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101 presentation


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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 /><br /><br /><br /><br /><br /><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 />