This document summarizes a presentation on using what you have to produce great video and increase web and other sales. The presentation covers topics such as convergence of TV and internet interfaces, issues that arise from magnifying small video files, manual camera controls versus automatic settings, lighting, composition, audio equipment and settings, and tips for using phones as video devices. The goal is to teach attendees how to get professional-looking results without professional gear.

1. Use What You Have and (Still) Produce Great
Video to Increase Sales on the Web & Beyond
New York Public Library - Science, Industry and Business Library
January 12, 2012 – 6:00 -7:30 PM
New York City
Presented by
Donald Schwartz
Technology Writer/Photographer
donald.schwartz@imagelinkproductions.com
Twitter: Ishkahbibel
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2. Convergence Finally
• From Gateway TV to Now
• We are moving away from 320x240 windows on your computer
• Google TV interface on SONY TV – channel selection from internet or
cable indistinguishable
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Photo credit: Sony Electronics

3. What Happens When You Magnify a
Small Image?
(From 320x240 to a 50 inch TV Screen)
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4. The Video Camera vs. Your Eyes & Ears
Eye Features:
• Auto White Balance – doesn't see shadows as blue nor
fluorescents as green.
• Auto Exposure – wide contrast range covering highlights and
shadows with unrecognizably quick adjustment. (FYI: your
camera uses gray scale starting with 18% gray).
• Auto Focus – face recognition built in. Multiple focus points
built in.
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5. The Video Camera vs. Your Eyes & Ears
Ear Features:
• Directional Audio – you know where the sound comes from
and your ears’ sound view is very large.
• Auto Level – hears and adapts quickly to whispers and
thunder claps without distortion.
• Wide Frequency Range – 20-20,000 Hz.
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6. Ban All Auto Camera Functions – Who’s More
Capable, You or Your Camera?
• When an all-auto camera reacts to changes in light levels,
color temperature changes and/or audio changes, everything
it does is obvious and distracting.
• Learn to Love Manual Control (Who’s more capable, you or
your camera?)
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7. Start Small, Turn Off One Auto Function
At A Time
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8. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
Achieved By:
• Lighting – foreground & background separation – create contrast –
makes image appear sharper.
• Think principal subject – brighter than other pictorial elements.
• Create dimensionality by using light and shadow. Shadow defines depth.
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9. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
• Technique: Start with 3-point lighting consisting of key (main), fill (fills in
detail & lightens shadow), back or separation light.
Images: Copyright 2006 Jeremy Birn
3dRender.com
Used by permission of author
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10. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
• Technique: Have no lights? • Apply angle of incidence. Angle of
Bounce or reflect available light incidence equals angle of
using foam core, show card, or reflectance. Also works for
cine foil. finding unwanted reflections.
Photo credit: California Sunbounce 10

11. One Light Setup
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12. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
• DOP – Depth of Field –
What’s in focus and what is not?
Not available on cameras with
small sensors – sorry.
Image: Donald Schwartz 12

13. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
Compositional Mastery: Part I
Rule of Thirds – divide your frame into a 9 section grid.
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Image: Donald Schwartz

14. Taking Thirds to the Extreme for Effect
Compositional Mastery: Part I
Rule of Thirds – divide your frame into a 9 section grid.
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Image: Donald Schwartz

15. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
Compositional Mastery: Part I
Lens Focal Length – Bringing Your Audience into Your Shot
Wide Normal (Perspective) Telephoto
• Why not zoom in? Because it changes perspective and draws attention to itself.
• Start wide(r) than normal and walk in to bring your audience with you.
Drawings: Jennifer Schwartz
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16. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
Compositional Mastery: Part II
Solving the 2D Conundrum – Creating 3D
Using frames within frames, vanishing point and visual triangles.
Think: what frames do you see every day? Clue: what do you look out of – a window?
What in this image leads your eye to the horizon?
Images: Donald Schwartz
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17. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
Compositional Mastery: Part II
Solving the 2D Conundrum – Creating 3D
Vanishing Point
Triangulation
•Frame Within Frame •Vanishing Point
•Triangulation
•Create Scale
•Use of Color – set design or color balance
Images: Donald Schwartz 17

18. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
Framing Mastery
Extreme Close –up
Medium Close-up
Full Close-up
Wide Close-up
Close Shot
Medium Close Shot
Medium Shot
Medium Full Shot
Image courtesy of Steven d. Katz Full Shot
Michael Weise Productions in conjunction with Focal Press 18

19. Focus Attention – Get Audiences to Pay
Attention to What You Want Them to See
Shoot to Edit
Wide Shot Medium Shot
Triangulation
Full Shot Close Up
Image courtesy of Steven d. Katz
Michael Weise Productions in conjunction with Focal Press 19

20. What does the Word Proper Exposure Mean?
Why is it Important to You?
Answer:
The amount of light required for the camera’s
sensor to capture the widest range of bright
highlights and dark areas without over or under
exposing the image.
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21. Exposure Considerations
Why Understand Gray Scale or Zone?
• Your video camera is color blind.
• Exposure is set in relation to Middle Gray
(Zone V) – 18% reflectance.
• Zones are a method of quantifying shades.
• Determining how a color corresponds to a
shade of gray produces more consistent
results.
Photo credit: Donald Schwartz 21

22. Camera Tools for Getting Proper Exposure
• Zebra Stripes in camera viewfinder
• Metering in camera (if available) –
evaluative, center zone, spot
• F-stops on lens (advanced)
• Understanding your camera’s ISO
(advanced)
Pictures courtesy of The DV Show 22

23. Camera Auto Exposure Set From Middle Gray
Black Tank Real World View
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 23

24. Camera Auto Exposure Set From Middle Gray
Black Tank Auto Exposure – Middle Gray View
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 24

25. Camera Auto Exposure Set From Middle Gray
White Wall Real World View
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 25

26. Camera Auto Exposure Set From Middle Gray
White Wall Auto Exposure – Middle Gray
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 26

27. Avoidable Mistakes
Color Balance – White Balance
Video Cameras See Light’s Colors Differently from Our Eyes
• Light color is measured in degrees Kelvin which
corresponds to different colors.
• The Basics:
– Daylight is blue
– Tungsten is red/yellow
– Fluorescents are green
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28. What Happens When Your Color Balance
Doesn’t Match the Color of the Light?
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29. The Only Way to be Sure is to Manually Color
Balance under a Predominant Light Source
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30. A Work Around for Cameras with Only Auto
Functions
Shooting a Subject in Front of a Window
Work Arounds:
• Move subject away from window
• Cover window
• Add front light
Photo credit: Donald 30
Schwartz

31. Camera In Motion
Why Does The Camera Bounce When I Walk?
Forget in-camera image stabilization – increases file size.
Animation courtesy of Darmont - www.idleworm.com
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32. Camera In Motion
Why Does The Camera Bounce When I Walk?
• Use a camera stabilization system – it
separates your gait from the camera.
Example: Merlin
Merlin Stabilization
System
Courtesy: The Tiffin Company
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33. Audio Mastery
The Big Idea
Microphones Have Different Acceptance Patterns – Each One Hears
In A Specific Direction
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34. Audio Mastery
Understand the Language
Dynamic Microphones
Condenser Microphones
Omni-directional, Directional
Microphone Acceptance & Rejection Patterns
Phantom Power
Impedance – Low & High
Balanced & Unbalanced Microphones
Sensitivity – measured in db (decibels)
Mic Level & Line Level
Frequency - measured in Hz (Hertz)s
Gain
Signal to Noise
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35. Audio Mastery
Basic Microphone Terms
Omni Directional: pickup sound from every direction equally.
Better at resisting wind noise or mechanical handling
Less susceptible to popping “p,” “b” or “t”
Directional Microphones: Sounds best from the front. Tends to reject sound
that comes from other directions
• Directional Types: cardioid, subcardioid, hypercardioid, bi-directional
• Suppress unwanted noise
• Reduce effect of reverberation
• Increase gain before feedback – cranks up the good sound before
distortion
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36. Audio Mastery
Visualizing Microphone Pickup Patterns
Patterns, called polar patterns, should be taken as the floor plan of a microphone’s
response; where the microphone hears the best.
Microphone Patterns
AT8004L Audio-Technica Omnidirectional Audio-Technica AT831 R - Audio Technica-AT875 Short Condenser Microphone
Dynamic Microphone Cardioid Condenser Microphone 36

37. Audio Mastery
The Essentials
Mic Level - audio that comes directly from a microphone.
•Diagnosis: can barely hear it.
Line Level – amplified audio that comes from a mixer, audio system.
•Diagnosis: distorted audio or pinned needle.
Phantom Power –
•Provides power to use the microphone at the camera input or from a mixer.
•Unlike Dynamic, Condenser microphones require a power source. If you don't power from an
external source must boost in line. Will require some kind of battery.
Balanced Unbalanced Audio Connectors –
•Balanced audio connectors are less prone to RFI(Radio Frequency), hum and buzz.
•Unbalanced audio connectors can be ¼ inch or 3.5 mm and are more prone to RFI, hum and
buzz.
XLR ¼ inch 3.5 mm
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38. Audio Mastery
Sound Recording – Best Practices
• Recording level should be as close to zero on your meter as possible without
increasing background noises.
• Get microphone or camera as close to subject as possible.
• When setting level have subject speak normally. The subject should not move
backwards or forwards during the test.
• Don’t use AGC (audio gain control).
• Record at least a minute of ambient sound (called room tone) with no one talking.
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39. Audio Mastery
How to Pick the Right Microphone for the Job
• Working Environment – Acoustic conditions. Are you on the street?
• Distance from subject. Where is the camera? Where is the microphone?
• Kind of sound you want to achieve.
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40. Audio Mastery
Work Arounds
Egg Crates or Shipping Foam
Matthews Sound Blankets - Moving Blankets
Courtesy of Matthews
Auralex Styrofoam Wedgies
Comprehensive EXF Mini - Courtesy of Comprehensive
Hosa XVM XLR Female to 3.5mm mini male -
Courtesy of Hosa
Beachtek DXA-2J next to Beachtek DXA-5D Courtesy of Beachtek
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41. Improving How You Look To Your Audience
Talk to The Camera: Three Views of the Teleprompter
Courtesy of Second Screen Academy
Auralex Styrofoam Wedgies
Interior Teleprompter Teleprompter with cowling Teleprompter displaying text
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42. Avoidable Mistakes
Panning The 180 Degree Rule
• If you think it’s too slow, make it • You have crossed the line.
slower. • Quick and dirty solution for
• Apply pressure before you need to interviews: shoot over right shoulder
and lessen before you stop. and for reverse, reaction shot over
• Use a tripod. left shoulder.
Eye Line
• Consider viewer’s point of view. If
you are above or below it has to be
for a reason.
Avoid Dead Eye
• Cause: too much top light.
Image courtesy of Steven d. Katz
Michael Weise Productions in conjunction with Focal Press 42

43. Tools to Turn Your iPhone into a Controllable
Video Capture Device
Filmic PRO – Courtesy of Filmic PRO Adaptor for audio – Courtesy of Sescom
vReveal – Courtesy of vReveal
Plus portable digital
recorder and Plural
Eyes by Singular
Software
Wide Angle Lens – Courtesy of Photojojo Miniature Shotgun Microphone –
Courtesy of Vericorder Technology
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44. Camcorder Alternative
Consumer to Prosumer Cameras
• Allows you to visually see audio and
light levels (via Zebra).
35mm Cameras Capturing Video
Pros:
• Enable depth of field with large sensor.
• Use of great glass lenses.
• Exceptional ISO/light sensitivity.
Cons:
• Limited recording time due to sensor
over-heating. Improving.
• Poor sound quality.
• Requires mounting rig for shoulder or
mounting on a tripod.
• Rolling shutter effect (going away).
Photo courtesy of www.idcphotovideo.com 44

45. Picking Up Steam
Panasonic AG-AF 100
4/3 – type MOS Sensor AVCCAM Camcorder
Pros:
• More cost efficient than using hybrid 35mm camera add-ons
• Use of existing 35mm camera lenses = good glass
• Real Depth of Field
• No constraints on video recording time
• No requirement to sync audio
• Use of normal rigging for tripods Image courtesy of Panasonic Inc.
• Focus Assist Function – sharpen detail in view finder
• Zebra & Color Bar Displays – Zebra for assessing highlights and/
or peak white. Color bars for editing match camera output.
• XLR balanced audio inputs vs. 1/8 inch minis
• Audio monitoring
Cons:
• No 35mm sensor so have crop factor
• Only Panasonic lenses allow for power zoom, aperture and
focus – all other adapted lenses are manual.
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46. Picking Up Steam
Sony NEX FS100UK
Pros:
• More cost efficient than using hybrid 35mm DSLR camera add-
ons
• Exmor Super35 CMOS Sensor
• Real Depth of Field
• Embedded Timecode
Cons: Sony NEX FS100UK
• All manual control lensing
• Control Access & Design
• Some difficulty associated with using prime lenses other than
NEX lens
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47. Resources & Sources
 Web Video: Making It Great, Getting It Noticed
By: Jennie Bourne; Dave Burstein
Publisher: Peachpit Press
Pub. Date: August 05, 2008
Print ISBN-10: 0-321-55296-2
 101 Quick and Easy Secrets to Create Winning Photographs
By: Matthew Bamberg
Publisher: Course Technology PTR
Pub. Date: April 14, 2009
Print ISBN-10: 1-59863-902-1
 Film Directing - Shot by Shot
Visualizing from Concept to Screen
By: Steven d. Katz
Publisher: Michael Weise Productions & Focal Press
Publication Date: June 1991
ISBN #: 0-941188-10-8
Stoppees’ Guide to Photography & Light: What Digital Photographers, Illustrators, and Creative Professionals Must Know
By: Brian & Janet Stoppee
Publisher: Focal Press
Pub. Date: October 22, 2008
eISBN-10: 0-08-092798-X
Home Recording for Beginners
By: Geoffrey Francis
Publisher: Course Technology PTR
Pub. Date: January 01, 2009
Print ISBN-10: 1-59863-881-5
Digital Lighting & Rendering, Second Edition
By: Jeremy Birn
Publisher: New Riders
Pub. Date: April 27, 2006
Print ISBN-10: 0-321-31631-2
Info on Walk Cycle: http://www.idleworm.com/how
Info on Light Reflection Tools: California Sunbounce: http://www.sunbounce.de/
Info on Camera Motion Control: Tiffin: http://www.tiffen.com/
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48. Donald Schwartz
Imagelink Productions
11 Sterling Place
Brooklyn, NY 11217
donald.schwartz@imagelinkproductions.com
Twitter: Ishkahbibel
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