How to Be Better Storytellers<br />CESKM Audio & Video Production 101<br />presented by<br />Maureen E. Hall<br />05.20.11...
Introduction<br />
About Me<br />Writer, producer, director<br />25+ years experience<br />Mostly corporate environment<br />National and int...
What About You?<br />
You’re in the Know<br />Gather and disseminate the latest news and ideas in your organization<br />Powerful position<br />...
Video By the Numbers<br />Speed<br />30 frames per second (fps)<br />Slo-mo: 60 to 250+ fps<br />Fast motion: less than 30...
Production Value$<br />$$$$<br />$$$<br />$$<br />$<br />
Production Value$<br />$$$$<br />$$$<br />$$<br />$ can still be  <br />
ENGElectronic News Gathering <br />Mobile, light, agile<br />1- or 2-person team<br />Camera, Audio, Tripod, Light<br />Ju...
Camera Basics<br />Iris (aperture) controls exposure: how much light gets in the camera<br />Measured in f/stops: the larg...
Tripod<br />Stabilizes camera<br />Smooth moves<br />Pan: right or left<br />Tilt: up or down<br />
Lighting<br />Natural effect<br />Make your subjects look good<br />
Audio<br />Crisp, “clean”, articulate vs. “noisy”, “muddy”, indistinct<br />Camera microphone is last resort or back-up<br...
Framing<br />How to compose your shots <br />to make them more interesting<br />
P.I.C.K Your Shot<br />Positioning of the camera & subject<br />Background and lighting<br />Subject stands out<br />Intim...
Shot Cheat Sheet<br />
Most Corporate Video<br />
It’s called a “Talking Head” for a reason….<br />
Video is a Close-Up Medium<br />Close-Up (CU)<br />Medium Close-Up (MCU)<br />Medium (MS)<br />
Close-Up (CU)<br />
Extreme Close-Up (XCU)<br />
Medium Shot (MS)<br />
Medium Shot (MS)<br />
Medium Close-Up (MCU)<br />
Medium Close-Up (MCU)<br />
Close-Up (CU)<br />
Rule of Thirds<br />
Rule of Thirds<br />
Other Composition Elements<br />Little or no headroom<br />Camera at eye level<br />Body angled into frame<br />Non-flat b...
Putting it into Practice<br />
Putting it into Practice<br />
Putting it into Practice<br />
Other Tips <br />DON’T put subject in the comfiest chair<br />DO ask him/her to:<br />Tuck in their shirt<br />Sit on thei...
Lighting<br />
Color Temperature<br />Tungsten<br />= Warm<br />Daylight<br />= Cool<br />
Color Temperature<br />
Fluorescent<br />
White Balance<br />Adjust the white balance setting on the camera<br />Hold a piece of white paper in front of the subject...
Balance Your Lighting to the Environment<br />
3-Point Lighting System<br />Key Light<br />Main (strongest) light source<br />Fill<br />Softer, to “fill” the shadows cre...
3-Point Lighting Setup<br />
Litepanels 1x1<br />
Litepanels 1x1<br />
Putting it Into Practice<br />
Avoid Shooting Toward Windows<br />
Putting it Into Practice<br />
Window Light as Key or Fill<br />
Background Interest<br />
Rules of Thumb<br />Avoid windows as background.<br />Use window light for key or fill.<br />Use bounce card (3’x4’ foam c...
Recording Professional Audio<br />
Audio Challenges<br />
Audio Challenges<br />
Audio Basics<br />Find the best-sounding location<br />Sound blankets can help in “live” locations or to cover a persisten...
Mike Your Subject<br />
Basic Audio for Interviews<br />
Lavalier Basics<br />Last thing before shot<br />Between 1st & 2nd button<br />Check the level<br />DON’T let talent leave...
PZMPressure Zone Mike<br />Made for capturing audio in meetings<br />180oomnidirectional<br />Uses table top to amplify au...
Monitor Your Audio<br />
Record Room Tone<br />Every room has a sound<br />Cover gaps in editing<br />End of interview<br />Exactly same set-up <br...
Telling More Visual Stories<br />How to compose your shots <br />to make them more interesting<br />
What is B-roll?<br />“Cutaway” material that helps tell the story<br />
Create a Library<br />Store and categorize footage from previous shoots<br />Use stock footage<br />Royalty-free sources y...
Supporting Graphics<br />
Get the Story Before You Get the Shot<br />Pre-pro (Pre-production)<br />Pre-interview via phone<br />3 most important thi...
Interviewing Techniques<br />Break it up<br />Don’t let them ramble<br />Change focal length<br />Ask follow-up questions ...
Digital Workflow<br />
Get Creative!Have Fun!<br />Thank you.<br />
Lunch & a Movie<br />
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  • I’m in video production because I love it. I have an insatiable curiosity. People. Science. Technology. Business. Ideas. I want to know the Who? What? When? Where? And Why? So I think it’s a privilege to be in the video business. It gives me tremendous access to CEOs and thought-leaders… To the inner workings of a company and the newest ideas. I get to do all that and take what I’ve learned and pass it on to others. But what about YOU? What is Your perspective? Did you take this job because it involved video and audio production? Do you love it or hate it? You Are you the kind of person who is always posting videos and photos to Facebook and YouTube? Is it something you look forward to? A chance to use your creativity, perhaps? Or is it something you dread? Are you comfortable using a camera? Or are you extremely nervous?
  • 101 presentation

    1. 1. How to Be Better Storytellers<br />CESKM Audio & Video Production 101<br />presented by<br />Maureen E. Hall<br />05.20.11<br />
    2. 2. Introduction<br />
    3. 3. About Me<br />Writer, producer, director<br />25+ years experience<br />Mostly corporate environment<br />National and international awards<br />Non-technical<br />Telling the best story in the most interesting and informative way<br />
    4. 4. What About You?<br />
    5. 5. You’re in the Know<br />Gather and disseminate the latest news and ideas in your organization<br />Powerful position<br />Learn how to use it<br />
    6. 6. Video By the Numbers<br />Speed<br />30 frames per second (fps)<br />Slo-mo: 60 to 250+ fps<br />Fast motion: less than 30 fps<br />Stop action: 1 frame an hour or less<br />Hi-def (HD) Resolution<br />1080 lines<br /><ul><li>Aspect ratio (length:height of frame) </li></ul>16:9 (wide screen)<br />
    7. 7. Production Value$<br />$$$$<br />$$$<br />$$<br />$<br />
    8. 8. Production Value$<br />$$$$<br />$$$<br />$$<br />$ can still be <br />
    9. 9. ENGElectronic News Gathering <br />Mobile, light, agile<br />1- or 2-person team<br />Camera, Audio, Tripod, Light<br />Just what you need to get the story <br />
    10. 10. Camera Basics<br />Iris (aperture) controls exposure: how much light gets in the camera<br />Measured in f/stops: the larger the f/stop number, the smaller the aperture, thus lower exposure<br />“Stop down” “it looks too hot” “looks blown out”— lower the exposure<br />High light = High f/stop number<br />Low light = Low f/stop number<br />Focus: blurry or crisp<br />A function of distance from lens to subject<br />
    11. 11. Tripod<br />Stabilizes camera<br />Smooth moves<br />Pan: right or left<br />Tilt: up or down<br />
    12. 12. Lighting<br />Natural effect<br />Make your subjects look good<br />
    13. 13. Audio<br />Crisp, “clean”, articulate vs. “noisy”, “muddy”, indistinct<br />Camera microphone is last resort or back-up<br />External microphone(s) best for speaking<br />Reduce “ambient sound” (unless it adds to the story)<br />WORST DISTRACTION: sound from something you can’t see in the frame<br />
    14. 14. Framing<br />How to compose your shots <br />to make them more interesting<br />
    15. 15. P.I.C.K Your Shot<br />Positioning of the camera & subject<br />Background and lighting<br />Subject stands out<br />Intimacy<br />Focus on the eyes<br />Cutting<br />Different focal lengths to cut between<br />Focal length: size of subject in the frame<br />Vary focal length by zooming in or out<br />
    16. 16. Shot Cheat Sheet<br />
    17. 17. Most Corporate Video<br />
    18. 18. It’s called a “Talking Head” for a reason….<br />
    19. 19. Video is a Close-Up Medium<br />Close-Up (CU)<br />Medium Close-Up (MCU)<br />Medium (MS)<br />
    20. 20. Close-Up (CU)<br />
    21. 21. Extreme Close-Up (XCU)<br />
    22. 22. Medium Shot (MS)<br />
    23. 23. Medium Shot (MS)<br />
    24. 24. Medium Close-Up (MCU)<br />
    25. 25. Medium Close-Up (MCU)<br />
    26. 26. Close-Up (CU)<br />
    27. 27.
    28. 28. Rule of Thirds<br />
    29. 29. Rule of Thirds<br />
    30. 30. Other Composition Elements<br />Little or no headroom<br />Camera at eye level<br />Body angled into frame<br />Non-flat background<br />
    31. 31. Putting it into Practice<br />
    32. 32. Putting it into Practice<br />
    33. 33. Putting it into Practice<br />
    34. 34. Other Tips <br />DON’T put subject in the comfiest chair<br />DO ask him/her to:<br />Tuck in their shirt<br />Sit on their jacket<br />DO have on hand:<br />A glass or bottle of water at hand<br />Tissues<br />De-greasing wipes<br />
    35. 35. Lighting<br />
    36. 36. Color Temperature<br />Tungsten<br />= Warm<br />Daylight<br />= Cool<br />
    37. 37. Color Temperature<br />
    38. 38. Fluorescent<br />
    39. 39. White Balance<br />Adjust the white balance setting on the camera<br />Hold a piece of white paper in front of the subject’s face<br />Adjust the camera setting until the white looks white in the view finder or onboard LCD monitor<br />
    40. 40. Balance Your Lighting to the Environment<br />
    41. 41. 3-Point Lighting System<br />Key Light<br />Main (strongest) light source<br />Fill<br />Softer, to “fill” the shadows created by the key light<br />Backlight<br />Separates the subject from the background<br />
    42. 42. 3-Point Lighting Setup<br />
    43. 43. Litepanels 1x1<br />
    44. 44. Litepanels 1x1<br />
    45. 45. Putting it Into Practice<br />
    46. 46. Avoid Shooting Toward Windows<br />
    47. 47. Putting it Into Practice<br />
    48. 48. Window Light as Key or Fill<br />
    49. 49. Background Interest<br />
    50. 50. Rules of Thumb<br />Avoid windows as background.<br />Use window light for key or fill.<br />Use bounce card (3’x4’ foam core) or umbrella for back light.<br />ALWAYS make sure light is off before you plug it in.<br />ALWAYS warn everyone before turning on lights.<br />Start with the dimmest setting and turn up.<br />
    51. 51. Recording Professional Audio<br />
    52. 52. Audio Challenges<br />
    53. 53. Audio Challenges<br />
    54. 54. Audio Basics<br />Find the best-sounding location<br />Sound blankets can help in “live” locations or to cover a persistent noise source (PC, for example)<br />Use an external mike<br />Keep mike the same distance from speaker’s mouth at all times<br />Silence is golden! DON’T “step on” speaker’s last words<br />Ask subject to repeat question in the answer<br />
    55. 55. Mike Your Subject<br />
    56. 56. Basic Audio for Interviews<br />
    57. 57. Lavalier Basics<br />Last thing before shot<br />Between 1st & 2nd button<br />Check the level<br />DON’T let talent leave with the mike on!<br />
    58. 58. PZMPressure Zone Mike<br />Made for capturing audio in meetings<br />180oomnidirectional<br />Uses table top to amplify audio<br />Also amplifies table noises<br />Place on a piece of old mouse pad to minimize<br />One mike will cover table for 6<br />
    59. 59. Monitor Your Audio<br />
    60. 60. Record Room Tone<br />Every room has a sound<br />Cover gaps in editing<br />End of interview<br />Exactly same set-up <br />30 seconds to a minute<br />
    61. 61. Telling More Visual Stories<br />How to compose your shots <br />to make them more interesting<br />
    62. 62. What is B-roll?<br />“Cutaway” material that helps tell the story<br />
    63. 63. Create a Library<br />Store and categorize footage from previous shoots<br />Use stock footage<br />Royalty-free sources you can use again & again<br />www.istockphoto.com/Video<br />www.pond5.com/Royalty-Free-Video<br />www.gettyimages.com<br />www.artbeats.com<br />http://www.thoughtequity.com<br />footage.shutterstock.com<br />
    64. 64.
    65. 65. Supporting Graphics<br />
    66. 66. Get the Story Before You Get the Shot<br />Pre-pro (Pre-production)<br />Pre-interview via phone<br />3 most important things that…<br />Read up<br />Find out what “assets” they may have<br />Photos, print materials, etc.<br />Always have a thumb drive with you<br />Check out the shoot location<br />Lighting, sound, clutter<br />Maybe find a better one<br />Talk to subject about how to look their best<br />
    67. 67. Interviewing Techniques<br />Break it up<br />Don’t let them ramble<br />Change focal length<br />Ask follow-up questions or ask the same question again in a different way<br />Probe for details<br />
    68. 68. Digital Workflow<br />
    69. 69. Get Creative!Have Fun!<br />Thank you.<br />
    70. 70. Lunch & a Movie<br />
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