Working+Photographer+II

=Working Photographer II - Art Center College of Design=

[|Gray Scott]


= =

1 Start with an idea, goals, target audience, basic questions. 2 Agree on Product/Process parameters as a guide. 3 Assign roles to team. 4 Mind map ideas. What are product goals and what are process goals. 5 Have questions ready and approved by producers (teacher).

Planning is the most crucial part of your project. The more organized your production is, the smoother and faster your project will come together.

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6 Find right location (Tip> light, location permission.) 7 Have your team setup while you talk to the interviewee. 8 Introduce the team to interviewee. 9 Mic the individual/ Interviewee. 10 Get camera angles right. 11 Get audio right. Make sure levels are good, not pinning. 12 Get lights right, use stand in to light. 13 Talk to the subject/interviewee, get them comfortable prior to interview. This helps the team with last minute adjustments.

Having someone talk to the interviewee while you set up makes him/her feel more comfortable. Testing your audio also ensures that you’ll have good sound and will prevent you from later having to level your audio. Lighting your scene correctly will also save you post-production time as well.

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14 Shoot A-roll. 15 Finish A-roll. Record room tone for 1 min. 16 Make B-roll list for 2nd Unit/ 2nd take. 17 Gather tape/ footage. Sit and read notes from A-roll interview for B-roll guidelines. 18 Shoot B-roll from notes- get enough Coverage. 19 Finish shoot (loose ends, pick ups).

Secondary footage makes your project more interesting. No one wants to just stare at a person talking in a movie! Make your film interesting by adding some cool B-roll. Making a B-roll list ensures that you record footage that is pertinent to what the interviewee talks about and will make the editing process faster.

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20 Look at shooting notes for instructions on what to capture. You may not need to capture all of footage. 21 Log footage, A roll: Transcribe what is said; B-roll: describe what is seen. Include W/M/CU abbreviations and What, Where, Who 22 Capture only needed footage from log and notes. 23 Print out Logs. 24 Save and Back Up content.

Bringing in only your essential footage will save you disk space. Having less media to work with also means less editing. Logging footage will also make finding clips easier and faster. Printing your logs is also a good idea because it allows you to edit your movie on paper, saving you lots of time.

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25 Sit down with the logs and search for common threads. 26 Group ideas into categories that resulted from logging. Group them into recognizable names that will work like idea containers. 27 Identify Key points (pearls) in each category. hi-lite or really BOLD the BIGGER QUOTES from the rest. 28 Start with a big pearl (engaging, BOLD idea) and end w/one build from one to the next. Identify the first and possible last quotes, ideas. 29 Finish your Pearl Necklaces. Create a rough order of quotes, ideas within each category/ idea container.

If you sit down and connect your ideas before you start editing, you’ll be able to construct a cohesive project. Building on one idea after another ensures that your project flows and that your audience can easily follow along.

==

30 FCP: In the timeline, begin to add A-roll in the order you’ve identified in the last process. 31 FCP: add Music/bed. Make sure its at least -18 db. 32 FCP : add B-roll. 33 FCP : Once all of the A-roll and B-roll is added, finish the layout and sequence of the movie.

Starting with you’re A-roll is important because by doing this, you lay out the story of your movie. The content, not the special effects you add, is the most important part of your film. Adding B-Roll makes your film more interesting.

Adding a marker is a useful thing to know in Final Cut. Below is a video that explains how to do this.

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34 FCP / Color: Color correct 35 FCP / Motion: add Text: lower thirds, titles, credits, subtitles. These can be done on a word processor and by another person. 36 Spell Check 37 FCP / Soundtrack Pro: Normalize Audio

If you forgot to white balance or if your shot was too dark whie filming, color correction can help you fix this and make it look like nothing went wrong. Motion allows you to be more creative with the text and titles in your movie, and Soundtrack Pro allows you to fix the imperfections in your audio. These tools give you the opportunity to really fix your project and make it look the best you can.

= = ==

38 Export from FCP 39 Compressor / Visual hub: Compress video for DVD, Web, Mobile 40 Post Online to Gallery, iWeb, Flickr, YouTube, Local Server 41 Finish and Market movie

Sharing our work is very important. Every video we work on no matter how short gets posted online. [|Click here] to see some great resources for compressing your video for the web, your iPod and/or iPhone.

If you want to learn how to use the latest version of Compressor, version 3. Click here for step by step instructions.

=Filmmaker Resources=

=Coverage= of wide, medium, and close up shots. Wide shots establish location, medium or mid shots are used to show action, and close ups or tight shots are used to show emotions. Here's a [|link] to an example. ||
 * [[image:wmcu.jpg width="274" height="147" caption="wmcu.jpg"]] || It's important to get a variety of shots when documenting. Coverage shots are composed

=A-roll & B-roll= is secondary footage. This is usually video or photos that show what the person is talking about. Here's an [|example] of what this looks like. ||
 * [[image:Broll.jpg width="270" height="158" caption="Broll.jpg"]] || A-roll refers to footage where there's a talking head, like a person being interviewed. B-roll

=Rule of Thirds= sure you get your composition right. What is the rule of thirds? Two equally spaced horizontal lines that are intersected by two vertical lines. You want to make sure to place your subject where the lines intersect. The top horizontal line is also known as the eye line. When interviewing someone, this is how your composition should look. ||
 * [[image:rule_of_thirds.jpg width="253" height="139" caption="rule_of_thirds.jpg"]] || Most cameras come with an option of showing a grid (rule of thirds) that makes it easier to make

=White Balance= be a bit too yellow or blue, this is why you need to white balance. This sets your white as the exact shade that is needs to be so that the rest of your colors are balanced. Check this [|video] out. ||
 * [[image:white_balance.jpg width="308" height="168" caption="white_balance.jpg"]] || When filming or taking a picture, you'll sometimes notice that your footage might
 * [[image:white_balance_camera.jpg width="306" height="201" caption="white_balance_camera.jpg"]] || ===How do you white balance on your camera?===

Hit function, scroll down and you'll see what your white balance options are. There a few presets for different lighting situations like sunny, flourescent lighting, etc. You can also white balance by aiming your camera at something white, like a sheet of paper, scrolling all the way to the right, and hitting the white balance button. This will set the right color balance for your particular setting. ||

=Audio Tips= Handhelds, lavaliers also known as wireless mics, and booms or shotgun mics. Check out [|this video] for more information on how these mics work. || Handy Digital Recorder is a great field recorder. It fits in your hand, making it really portable. Don't have your boom mic on you? No problem! You can use this with your video camera. Just sync the audio from this hand held recorder to your camera. How do you do this? Click [|here] to learn. || 2-channel WAV (BWF) and MP3 recording and playback > perfect for field recording, songwriting, training, education and worship
 * [[image:3_mics.png width="257" height="133" caption="3_mics.png"]] || ==There are 3 kinds of mics.==
 * [[image:H4_field_recorder.jpg width="93" height="176" align="center" caption="H4_field_recorder.jpg"]] || ==The Zoom H4==
 * [[image:http://www.m-audio.com/images/global/product_pics/th/microtrackII_th.jpg align="center" caption="external image microtrackII_th.jpg"]] || ==M-Audio Microtrack==

new features include extended input gain range, analog input limiter and seamless recording of files beyond 2GB in size > enhanced performance

battery operated; storage via CompactFlash or microdrives > mobility and convenience

drag-and-drop file transfer to PC and Mac > upload and share your content in minutes

balanced ¼” TRS inputs with line inputs and 48V phantom-powered mic preamps > professional-quality recording ||

Room Tone. Ambient sound.

 * [[image:http://i33.photobucket.com/albums/d86/consequence901/Sound_Wave2.jpg width="225" height="225" align="left" caption="external image Sound_Wave2.jpg"]] || To help the editors control audio better during post production, a snapshot of the room's noise is needed. Evey space has different levels of background noise/ sounds. Background noise may differ from space to space, therefore background noise, ambient noise is needed to help the transition from room to room.

In the edit, about 30 seconds of background noise is laid down in its own audio track (In FCP only). Whoever was interviewed in that room will have background (or room tone) beneath them, so, when there's a cut or edit-- the sound doesn't completely cut out to nothing. This would overemphasize that there was a cut, thus taking away from what is being said.

[|See video for explanation.] ||

Syncing Audio in Final Cut Pro

 * [[image:http://farm4.static.flickr.com/3270/3100997704_03ee70a290_o.jpg caption="external image 3100997704_03ee70a290_o.jpg"]]

|| If you don't have a good way to get great audio from your camera (no mic and headphone option)-- there is still a cool way to bring in audio into Final Cut Pro. Here's a movie on how to record the audio from a recording device and then importing it into Final Cut Pro.

[|MOVIE HERE]

In FCP, you line up the clap spikes (see image to the left) and then delete the camera audio. To do this. lock the video clip linked to the poor camera audio and then delete it. NOTE: If you don't lock the video clip-- you will delete it. The default setting links the source audio to its video clip. You will see a "V" layer and 2 "A" layers (Left and Right). Here is a movie that shows this process in better detail.

[|MOVIE HERE]

A more detailed explanation is found in this movie

[|MOVIE HERE] ||

=Photography Tips=

Action Only. Don't be a poser.

 * [[image:http://farm4.static.flickr.com/3249/3068345895_6eac46e2b0_m.jpg align="left" caption="external image 3068345895_6eac46e2b0_m.jpg"]] || Be a "fly on the wall". It's a strange analogy, but a lot of photographers use it. It simply means, observe and capture what's happening-- don't force anything.

Don't pose your students, friends, and colleagues. Work around the room. Capture what's happening. If it's teamwork-- capture the people in the team, capture the action.

If they are really focused, or excited, or are showing any other emotion-- zoom into their faces and capture the feeling.

You may want to shoot some wider classroom shots. These wider shots give the viewers context of where the action and emotions are taking place. ||
 * [[image:http://farm3.static.flickr.com/2309/2517204320_ffd009a320_m.jpg align="left" caption="external image 2517204320_ffd009a320_m.jpg"]] || In movie making, there are 3 different types of shots: Wide, Medium, Close ups. They all have a grammatical purpose-- they tell an important part of the story. Here's how:

• **WIDE**: This shot provides context, setting-- where is it happening?

• **MEDIUM**: This shot communicates action-- what is happening?

• **CLOSE UP**: This shot gives us the detail and emotions-- what are they thinking, what are they feeling? ||

**Shoot a lot**

 * ==[[image:http://farm4.static.flickr.com/3247/3068345373_791071fba2_m.jpg align="left" caption="external image 3068345373_791071fba2_m.jpg"]]== || A lot of people are uncomfortable when there are cameras around. Many times, photographers interrupt what's happening and try to pose their shot. People, for the most part, DON'T LIKE THIS. I know this may sound corny to some, but comfortability and trust are key to a good photographer.

One way to start building trust is to take a lot of images. The good thing about digital is that you don't have to use them all. For me, I shoot a lot around the perimeter of the class and slowly work my way in. I ask the class questions about what they're doing, their opinions, etc. I am getting them comfortable with me and my camera. I ask them if I can shoot what they're doing. Keep shooting.

If you do this often-- students will get used to it. TRUST ME. Again, start wide, shoot the classroom, work your way into groups and group work, and then focus on faces-- the toughest shots. ||

3 Different Ways to Shoot

 * [[image:http://farm4.static.flickr.com/3080/3100299055_fa42c8b1f0_o.jpg width="260" height="147" caption="external image 3100299055_fa42c8b1f0_o.jpg"]] || ===Shoot in a controlled setting.===

Pick a quiet location where you have control over the sound and light.

Check out [|this] example. ||
 * [[image:http://farm4.static.flickr.com/3051/3100298941_b4635e5430_o.jpg width="264" height="149" caption="external image 3100298941_b4635e5430_o.jpg"]] || ===Shoot inside the classroom.===

Make sure your microphone is primarily picking up audio from the person that you are shooting, not the background noise.

Check out [|this] example. ||
 * [[image:http://farm4.static.flickr.com/3269/3101150312_3e58065667_o.jpg width="268" height="162" caption="external image 3101150312_3e58065667_o.jpg"]] || ===Shoot b-roll in the classroom.===

Shoot your students in action. You can lay these clips over your interviews to give people visuals of what the interviewee is talking about.

Check out [|this] example. ||

=Interviewing Tips=

Picking an Interview Location
If you can, pick a place for the interviews. Make sure it's a place where you can control the light and minimize external audio. Hallways with students walking in the background might seem like a good idea, but keep in mind that they will be noisy. Be conscious of where you shoot, paying particular attention to light and sound.

Varied Conversation Poses

 * [[image:brian_2.png width="240" height="139" caption="brian_2.png"]] || [[image:brian_3.png width="234" height="135" caption="brian_3.png"]] || If you're filming in the same place for several interviews, switch up your poses! Place your interviewee to the right or left of the frame and go switching it up. If you can, change the background. Try different colored walls to switch up your backgrounds, this will make it look like you had a variety of shooting locations. ||

Eye line

 * [[image:Jim_W.png width="238" height="136" caption="Jim_W.png"]] || When filming, you want to make sure that the interviewer is as close to the camera as possible. The only people who look comfortable staring straight into a camera are, you guessed it, news anchors. For the rest of us, it's easier to feel that you're having a conversation with someone. So by placing the interviewer as close to the camera as possible, the interviewee's eyes will be pretty close to looking at the camera.

Also, if your subject is on the left of your frame, you want their eyes looking to their right. If they're on the right of the frame, you want their eyes looking to their left. ||
 * ====**Real World Example**====

(used with fair use/ education permission)

A great example of this kind of work is what is done in the Office (the TV Show). They do a lot of "fly on the wall" documenting, but they have a special place for interviews. Check out these clips to see what we mean. BTW: Check out their following of the rule-of-thirds, eye lines, and even lighting. They also stop what they're doing to talk to the camera. ||

=Lighting= Light is extremely important. You don't want your footage to be too light or too dark. The following tips will help you learn to deal with light under different situations.

Use your hand as a light meter to find where the best light is. Here's the [|link]. ||
 * [[image:lightmeter.jpg width="261" height="166" align="left" caption="lightmeter.jpg"]] || **Step 1: Find the light before shooting.**
 * [[image:diffused_light.jpg width="261" height="125" align="left" caption="diffused_light.jpg"]]

|| **Diffusing hard light. Make the light softer.** Use a diffuser when filming in direct sunlight. See what a difference this will make. Click [|here.] Here we had a person standing up holding a light disk to diffuse the harsh sunlight that was hitting our subjects.

Mark is diffusing the direct sunlight by adding this translucent material in between the subject and the sun. This makes the light even and eliminates the hard shadows that may interfere with how the interview will come off. Hard shadows may hide the eyes, thus, making the subject appear scary and mysterious. .

You can check out some reflectors [|here]. If you’re on a budget, a cool little tip is to use wax paper or a white sheet to diffuse the light. || You can use natural light to light your subject. What we did is use a reflector or anything with a reflective surface to reflect the natural light from the window. This fills in the shadow created by the light source. Look at this image and see what the reflector does to fill in the shaded area. Remember: what looks dark on the camera will look extra dark on the screen. Think BRIGHT! || This is a video DV Creators produced explaining 3 point lighting for interviews. If the school can afford a kit like this-- this is a small kit that can travel with the shooting team.
 * [[image:http://torres21.typepad.com/photos/uncategorized/2008/03/13/2332292460_28d8f79365.jpg width="269" height="367" align="left" caption="external image 2332292460_28d8f79365.jpg"]] || **Natural light is ideal.** **Bounce it, too!**
 * || (**ADVANCED TIP) 3 Point Lighting Basics**

Another advanced tip is to creatively add dimension to the background by using light in a variety of colors to create a better sense of separation. Here is a video showing the beauty of lighting people and their backgrounds to better tell stories. Look for yourself. [|HERE] ||

Here are some recommendations.

If you're using iMovie, make sure that you are running iMovie 09.
 * [[image:imovie-08.jpg width="96" height="92" align="left" caption="imovie-08.jpg"]] || ==iMovie09==

If you're importing from a tape:
Make sure your camera is connected and is on the VCR mode. When you launch iMovie, it will automatically recognize your camera.

If you're importing from an SD Card:
When you open up iMovie, your camera will automatically be detected. You can select the clips that you want to bring in and then select “Import selected.”

Next, an option will appear that will allow you to title your new event. You will also have the option to save your footage at full size or large size. Hit ok and your footage will be stored to iMovie.  [|Here is a movie to explain this.] || If you're using Final Cut Pro, go to File>log and transfer, select your clips, then add them to your queue. Recommendation: name your clips & add some log notes to them, especially if you have interviews. This will help you find footage later on and will save you some time.
 * [[image:final-cut-pro-logo-tn.jpg width="93" height="98" align="left" caption="final-cut-pro-logo-tn.jpg"]] || ==Final Cut Pro 2==

[|Here is a movie to explain this.] || || ==Importing to SDHC cards as oppose to the internal memory card.== If you don't want to use the camera as an importing device-- I recommend getting an inexpensive SDHC card reader from BestBuy or Amazon. They run between $10 and $20. This way you will not need to use the camera for this part. NOTE: you have to use SDHC cards and SDHC card readers.
 * [[image:sandisk.jpg width="121" height="121" align="left" caption="sandisk.jpg"]]

If you plan to use the SDHC card reader-- you will need to make sure the camera is set to record onto it as oppose to the default location: the built in memory chip. Click [|here] to see how to import using a card reader.

Here is the link for this reader at [|Amazon]. || Sometimes you may want to focus on a specific thing that automatic focus is blurring. Check out a video tutorial on setting [|manual focus] so that you can focus on what you want. || It's easier to follow the rule of thirds when you have them right on your LCD screen. Click [|here] to see how to add grids also known as markers to your camera. || When importing your footage from your camera, a message will appear on the LCD screen that reads, “select the device type for the USB connection” Make sure to scroll to the right option, “PC/PRINTER”.
 * [[image:manual_focus.png width="144" height="108" align="left" caption="manual_focus.png"]] || ==Manual focus may be better==
 * [[image:adding_markers.png width="154" height="115" align="left" caption="adding_markers.png"]] || ==Rule of Thirds Grid==
 * [[image:select_pc.jpg width="173" height="106" align="left" caption="select_pc.jpg"]] || ==Importing from the camera to Mac==

REMEMBER: YOU CAN AVOID THIS BY USING THE SDHC CARD READER WE SHOWCASE ABOVE. || When you're in playback or vcr mode, you'll notice that you get a loud screeching noise when you plug in your headphones. In order to hear what you recorded, you'll need to go into the menu and change your settings from AV to PHONES. Click [|here] to see how to do this. ||
 * [[image:headphones.jpg width="176" height="127" align="left" caption="headphones.jpg"]] || ==Making sure your headphones work.==