camera Settings For Video
You want to have as much control over what you film and it’s dynamic range. For this that means changing some of the camera’s settings. Automatic focus is a nightmare, change this to manual. When shooting with automatic focus the camera is in charge and guesses the focal point of your shot. It’s always wrong so best you stay in charge of the focus. Mounting a follow focus on the side of your camera helps very well with focusing your subject. You can use it to adjust focus more easily, and also mark multiple subjects at different lengths so you can pull focus between them perfectly. For great tips on getting the best settings out of your DSLR, follow Philip Bloom.

philipbloom.net

Balancing The White
A setting to be wary of when roaming locations is the White Balance. Depending on your location and it’s main light source, the colour temperature will be different in the white areas of your image. Be sure to set the correct white balance setting with your main light source. For example if I’m shooting outside in the Sun, I will set my white balance setting to Sunlight. And when I go inside and I’m filming under florescent lighting, I will set my white balance setting to florescent light. There are presets for white balancing, but the most effective way is to balance it manually. This is done by presenting and photographing a piece of white A4 paper, and telling the camera this information is white. Simply refer to the DSLR’s instruction manual to manually set the white balance.

whitebalancepresets

The Picture Style
With the Picture Style setting on your camera, you are choosing for definite how the image will look. For example you can capture images with a standard picture style, and convert it to a monochrome (black & white) picture style afterwards. But if you capture images in monochrome, you cannot simply convert it back to colour with the flick of a switch. You want to have as much control over your captured image, so for this I strongly recommend using the Neutral picture style when recording video.

In every picture style there are 4 settings you can adjust, sharpness, contrast, saturation and colour tone. In the Neutral picture profile, sharpness will be set to zero, you should not change this. You should change the contrast to -4, otherwise the blacks in the image will look crushed. Last thing is to bring the saturation down to -2. The colour is very rich and reducing this will give you more dynamic range when your project enters colour grading in post-production. The colour tone will be set to zero, this is good and shouldn’t be changed. Another great free to use tool that I mentioned in a previous article is the Cine-Style colour profile. This gives you even more definition in the darker areas.

Frames Per Second
You also have the option to select how many frames per second your video records, which is 24 and 25. 24 frames per second gives you film style motion, and 25 frames per second gives you television style motion. It’s up to you which one best fits your project. Some DSLR cameras have the ability to shoot higher rates of frames per second, which is great for shooting a slow motion effect. However it’s best to choose the final output after post-production as either 24fps or 25fps.

Capturing The Speed Of Light
When using your DSLR fresh from the box, another automatic setting that needs to be changed to manual is the exposure. For the same reason as focusing, it’s best to stay in charge of your exposure. The camera will choose your exposure for the purpose of showing all detail in the frame. But maybe you want the picture to be underexposed or overexposed.

When changing this setting three other settings become available to change, the aperture, the shutter speed and the ISO. Photography 101, changing the shutter speed effects the amount of light going into the camera and the clarity of movement. Changing the aperture effects the amount of light going into the camera and the size of the focal depth. Changing the ISO effects the sensitivity of light without comprising shutter speed and aperture, just remember that the higher the ISO the grainier the image will become. Here’s a graphic to help explain.

capturechart

Rigging Your DSLR Camera
Now that the camera is set, it needs to be rigged. There are a number of specially manufactured DSLR rigs providing stabilisation and fluid movement, thus making your video look clean and professional. A tripod with fluid head gives that all important stabilisation and steady panning to a fixed shot. If you want to move the camera but keep it stable, a shoulder rig is what you need. However if you want the camera to follow a moving subject smoothly, the shoulder rig won’t help you. Try it, a hundred to one you will notice the frame moving up and down when you move with a subject during the shot. For this you need a steady-rig. It uses a weight to counterbalance the camera on top of a handle, so no matter where the handle moves, the camera stays steady.

Storage Space
One of the limitations with DSLR video is you can only record bursts of up to 12 minutes long. If you plan to shoot one continuous shot uncut over this amount of time, video from a DSLR is not for you. Depending how much video you want to capture to one card without changing it, I recommend at least having three of the 32GB SDHC cards, class 6 to 10. With this card I can record continuously for half a day before I run out of space. In 10 seconds I can change to another card for the next half of the day, with a backup just in case.

rode-videomic-directional-on-camera-condenser-shotgun-microphone-1The Microphone
In a previous article I mentioned how unhelpful an inbuilt DLSR microphone is. This microphone is programmed to capture every single piece of sound in it’s 360° radius, and cannot be changed. Not helpful if you want to pin point a specific sound among other sounds. If you’re not recording sound externally and want good sound from your DSLR video, I recommend fixing a Rode DSLR microphone to your camera.

 

DIY_photography_hacks_camera_tips_rain_DCM131.shoot_gearcraft.step4_rgbWeather Proofing
Always be prepared. If you must film in the rain, weather protect your camera. There’s plenty of weather proofing products for DSLR cameras.

 

 

 

So remember, when using your DSLR to capture video make sure you:

  • Have enough battery.
  • Choose the appropriate lenses.
  • Use the appropriate DSLR camera settings for videography.
  • White balance for different lighting changes.
  • Use the appropriate picture style.
  • Choose how many frames per second you capture.
  • Make sure you are capturing the speed of the light appropriately.
  • Your camera is rigged appropriately.
  • You have enough digital storage space.
  • Never use the DSLR’s in-built microphone.
  • Weather proof your DSLR camera.


A Guide To Lighting For Video

How the subject you are filming is lit can make or break a video. Obviously you want your audience to see what you are filming, but how it is lit can determine how your audience reacts emotionally to the subject you are filming. Different lighting techniques vary on different projects, and here is a quick guide to those techniques.

LED-Video-Light-and-DSLR-CameraAttaching A Light To Your Camera
When filming on the go, a good thing to have attached to the top of your camera is a small LED light. This comes in handy for lighting subjects close to camera. Things to look out for is making sure the subject is lit evenly. If that subject is a person, light them well, but make sure you don’t blind them.

 

 

3pointlightingsetupThe Three Point Lighting Setup
When setting up lights as a set piece, a good place to start is a “three point lighting system”. (This involves three separate lights.) This starts with a key light and is the main lighting source. This is placed next to and level with the camera, lighting the subject in front of camera. In interior locations with windows, this will be an extension to emphasize sunlight coming through a window lighting the subject from the front.

 

 

This light on it’s own will generate a “hard” lighting effect. One side of the subject is lighter, the other side much darker. This creates an expression of mystery and darkness. Great for drama and horror, but if this is not the intended expression, a fill light is needed. This light goes on the other side, level with the camera facing the subject and fills in the shadows created by the key light. Now your subject is evenly lit, a “soft” lighting effect. We can go softer, and create a romantic look. This is done with a back light. This light is placed high and behind the subject, creating a halo effect around the subject. This is the complete three point lighting system.

3pointlightingphoto

shootingwithgelsLight Intensity & Coloured Gels
Some lights can emit intense light or an unwanted colour temperature, so it’s important to balance everything out. For intense light, diffusion paper can be used to reduce the intensity of the light. You can also use coloured gel sheets to change the colour temperature of the light. This can be useful when correcting the balance of your light, or creating aesthetic effects.

 

 

 

reflectorBlocking & Bouncing
At times you will also need to block or bounce light on a subject. Another great and cheap trick I picked up from filmmaker Owen Benson is to get a big piece of white polystyrene board, and paint one side completely black. The black side can be used to block any unwanted light on a subject. The white side can be used to reflect light. Instances where light may need to be reflected is when you are filming outside in intense sunlight from above and you need to fill in the shadows by placing the white reflective board below the subject.

Please check out Owen Benson’s website below.

www.owenbensonvisuals.com

tinfoilwindowFilming Day For Night
If you are shooting inside with windows during the day, and want it to look like night, simply closing the curtain will not do. It will look exactly like it is, daylight with the curtains drawn closed. A brilliant, cheap trick I picked up from filmmakers on a feature film set is to wet the windows, and completely cover it with tin foil (shiny side out) and then shut the curtains. No light comes through the curtains, thus making it look like night.

 

 

 

 

Things to remember when lighting:

  • Attach a light to the camera for on the go shooting.
  • Use three point lighting for camera setups.
  • Adjust the lights intensity using diffusing materials.
  • Use coloured gels to create different lighting effects.
  • Block unwanted lighting.
  • Bounce light to enhance your lighting setup.
  • Completely block sunlight from windows when shooting day for night.

You are now ready to light your subject. Make it look good!

 



Filming To Tight Schedules

A lot has to be calculated when producing a video. To be honest, I’ve been doing this for a long time and I have to think deeply about these calculations because they’ve become second nature when I’m filming. It’s an advantage when filming to tight schedules. Even with the subconscious nature of my skills, clients ask for near impossible deadlines, mainly because they don’t know the level of detail that goes into crafting a video. They only see what’s in front of them, and have no contemplation of what’s gone into producing the images and sound. Every single aspect is meticulously scrutinised by the filmmaker.

Lighting For Video
When I’m filming, I’m not only looking at the subject, but also how the subject is lit. Lighting can have a big effect on how an audience reacts emotionally to the image. When the lighting is soft and even, it gives a sense of positiveness. When the light is intense and hard, it gives a sense of negativity. Lighting happens after blocking the movements of the subject and the camera. There are two types of lighting sources, natural and unnatural. Our Sun is a natural lighting source. Manufactured light bulbs are an unnatural lighting source. We cannot manipulate the Sunlight’s direction and intensity, something that changes with time. But we can change it’s effect on the subject by blocking parts of the sunlight and reflecting it. Every aspect of manufactured lights can be manipulated in order to get the intended aesthetic lighting effect.

LED-Video-Light-and-DSLR-CameraThe Camera
I’m also manipulating the camera’s reaction to the light. The main points of control are the aperture, shutter speed and the ISO. The aperture when changed effects the amount of light going into the camera and also the amount of space the focal depth covers. The shutter speed when changed effects the amount of light going into the camera and also effects the clarity of a moving object. The ISO changes the sensitivity of the light going into the camera without changing effect on focal depth and clarity of movement.

These camera settings are the main change on every video production I setup depending on how the subject is lit. I try to keep my shutter speed to 1/50 of a second because sometimes when it’s increased, something happens called a rolling shutter. Looks like a series of dark bars rolling up the screen, doesn’t look good and a pain to fix afterwards, best to resolve this when filming. This is a tip I picked up from well respected filmmaker Philip Bloom. His DSLR camera reviews online give great tips on how to best set your DSLR for video capture.
http://philipbloom.net/blog

microphoneCapturing Sound
The visuals and the sound is never synced automatically on a professional video production, syncing the sound to the video is done manually in post-production. A good camera can capture great video, but not great sound. The built in microphone in a camera has two problems for professional video production. First it’s not great quality, it’s automated to pick up every single piece of sound that’s happening 360°. Secondly the microphone is fixed in the camera, thus limiting where you want to place the microphone without moving the camera.

For profession sound I use a separate sound recording device with a microphone plugged in with a XLR cable and the microphone attached to a three meter boom pole, ideal for getting the microphone close to the sound in wide angle shots. This microphone is high quality and directional to capture sound 90°. Because sound and video is recorded separately, a marker has to be established for them to be synced afterwards. On profession video productions a slate is used. You’ve seen them, it’s that board with numbers and sticks on top that bang together to make a loud sound, this is the mark used to sync sound in post-production. Because I’m shooting to tight deadlines I keep the in built camera microphone on to use as my marker, giving me more valuable time in production and post-production.

editingThe Cutting Room
When creating my edit in post-production, I need as much flexibility as possible when manipulating my captured image. There’s a free to use software for DSLR cameras that helps this process called a Technicolor Cine-Style Profile. It gives enough colour information and provides definition to dark areas without overexposing lighter areas, and can be manipulated in post-production to create the desired image. This manipulation is colour grading. I use two steps to colour grading. The primary is correcting the contrast, brightness and colour of the image. The secondary is the aesthetic, the style of the image. This process I always do last, when everyone’s happy with the edited sequence of the video.

The sound goes through it’s own similar process. The primary, cleaning of any unwanted hiss, clicks, pops and leveled out. The secondary, the style of the sound, any manipulated effects. All sounds have to be mixed together with the final music. Currently I have a workflow setup from start to finish to deal with a video production project. This setup is built to deal with tight schedules. For every three minutes of video, it takes me four hours to edit a sequence, four hours to create any motion graphics, four hours to clean and design the image and four hours to clean, design and mix the sound.

In the coming weeks I will be releasing more articles diving deeper into everything mentioned in this article. Bye for now.