From a workshop on video portraits. www.zerotheone.com

1. Welcome to class! Cheers for signing up! You’ve marked the
first step towards making Video Portraits. You may want to
learn more about what that means and I’ll run you through a
short description before we move on to Lesson 1.
Videos can be easily described as “moving pictures”. .
Think of Video as the culmination of creative practice where
photography, direction, art, design, theater/acting, storytelling,
and so much more - all come together in harmonius (or
chaotic) co-existence.
* Schedule an Appointment.
Approach your Muse, tell them about your
project and schedule a date and time,
mark it down on your agenda/calendar.
“The saddest journey in the world is the one
that follows a precise itinerary. Then you’re not
a traveler. You’re a f**king tourist.”
― Guillermo del Toro
“Film is, to me, just unimportant.
But people are very important.”
― John Cassavetes, Cassavetes on Cassavetes
“... Many view constraint
as an imposition, as a
hindrance, rather than as
a catalyst for liberating the
process...”
― Teal A. Triggs,
Constraint is a State of Mind
* Tell people about it.
Be accountable. Tell your friends,
family, boss - have them support you
or even invite them to take part
as your assistant - or muse!
It takes courage to embark on this journey, and it all starts
by making a connection.
connect
If you’re still unsure about your Muse
subject. Consider these things:
Time. Will you be able to do what it takes
in the given amount of time. Does your Muse
involve a very long process or needs several
takes/shots?
Materials + Logistics. Do you have the
tools to capture your Muse? If it is a place, is it
anywhere near you, do you have access to it?
Are you Inspired? Goes without saying,
a muse isn’t a muse until something inside you
moves. Check if the “connection” is present,
are you compelled to tell this story?
INSIST on
Resourcefulness
Maximize the use of available
materials. Don’t let your
“limitations” keep you from telling
your video story.
Innovation
Don’t be afraid to try something
new. Crazy ideas often lead to
interesting solutions. Experiment
and explore.
MUSE is an Online class at SKILLSHARE
by Katrina Tan-Conte of ZeroTheOne.com

2. mo·tif
• A recurrent thematic
element in an artistic or
literary work.
• A dominant theme or
central idea.
“Storytelling reveals meaning without
committing the error of defining it.”
― Hannah Arendt
As humans we naturally try and make sense out of any
series or group of things together (remember those domino
logic tests?). Making sense of the world is part of survival
and we are masters of making connections even when it
is not called for, we can’t help but make A point to B. That
is also called creativity. While it is fun to go wild with our
imagination having a bit of focus can help us convey our
video portrait in a clearer and more profound way.
Recording an interview can be easy or impossible depending on both you and your subject.
Asking someone to talk on camera and be comfortable + natural can be demanding but if you can
be confident, comfortable, and natural with your Muse then you might get them to be themselves
and more on camera. Start by engaging in a conversation, be present with them first.
Copper carving
depicting a Sámi
shaman with his
magic drum
MUSE is an Online class at SKILLSHARE by Katrina Tan-Conte of ZeroTheOne.com
The basic formula for an interview involves the questions Who, What, Why, and How?
Storyboarding is essential for any serious film-maker.
However, in this approach we are making space for the
unexpected, allowing our Muse to naturaly unravel
before us without too much manipulation. The
intent is not to stage a show or performance but
to make an honest connection with our subject
and build from the relationship that develops as
we converse and shoot. Therefore a storyboard
may be useful but the story itself can change
depending on what happens in the actual meeting
with our subject. Finding a Motif helps us narrow
down the conversation topics and choice of shots
while allowing us to remain open/spontaneous
to other events that might arise. This is also
good discipline for letting go of assumptions
and to make use of what is available (aka
resourcefulness + innovation).
To storyboard or not to storyboard?
“To survive, you
must tell stories.”
- Umberto Eco
Finding a Motif is like a finding a pattern, a common
thread to bring all the different elements of your story
together. You’ll want to consider topics you’re curious
about discussing. You’ll also want to consider the feel
or sensation of your video - are you fascinated by the
environment of your Muse, the textures or materials, the
weather, etc. Write your thoughts down on paper and then
distill the top three keywords you’ll want to keep in mind as a
guide for your interview/shoot.
Some people seriously don’t want to speak on camera.
Interviews are not absolutely neccessary for making Video
Portriats. You can, instead, film parts about this person and
what they do, give a sense of what makes this person your
Muse through visual clues (refer to your Motif for ideas).
“Everything you possess of skill, and
wealth, and handicraft, wasn’t it first
merely a thought and a quest?” ― Rumi

3. basic
shot
typesExtreme Wide Shot is often used
as an “establishing shot” - the first
shot of a new scene that shows
the audience where the action is
taking place.
Very Wide Shot is closer than
EWS and it shows the subject in
the environment. It can be useful if
an action like running or moving is
involved.
Wide Shot shows all of your sub-
ject and some of the environment.
Make sure to make space above
and below to avoid cutting parts if
they move.
Medium Close Up is common for
interviews, it gives a more intimate
feel to the conversation without
being too close. Hand-gestures
and expressions are visible.
Close Up is useful for capturing
details of the face, an emotional
moment or the subject’s
expressions.
Cutaway shows something other
than the action/subject, it adds
dimension and depth to what is
happening while a Cut-In shows
parts of the subject in detail.
Mid Shot is an approximation of
how we naturally perceive people
in the flesh. It gives the feeling of
talking with the subject in person.
MUSE is an Online class at SKILLSHARE by Katrina Tan-Conte of ZeroTheOne.com
Stock photos taken from SXC.hu
and DeviantArt
“In order to give meaning to the world, one has to
feel oneself involved in what he frames. This attitude
requires concentration, a discipline of mind, sensitivity,
and a sense of geometry.” - Henri Cartier-Bresson
Shooting is more than just pointing your
camera at your subject and hitting the
record button. It is also about framing
or positioning your subject on the screen
in a way that best tells your story.

4. MUSE is an Online class at SKILLSHARE by Katrina Tan-Conte of ZeroTheOne.com
basic
shot
angles High Angle is when the camera
points down on the subject. It
makes your subject appear smaller
(like hobbits) and can also be used
to show action like footwork/dance
or handiwork/craft. Image from Alfred
Hitchcock’s North by Northwest
Low Angle is a shot taken from
below and it makes the subject
appear bigger or more powerful.
Image from Quentin Tarantino’s
Inglorious Basterds
Eye Level shows the subject as
you would see them in real-life. A
common and neutral shot. Image
from Jean Luc Godard’s Alphaville
Everything we shoot, everything we see is light. Find a well-lighted space
near a window if indoors or shoot either early morning or late afternoon
outdoors. Direct sunlight from a mid-day sun will cast sharp shadows on
your subject’s face and/or make them squint which can look UGLEH. You
can avoid this by shooting in semi-shade like under a tree. Prioritize the
illumination of your subject/Muse but also pay attention to the contrast of
the environment - is the background too bright or too dark? You may want
to turn on a few indoor lights to balance background and foreground and/or
reposition your subject in a more balanced contrast if outdoors.
light
“There is only you and your
camera. The limitations in
your photography are in
yourself, for what we see is
what we are.”
- Ernst Haas
Handheld or Tripod?
Using the Tripod is undoubtedly the
standard and it is also safest way to shoot
your video especially for those who have
difficulty in keeping their grip steady. Jittery
shots are difficult to watch and worse
when you’re using the zoom function,
resulting terrible things like eye stroke.
So please check your handheld shots
first and avoid zooming in to make
shots less jittery. I personally prefer
to use handheld because it is fast
and easy to set up and start shooting.
Again it is important to keep in mind
your INTENTION. In terms of effect,
handheld shots feel more organic
or even intimate when done well.
This can also be considered a
photo-journalistic approach to
film-making. A good compromise
between handheld and tripod is the
use of a MONOPOD. This is also
a way to avoid jittery movement as
it adds balance to your grip. You can
even do extended high angle shots or
a mock crane shot which could look
cinematic in a big social event like a
wedding or music festival.

5. Crane Shot is usually reserved for
feature film-makers who can afford to
use a crane but you can mimic this
movement by using your Monopod and
lifting it.
“The function of camera movement
is to assist the storytelling. That’s
all it is. It cannot be there just to
demonstrate itself.”
― Mike Figgis, Digital Filmmaking
basic
camera
movements Panning Shot is an easy way of showing the
surrounding area much like the way you would
view a place by twisting your head from left
to right. Instead of shooting several shots of
a place you can have just one shot using this
technique. You can also use this to follow your
subject as they move.
Tilt Shot is similar to the Panning shot but
instead of twisting the camera horizontally
AKA left to right, you twist vertically from top
to bottom (or vice versa) much like how you
would look up or down on something.
Tracking or Dolly shot is commonly used
to follow a subject as they move. Unlike the
Panning shot, the camera is not staying in one
position but instead moving with your subject
on a horizontal plane from point A to B.
REMINDER: Please be aware of the area where you will be conducting your camera movements especially if it is a Tracking or Crane shot. Tracking your subject
and focusing on getting a good shot out in the street can be dangerous for things like moving cars or people or potholes you might trip on. Either test your shot or
the path you’ll be tracking or get someone to watch your back while you shoot.
MUSE is an Online class at SKILLSHARE by Katrina Tan-Conte of ZeroTheOne.com

6. editing
tips
1.file
organization
As soon as you start transfering
video files into your computer,
make sure you sort and label by
date, subject/location. Adding other
details like names or keywords
can help for reference and future
projects.
2.start by
cutting your
interview
This takes the most time and
you’ll want to distill the absolute
essentials before getting started
on the “storytelling” or the
arranging and adding of supporting
shots later. This is practical if you
don’t have a fast computer and
overloading your editing software
with hours of video footage will just
make it impossible to work. So go
bit by bit, starting with the meat or
content of your video.
3. collect the best
Review your footages and take out
the very best shots (other than the
interview) to support your story.
Consider visual clues - ask, how can I
bring the viewer into this experience?
4.assemble the
puzzle
Once you have all the shots you
need for your video, you can start
lining them up on your editing board
or timeline. This is where the actual
storytelling happens. Normally, a story
has a beginning, middle and end.
You’ll want to consider the experience
of your viewer like building up your
story using momentum or rhythm
especially if some music is involved.
5.avoid too short or
overly long shots
Unless you’re making a stop-motion
sequence, there is no reason you
should cut your clips down to a few
seconds sequence unless you are
trying to stage a visual seizure. Ask,
do you absolutely need that 2 second
shot of a cat? Practicing zen in your
editing and letting go can greatly
improve your storytelling AND make
this whole process less stressful.
Overly long shots can also be a drag
for your viewer. Ask, what is your
intention? Will this help your story?
7. transitions
Tread softly in these grounds because
it’s easy to lose yourself and end up
with a video from the 80s. Transitions
are useful for 2 main things: to divide
your video into parts (to transition from
one scene/mood to the next) and to
add either movement or drama as a
way to strengthen your story. Basic
transitions include: Simple cut - the
most common is the cut between
your shots. Fade into black or white
- useful for dramatic beginnings or
endings. Crossfade - another dramatic
and soft way for clips to transition. Too
much of this effect can look tacky.
8. adding text
First it is important to add credits at
the beginning or end of your video to
mention/thank those involved. This is
also a way for the viewer to find and
connect with you and your subject
soon after they watch your video.
Adding subtitles can also help your
video reach more viewers. Adding a
quote or dedication at the beginning
can also assist in getting your audience
in the right mood or frame of mind for
your video.
9. music/audio
It’s important to consciously pair
your video/shots with music that
matches or compliments the mood
or feeling you are trying to convey.
Try out your software’s available
audio tools like noise reduction
if your recording is too noisy or try
High Pass to amplify higher pitch
sounds or Low Pass to amplify
lower pitch sounds.
10. improving
image
The priority is to keep your subject
visible so adjusting the brightness
or contrast can be useful. You
may also want to adjust the hue
to keep your shots and the mood
consistent throughout the video.
11. export
Export your file in high quality
Quicktime format (.mov) and adjust
settings to Photo-Jpeg for backup
and/or export another file for online
viewing on youtube or vimeo. Most
editing software have this option.
MUSE is an Online class at SKILLSHARE by Katrina Tan-Conte of ZeroTheOne.com

7. shareAfter making your video portrait it’s time to go back to step one or to re-
Connect. This time we give back to our Muse, our source of inspiration.
Paying it forward or sharing is such an infectuous joy that it easily opens up
people and hearts. It feels so good you’ll want to do more of it - and why not
together with your friends and loves?
If you know it’s important and it makes your heart sing, shout it out loud,
throw a party! Get some of your friends together for a viewing night or
surprise your Muse with a screening of their video portrait with their friends
and family. Things like these build and strengthen relationships, it makes life
all the merrier.
So, go out and share and be the beauty you see in the world. Shine bright!
credits
Workshop + Materials
Katrina Tan-Conte
ZeroTheOne.com
Assistance, Support
Francesco Conte
FranAtopos.com
Insight, Assistance, Support
Ruben Lagattolla
Ruben FilmsSpiral Out, Keep Going
by ~ceremonially-unclean
via DeviantArt.com
You can find all of your
classmate’s video
portraits at this link:
http://www.zerotheone.
com/muse-march-2013/
http://www.skillshare.com/