PRODUCTION SUGGESTIONS

PRODUCTION SUGGESTIONS:
Things to think about before, during, and after a video shoot

Before the Shoot
The Production Team
Review your project plans as a team. Everyone should be familiar with the overall production plan and the shots that are needed.
All team members should be sure of their roles and responsibilities.

The Equipment - do you have it all?
Make a list of all the equipment you will need.

The Equipment - is it working?
* Check the tapes. Make sure you have the correct tape, and that it is rewound and labeled. Always take a back-up tape in case the first one is damaged or breaks. Generally, the better the quality of the tape, and the newer it is (hasn't been used over and over again) the higher quality video you will get.
* Check the camera. Do a test recording and play it back to make sure the camera is working.
* Check the audio - this requires earphones, which are plugged into the earphone jack. When you do your test recording, test the mics you plan to use.
* Be sure you are using the right microphones for your shoot and see that they are placed close enough to your sound source to get good clear audio (4 - 6 inches away). Remember, for interviews, hand- held mics and lavalier mics are ideal.
* Check the battery: For a remote shoot (away from electrical outlets), be sure to check your battery to see that it has a full charge.
* Remember to bring your tripod, and to check that it works. The locking parts should lock in place (and also release from being locked). The tilt and pan should operate smoothly.

Other preparation
* If you'll be recording narration over the video while you shoot, you may want to practice what you'll say before the shoot. If you'll be conducting an interview, make a list of the questions and order them in a way that makes sense to you.
* When you first arrive at the site, check for background noise and electrical outlets (where you can plug the camera in). Listen carefully to the sound around you because that is what your mics will hear. If you hear loud fans or traffic noise or voices, you may want to find a new location.

At the shoot
Setting up the camera
* Set the camera up on the tripod (if you are using a tripod).
* Check the White balance: use "auto" for most situations. Use the "indoor" setting when the source of light is entirely artificial. The outdoor setting should be used when shooting outdoors under natural sunlight. Re-white balance if your lighting conditions change - that is, if you start video taping outside and then go inside.
* Check camera focus: Use auto focus for most situations. Use manual setting when there are objects in the foreground or background of your frame that will cause the camera to change focus. On auto focus remember that the camera will focus on whatever is dominant in the viewfinder.
* Select the appropriate shutter speed (usually select normal).
* Run a test record. Check the sound and video again.
* Put the gain control on normal.
* Be sure there's a tape in the camera.
* Fast forward 30 seconds into the tape, and then start recording.


Shooting
* Consider whether or not you will need a release form - this form is written authorization signed by the person you video tape that says you can use the video tape of them, their business, their school project, etc. If you are video taping for any reason other than personal use (for example, showing a tape to your class, putting material on the internet) you will probably need one.
* For each scene you are shooting, you may want to create and use a shot list. This will list all or most of the shots you need to tell your story.
* Allow the camera to record for five seconds before and after your shots (if you plan to edit later). This will give you areas to edit. Also, when you stop the camera, it may rewind a few seconds and tape over what you have just recorded.
* Start with an establishing shot, and then vary your shots. If it is appropriate, use some wide shots, some medium shots, some close ups.
* Visualize your shots before your shoot them. Think about your composition and purpose. (Where is my main subject in the frame? What am I trying to show? If I pan, do I have a reason?)
* Periodically put on the headphones (if you don't wear them all the time) to check to make sure the audio is good.
* Keep the length of the shot appropriate to the scene and your goal. The average visual attention span for a shot is about 3-5 seconds. However, if you're interviewing someone, your shot may last as long as the interview does.
* Think about the angle you are shooting from. Most shots are recorded at eye level, however low and high angles may be right for your situation.
* Think about the backgrounds in your shots. Does the background add to the picture? Is it distracting?
* Observe the lighting in your shots. Generally you want the light to be coming from behind you, so that it shines on the person's face or on the action. Do not shoot directly into the sun - it may damage the camera.
* If your shoot will last longer than one day, you want to be sure that your "talent" or interviewer wears the same clothes if s/he is going to be on camera again. Also, make sure you use the same equipment, so your shots and video quality will look the same.
* If you are shooting an interview.
* Keep in mind that you are gathering shots to tell a story.

Clean Up
* Be sure to label all your tapes as soon as you take them out of the camera. Remove the record tabs if you want to make sure no one accidentally records over this tape.
* Put the equipment away. If you ran down the batteries, charge them for the next shoot. You want to do as much as you can to make sure the equipment is ready for the next crew to check out - it might be you.
* If you'll edit the tape, the next step is to log your tape.

CAMERA ANGLE

CAMERA ANGLE

It is defined as the area and viewpoint recorded by the lens. There are three types of camera angles. They are: -

Objective camera angles
Subjective camera angles
Point-of-view angles.

Objective:

In this angle the audience view the event through the eyes of an unseen observer and also referred to as audience point-of-view. In this type of angles, the actors unware of the camera and never look directly into the lens.

Subjective:

The subjective camera angle films from a personal viewpoint. The viewer is placed either on his own as active participant or seeing the events through the eyes of the characters.
E.g. the narrator-player comments on the story directly to the audience. The television newsreader, speaks directly into the lens.

Point-of-view:

These angles record from a particular players viewpoint. The viewer views the events from the players’ viewpoint as if standing along-side him. POV shots often follow over the shoulder shot. E.g.: A pair of players faces each other and exchange dialogue.

There are three important factors that determine the camera angle. a) Subject size, b) Subject angle and c) Camera height.

Subject size:

The size of the image is determined by the distance between the camera from the subject and the lens focal length used to make the shot. There are different types of shots. They are: -

Extreme long shot: refer

Mid-long shot:
This shot is used to show a full size of an actor. There are three important factors that determine the camera angle.

Long shot: refer

Medium shot: refer

Close up: refer

Inserts:

The insert is a cut of a close-up of a letter, newspaper headline or a sign. It is very important to show in large size for a plot requirement.

Subject angle:

When recording the three-dimensional work on a two-dimensional screen, the camera has to be placed in a correct way to record the depth effectively. Such placement is the effective camera angle. Facial modeling is best when subject is angled at three-quarter-lighting, camera and players movement.

Camera height:

Artistic, Dramatic, Psychological overtones may be contributed to the story telling by adjusting the height of the camera to the subject.

Eye level angle:

Objective shots should be filmed from the eye-level of an average person, which shows the view as seen by an observer. In any shot the mood and dramatic quality are more or less same when the camera is set at eye level.

Subjective close ups are always filmed from the eye level, in which the subject looks directly into the lens. The camera at eye level can give the viewer a subjective impression when a car or train rushed towards the camera.

High angle:

In this shot, the camera is tilted downward to view the subject. This helps the audience to get a correct geography of the setting. Actions occurring in depth such as a football match may be viewed from high angle. This angle reduces the height of the actor or object. This angle can show a fast moving action like a chase sequence.

Low angle:

In this shot, the camera is tilted upward to view the subject. This angle increases the subject’s height and speed. Low angle are also used to cover the floor action and the exploitation of set. Low angle shots also act as POV shots of one player looking up at another. Structures like skyscrapers will have increased height while shooting up at them.

A low angle with wide-angle lens adds tremendous speed and power to the moving objects.
E.g.: when a group of persons enter from the bottom of the frame of a low angle
Shot, a dramatic effect is achieved.

Psychological uses of the Camera Angles:

The basic psychological purpose of a motion picture is to make the audience to react in a desired mood. Camera viewpoint can have great effect on the emotions of the audience. High angle, low angle, tilt and subjective angling of the camera, the viewer may strongly influence his emotional reactions on the screen than the normal eye-level of a position.
E.g.:
Closer shots help the viewer involving more in the action. Though subjective camera treatment, the viewer may experience the attitude of the player through whose eyes he is looking.

The camera may create suspense by angling downward on the murderer showing a knife in his hand but his identity is not revealed.

Through specific camera placements the audience may be made to be shocked at slum conditions, angered by a corrupt political situation and inspired by a religious message.

Dramatic effects of Camera Angles:

If a script requires an existing treatment of the action, the dramatic factors have to be analysed and the camera should not disturb the story telling. But dramatic material could be further enhanced by inspired camera treatment.
E.g.: If a powerful majestic is setting must be established in an extreme long shot to impress the audience. The director may choose extreme close-up for greater audience attention.

If particular scenes require audience identity over the main player, the subjective camera angles may be selected.

Director may use number of techniques like tilt angles, Dolly shots, Dramatic lighting, Extreme wide-angle lens to achieve the dramatic effects in his narration.

New Media

New media
New Media is a field of study that has developed around cultural practices with the computer playing a central role as the medium for production, storage and distribution.
New Media studies reflect on the social and ideological impact of the personal computer, computer networks, digital mobile devices, ubiquitous computing and virtual reality. The study includes researchers and propagators of new forms of artistic practices such as interactive installations, net art, software art, the subsets of interaction, interface design and the concepts of interactivity, multimedia and remediation.
New Media, in the plural, often refers to the variety of technologies and formats, (such as computer games, the World Wide Web and Virtual Reality), that have been developed over the past few decades.
"New" in this context means:
the relative novelty of digital computing
a belief in the computer as the future
the unprecedented speed of evolution and mutation of devices and
technologies
undeveloped, imperfect and experimental environments
subjective novelty, most of the artists and theoreticians currently
studying digital culture have migrated from different disciplines.
New media are also the common denominator of such disciplines as (new) media art (from Nam June Paik to net.art), (new) media activism, (new) media studies (from Marshall McLuhan to Lev Manovich) and journalistic media criticism (from Neil Postman to Howard Rheingold).