Learn Field Production with the Sony Z150

1. MANHATTAN NEIGHBORHOOD NETWORK
BASIC FIELD PRODUCTION
(SONY Z150)

2. Chapter 1 Introduction to the Camera 1
Lens Cover….……………….………….………………………………………………….……………1
LCD & Eyecup Viewfinders…….……………………………………….…………….1
Charging & Attaching Battery..…………………………..…….………………..2
Memory Cards & Slots……..……………………………………………………………..3
Power Switch & Record Buttons……………………………………….……..4
Clip Playback……………………………………………………………….………………….……5
Tripod Use………………………….………….…….…………………………………………………6
Chapter 2 Capturing an Image 7
Full Auto vs Manual Mode….…..……………………………………..……………..7
Focus & Zoom Controls.……………..…………………………………………..……..7
Understanding Exposure and Light……….……………………………….8
White Balance……………..……………………….…………………………………………..…..9
Chapter 3 Composition & Interviewing 10
Shot Types……..…..….…………………………………………………………………..…………10
Rules of Composition…..…………………………………………………………………13
Interviewing Techniques…………………….…………………………………………14
Chapter 4 Introduction to Sound 16
Sound Equipment………..…….…………………………………..…………….…………16
Connecting & Setting up Microphones………………………….….18
Monitoring Audio…………….……………………………………………………………..20
Chapter 5 Lighting Basics 22
Video Camera Light.………………………………………………………………………22
Lighting Tips……..……………………………………………………….…………..……….….23
Chapter 6 Field Production Essentials 24
Elements of Storytelling………………………………………………………………24
Organizing & Transferring Media to Hard Drive..…….…….25
TABLE OF CONTENTS

3. Lens Cover
To open or close the lens cover, move the lever
to the OPEN or CLOSE position.
LCD Viewfinder
The LCD Viewfinder is a panel that
folds out near the top handle of the
camera. It operates on a hinge and
does not detach from the camera.
When the camera is powered on,
the open LCD Viewfinder displays the
image the camera is seeing.
Eyecup Viewfinder
At times, specifically when shooting
outdoors in bright sunlight, it will be difficult
to see an image using the LCD Viewfinder.
In these scenarios, it may be best to use
the standard viewfinder with the attached
eyecup. Due to the eye sensor, the
viewfinder will automatically turn on when
it detects an eye nearby.
Ch. 1 Introduction to the Camera
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4. Charging Battery
When filming in locations with no access to power
outlets, it is best to operate the camera with a fully
charged battery.
To charge the supplied battery:
1) Connect the power cord to an available wall
outlet.
2) Connect the power cord to the AC Adapter.
3) Connect the other end of the AC Adapter to the
Camera.
4) Connect the other end of the AC adapter to the slot
on the camera (pictured).
*Always re-wrap charger cables neatly. Return the
charger base and cables to the camera bag.
Attaching Battery
To attach the battery pack, press the battery pack against
the back of the camera and slide it down. There is
an arrow on the battery and it should be facing
down when inserting into the camera.
To remove the battery,
make sure the POWER
switch is OFF. Push the
BATT RELEASE button and
lift the battery pack up
simultaneously to remove
it.
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5. Memory Cards & Slots
The Sony Z150 stores recorded video and audio on memory cards. TheSony
Z150willaccepteitherSDHCorSDXCmemorycards.Thememorycardneeded
dependsontherecordingformat.ThestandardformatforMNNSonyZ150camerasis
AVCHD,thereforeanSDHCorSDXCwillbecompatible.Thememorycardmustbea
Class10orhigherandwerecommendacardwithatleast32GBsofspace.
There are two memory card slots on the back
of the camera protected by a hinged door.
Pull the door open to access the memory
card slots.
Insert the memory card with its notched
corner facing down until it clicks.
To eject it, lightly press the card in once and
release it. You will then be able to pull the
card out.
There is a small lamp next to each slot. When
the lamp flashes red, the camera is reading/writing
data. Do not attempt to eject the memory card or
data may be damaged.
*Note: Inserting a memory card in the wrong direction could
damage the card and camera. Never force the card into the
slot.
To select which memory card slot to use for
recording, first make sure the camera is powered on. Press the SLOT SEL on
the side of the camera to select the card for recording. When a memory
card is first inserted, you may be asked to format the card.
Note: Formatting a card will delete all of its contents.
To format a card, press the! MENU button. Use the arrow buttons to
navigate to the (OTHERS) section > then choose FORMAT MEDIA. Select
the card to be formatted then select OK.
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6. Power Switch & Record Buttons
To power the camera on, slide the switch
on the side of the camera to ON (I). To
power it off, slide it in the reverse direction.
There are two record buttons. The primary
button is located on the side handle grip
and the other on the top handle of the camera.
With a memory card inserted and the camera powered on, pressing
either RECORD button once will begin the camera recording. The green
word "STBY" at the top of the LCD Viewfinder will change to a red "REC" to
indicate camera is recording, and the two recording lamps will light up
red. To stop recording, press either record button again. The lamps will turn
off, and the camera will go back into standby "STBY" mode.
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7. Playback
To review footage recorded to the memory card, press the THUMBNAIL
button on the top of the camera.
Select the thumbnail you want to play using the arrow buttons. Press the
SET button to play the clip.
Once playback starts, you can use the arrows and SET button to rewind or
stop the existing clip or jump to the next clip.
To return to the RECORD mode, press the THUMBNAIL button again.
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8. Tripod Use
When setting up the tripod, always lift the arm
first before extending the legs. When using the
tripod, ensure all tripod leg locks are securely
tightened before mounting the camera to the
tripod head. Twist the knobs on the tripod to
raise and lower the height. Always extend the
bottom section legs first and moving to the
top section. This will make it easier to adjust
the height once your subject is in front of the
camera.
To remove the plate from the tripod, unscrew the
safety lock and pull the plate towards the back
of the tripod. Hold the RED release button while
pulling the plate towards the back.
To attach the tripod plate to the camera, line up
the screws on the plate with the holes on the
bottom of the camera, then use a coin to
tighten the screws. Make sure the plate is lined
up with the bottom of the camera. The plate
should never be directly underneath the lens.
When the plate is securely screwed onto the
bottom of the camera, slide and lock the plate
with the camera attached onto the
tripod. Use the arrow on the side of
the plate as a guide for which
direction to slide on the plate.
To level the camera, press the light button (if necessary) to
illuminate level bubble. Hold the top handle of the camera
and loosen the clamp underneath the tripod. Adjust until
level and re-tighten the clamp.
To adjust the pan and tilt knobs, flip the side (for tilt lock) or
front (for pan lock) knob to loosen/tighten. Use the drag
controls to adjust the tension of the pan/tilt controls.
IMPORTANT: Always remove the plate from the camera and place on the tripod after
your recording is complete.Remember to return the tripod to the shortest height and
lock the knobs before returning to the tripod bag.
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9. Automatic vs Manual Mode
At MNN, we recommend producers utilize the FULL AUTO mode on the
Sony Z150. This highly advanced camera can detect and set the proper
settings based on your environment. Even in FULL AUTO mode, you can
manually make adjustments to your camera’s image. In this chapter, we
will focus on how to manually adjust specific elements that affect how the
image appears.
Focus & Zoom Controls
The camera’s lens performs three primary functions: Focus, Zoom, and Iris
(exposure). The first ring on the lens or the ring located towards the front of
the camera gives you the ability to focus your image.
To use the focus ring in MANUAL mode, set the FOCUS AUTO/MAN button
to MANUAL. A hand icon will appear in the LCD screen indicating you are
in manual focus mode.
The FOCUS MAG button near the hand grip magnifies the image so you
can get a clear image. If you press the button twice, the magnification
will increase. Always remember to return to the standard view because
while the image appears to be enlarged, it will not record that way.
The second ring on the camera’s lens or the middle ring is the ZOOM ring.
Twisting it downwards will zoom in to the shot, while twisting the ring
upwards will zoom out and widen the shot.
The zoom ring isn’t the only
way to zoom in and out. There
are two zoom levers - one
located on the camera handle
and the other near the hand
strap. Pressing down on the
side labeled with a W will zoom
out or widen the shot. Pressing
down on the T side will zoom in
or tighten up the shot.
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Ch. 2 Capturing an Image

10. Understanding Exposure & Color
If you want complete control over your image, you can make manual
adjustments to exposure functions. Exposure refers to how much light is
entering the camera body and being “exposed” on its internal sensors.
There are several manual functions on the Z150 that affect the exposure or
the brightness of the image. We will discuss four things that affect
exposure and color: Iris, White Balance, ND Filter & White Balance.
IRIS
When light passes through the lens, before it enters the body of the
camera, it passes through an opening called an iris. The iris is a small
device that can open up wide or close down tight. This allows the user to
choose how much light can pass through the iris and hit the camera
sensors. The iris is controlled by the last ring (Figure A) on the camera’s
lens, the ring furthest from the front of the camera.
Before you can manually adjust the iris function you must turn OFF FULL
AUTO (Figure G). Press the Iris button (Figure C) until you see an F-stop
value appear. If an “A” appears before the F-stop value, it is NOT in
manual mode. Now you can use the last ring on the camera’s lens to
adjust how much light you are letting into the
camera.
ND Filter
When shooting in bright sunlight, too much light
could enter the camera. In this case, switch on
the ND FILTER, which stands for Neutral Density
Filter. The first setting on the switch allows 1/4th of
the available light to enter the camera. The
second settings allows 1/32nd of the available
light to enter. The third setting allows 1/64th of the
available light to enter. If you are having trouble
white balancing outdoors, it may be due to too
much light entering there camera. Activate the
ND filter and try again.
*Note: If you notice the image is unusually dark,
check to make sure the ND Filter is off.
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11. White Balance
Just because the human eye looks at a wall and perceives it as white
doesn’t mean that the camera knows the wall should look white — its
sensors could be set in a way that causes the white wall to look orange or
blue. Light looks different on camera than it does to the human eye. To
determine the way the camera sees and records color, we use a process
called WHITE BALANCE.
To set your White Balance, do the following:
‣ First, make sure FULL AUTO is turned off.
‣ Press the White Balance Button (Figure B)
marked on the side of the camera as WHT BAL.
You will see an icon appear on the LCD
viewfinder. Use the toggle wheel (Figure A) to
select a preset location. The A indicates the
manual setting will be saved under the A
position on the White Balance Memory Switch.
You can save another location (for example:
outdoors on B and indoors on A) if you will be
switching between locations with different
lighting.
To White Balance, point the camera at a white
piece of paper so that the white fills the entire view of the screen. Press
and hold the WB Set button until you receive a color temperature value
(i.e. 3200K or 5600K). This value is the color temperature setting needed for
the paper to appear white. Once the value is set, press the WHT BAL
button to exit the white balance menu.
When a white balance adjustment value has not been successfully
obtained, the white balance icon will read ERROR. Make sure the white is
filling the screen and that your image isn’t too bright or too dark, then try
setting the white balance again.
Note: You will have to set a white balance every time you change
locations or if the lighting conditions change where you are shooting.
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12. Shot Types
When composing a shot, it is important to understand how to properly
frame a shot. Below are examples of the most common shot types:
Extreme Long Shot (ELS)
This is an establishing shot. This shot sets
the tone and mood and generally
consists of showing an exterior building or
landscape.
Long Shot (LS)
This shot generally shows the entire
human body, from head to toe.
Medium Shot (MS)
This shot is generally framed from the
waist to the top of the subject’s head.
This shot can consists of a single person or
multiple people.
Ch. 3 Composition & Interviewing
10

13. Medium Close-Up (MCU)
This shot is also referred to as a “Bust Shot” as it is
framed from right below the subject’s bust to the
top of their head. This shot is generally used for
interviews, especially when a lower third graphic
with the subject’s name is going to be added during
post-production.
Close-up (CU)
This shot focuses on either the face or a
specific detail of a subject. The close-up
takes us into the mind of the character.
This shot is known to be used to capture
the emotion of a subject. This shot
should be used after a wider shot has
introduced us to the subject.
Extreme Close-Up
This is an extreme tight shot of an
element of a larger subject. When
shooting people, this can be the nose,
feet, eyes, etc. When shooting objects,
this could be a leaf on a tree, wheel
on a car, etc.
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14. High Angle Shot
This is when the camera is placed in a high position looking down on its
subject. This causes the subject to appear weak.
Low Angle Shot
This is when the camera is placed low and makes the subject look strong
and powerful. The added height of the subject or object may make it
inspire fear and insecurity in the viewer.
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15. Rules of Composition
Rule of Thirds
The rule of thirds helps to compose a shot
properly. The goal is to visually divide the
screen into three equal parts vertically
and horizontally. The primary subject (for
people, it’s usually the eyes) should lie
one of those lines or possibly even the
intersection.
Headroom
Headroom refers to how much space there is between the top of your
frame and your subject’s head. Proper headroom leaves about a finger’s
worth of space above your subject’s head. In television production it is
considered bad composition if you cut off your subject’s head or have
several fingers worth of space above their head.
Noseroom/Leadroom
Noseroom is a composition rule in which the composed shot should allow
for some room in front of the subject. Avoid having your subject’s nose
touch the edge of the screen. You also don’t want the back of their head
too close to the edge of the screen. Leadroom is essential the same as
noseroom but it refers to moving objects/subjects.
Noseroom/Leadroom
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16. Interviewing Techniques
When conducting interviews in the field there are a lot of options for how
to setup the camera and the person or persons on camera. Let’s look at a
few options for interview setups:
On-Camera: Host and Guest(s)
The subjects in this interview setup can
be seated or standing. The host and
guest(s) are interacting with one
another.
The camera operator can zoom from
a two-shot in the beginning to a MS of
the guest when guest is responding to
questions. This technique takes
practice but adds interest to the shot.
On-Camera/Off-Camera
The subject(s) of this interview setup is
on camera while the host is off-
camera asking questions. You typically
cut out the questions being asked by
the host, therefore, the guest must
answer in complete sentences.
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HOST GUEST
CAM
HOST
GUEST
CAM

17. Over-the-Shoulder
This setup shows a portion of the interviewer’s shoulder. The interview will
first be conducted focusing on the subject(s). In some instances, when
using one camera, the camera operator will then move the camera over
the subject’s shoulder and record the interviewer asking the questions.
Make sure the camera is in the same side of the shoulder for both
subjects. This technique gives the editor the ability to edit between the
two shots during post-production.
15
HOST
GUEST
CAM
HOST
GUEST
CAM
CAMERA’S PERSPECTIVE (GUEST) CAMERA’S PERSPECTIVE (HOST)

18. Securing high quality audio when recording video can be one of the most
challenging aspects of field production. In this chapter we are going to
look at the types of microphones and audio equipment available then
explore how to use those microphones with the Sony Z150.
Sound Equipment
XLR CABLES
XLR cables are used with professional
equipment such as microphones and
speakers. “XLR” refers to the connector type
on the cable. XLR plugs have three prongs
and XLR sockets have three holes. Some XLR
cables have a small latch on the socket
connector that must be pressed to release a
plugged-in cable.
Note: Always neatly re-wrap XLR cables when returning them to MNN.
SHOTGUN MICROPHONE (with BOOM POLE or SHOE MOUNT)
A shotgun mic has the ability to mount to the top of the camera or to a
boom pole. If reserving the boom pole, the camera operator will need to
have an individual responsible for holding the boom
pole. It is best to hold the pole above or below the
subject so that the mic+pole does not appear on-
camera.
Input Type: Mic+48V
Purpose: This is used in situations where there are
more people being interviewed than microphones
available. This is also good to use in narrative and
fictional productions where you do not want a microphone to be visible
on the subject.
Ch. 4 Introduction to Sound
16

19. WIRED LAVALIER
This microphone is referred to as a
“lavalier” because it is small enough to be
clipped to a person’s shirt or collar. This
microphone Is run underneath the
subject’s shirt and clipped onto their
lapel. When reserving this microphone,
you may also need to reserve an XLR
cable to extend the distance of the
subject from the camera.
Input Type: Mic+48V
Purpose: This is used for interviews, preferably seated so the XLR cables do
not appear on camera. These microphones are highly sensitive and best
used indoors.
WIRED HANDHELD
This microphone is typically used for street interviews and field reporting. It
is durable and ideal for outdoors. This mic should be held close to the
sound source to pick up adequate audio levels.
Input Type: Mic
WIRELESS MICROPHONE SET (HANDHELD or LAVALIER)
MNN’s primary microphone is a Sony Wireless Microphone Kit. These kits
come with a lavalier transmitter, a plug-on transmitter (for handheld or
shotgun mics), and a receiver that is attached to the camera.
Input Type: Mic
Purpose: These microphones are best when your subject needs to be
mobile and free of cables. Another benefit is that interviews and dialogue
can be recorded from a distance.
Note: If you reserve a wireless kit and you need to use the plug-on
transmitter, you must also checkout a handheld or shotgun microphone.
You must also supply your own AA batteries when using wireless
microphones.
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20. HOW TO USE WIRELESS MICROPHONE TRANSMITTER/RECEIVER
‣ Squeeze the two levers together on the side of the battery door and pull.
‣ Insert batteries.
‣ Squeeze levers and push to close.
‣ Hold the POWER/MUTING button located on the front of the receiver/transmitter for 3
seconds to power on/off. Press the MUTING button one time to temporarily mute the
signal. The light will blink until you press the MUTING button again to turn off.
HOW TO SCAN FOR A CLEAR FREQUENCY
‣ Squeeze the two levers together on the side of the battery door and pull.
‣ Insert batteries.
‣ Hold RECEIVER (two antenna) in left hand and TRANSMITTER (lavalier or plug-on) in
right hand side by side. Infrared sensors should face one another.
‣ Push the +/- button on RECEIVER until you see AUTO SET.
‣ Hold the SET button for 2 seconds until YES flashes. Press SET again to begin scan.
‣ Scan will begin. Once scan is complete, the TRANSMITTER will flash indicating the sync
is complete. Use the +/- buttons to choose YES. Then press the SET button.
‣ Use the +/- buttons on the RECEIVER to return to main window and verify frequency.
Connecting & Setting up Microphones
There are two XLR sockets on the Z150 that gives users the ability to record
sound from separate microphones at the same time. There are two inputs
on the camera labeled INPUT 1 and INPUT 2. Plug the XLR cable into the
input socket you intend on using.
HOW TO PLUG/UNPLUG MICROPHONES
‣ Find the end of the XLR cable with the prongs and plug into INPUT 1
(Figure A).
‣ The plug clicks in the socket when it is locked securely in place.
‣ If using two microphones, insert the second XLR cord into the socket
labeled INPUT 2.
‣ To detach the XLR plug from the socket, hold down the small metal
latch at the top of the camera’s XLR socket and pull the plug out.
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21. HOW TO SETUP AUDIO SETTINGS
Locate the bank of switches on
the side of the camera. These
controls allow you to adjust the
following: input options, audio
sources, control settings & audio
levels. Let’s look at each section
from left to right.
INPUT OPTIONS
There are three microphone input
types: Line, Mic and Mic+48V and
their settings can be adjusted
depending the microphone (Figure
B). You will see the mic type noted
for each of the aforementioned
microphones but see below for the
INPUT TYPE for each microphone
available at MNN.
LINE
This input option is selected if you get a line feed
from an audio board.
MIC
This input is selected when using the wireless
microphone kit and the wired handheld
microphones.
MIC+48V
This input is selected when using the wired
lavalier microphone and the shotgun
microphone.
AUDIO SOURCE
There are two primary audio source options for input 1 and 2. The top switch
gives you the option of using the internal mic (INT MIC), the middle switch is for
an external mic (EXT) connected to one or both XLR inputs or INPUT 1 (an
external mic). The bottom switch is not an active option for MNN’s Sony Z150s.
Note: If you only want to record sound coming from the external microphone,
make sure both switches are set the EXT, even if there is no microphone plugged
in. This will prevent you from having to remove the audio track from the internal
microphone that usually yields bad audio.
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22. CONTROL SETTINGS & AUDIO LEVELS (auto/man)
This setting gives you the ability to manually adjust the audio volume level knob.
If you flip the switch to MAN, you can adjust the knob to to raise and lower the
audio levels. In most instances, you will want this switch set to MAN. When
recording in extremely loud environments, it can be beneficial to flip this switch
to AUTO so your levels do not over-modulate and create sound distortion.
Monitoring Audio
The most important element of video is capturing good audio. The most
important audio essential is to monitor audio. Audio should be monitored
in two ways, with your eyes and ears.
To ensure that audio is successfully coming into the camera, look for audio
level meters on the lower right hand corner of the LCD display. The levels
rise and fall according to the volume of the audio signal being picked up
by the camera. When recording a person’s voice, the levels should stay
consistently in the upper half of the meters but should NOT touch the red
mark at the end. If levels consistently hit the red mark, the sound may be
distorted.
A more effective method of checking the audio levels is to activate the
STATUS button (#2) located on the side of the camera.
The STATUS window allows you to see which input is going into which
Audio Channel, the Input Type (Line/Mic/Mic+48V), Headphone Output
(which inputs you hear in the headphones), and a more detailed view of
the audio level meters. Ideal audio levels for a subject’s voice should fall
between 20 and 10 on this scale.
20

23. Headphone Monitoring
One of the most important audio essentials when recording video is
monitoring audio using headphones. While it is important to see that
audio is being recorded by viewing the audio levels, it is just as important
to make sure the sound you are recording is free of any rubbing noises
from jewelry or radio interference when using wireless microphones.
Always wear headphones when recording audio. It is best to wear
headphones that cover the entirety of your ears, but earbuds will suffice.
On the Z150, you have the ability to listen to the two audio inputs
separately or together. When listening to a mix of both, you will hear
channel 1 in one ear of your headphones and channel 2 in the other ear.
To set the headphone monitoring output, press the MENU button on the
top of the camera. Select the AUDIO SET menu option and choose
HEADPHONE OUT. Select one of the following:
It is generally best to monitor your primary audio input. So if you are only
using one microphone plugged into Input 1, select CH1. If you have two
wired lavalier microphones plugged into Inputs 1 and 2, select MIX
MONO. Adjust the options until you are listening to your desired audio
output.
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24. Video Camera Light
In some field production situations, you may find you need additional
lighting. When shooting at night or in low light situations, it may be
beneficial to request a video light. Manhattan Neighborhood Network has
two options when attaching a video light to the field camera.
SMALL LIGHT
This small Sony light is mounted to the top of the Z150 by sliding the light
onto the “cold shoe” and twisting the locking wheel until it is
tight.
To turn the light on, locate the switch on the side of the light
and push in the green button and lift up or pull down. You
have two bulb options; flip the switch UP to turn on a single
light (1X), flip the switch DOWN to turn on both lights (2X).
LARGE LIGHT
This large Sony light is also mounted to the top of the Z150 by
sliding the light onto the “cold shoe” and twisting the locking wheel until it
is tight.
To turn on, push the green button in and lift up to
the ON position. This light also has a battery
indicator so you know approximately how much
battery life remains. It is also equipped with barn
doors so you can adjust the direction of the light
and a brightness dimmer so you can adjust the
amount of light.
ATTACHING THE BATTERY
Both video lights are powered by a Sony battery. To
attach the battery, slide the battery onto the back
of the light with the triangle symbol on the battery facing DOWN. You will
hear a clicking sound once it is in place. To remove the battery, push the
battery release button and lift the battery from the back of the light
simultaneously.
Ch. 5 Lighting Basics
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25. Lighting Tips
Video productions in the field can be extremely difficult when trying to
capture an image. There are other lighting elements to keep in mind
when shooting in the field.
USE NATURAL & AVAILABLE LIGHT
When shooting indoors and there are ample windows and bright sun
outside, try to use the natural light from the windows. Make sure all indoor
lights are turned OFF. Place the subject so that their profile is facing the
window. Never place a subject’s back to a window as it will make the
subject appear as a silhouette. If you are shooting indoors during the
evening, use as many available lights as possible. Turn on lamps,
overhead lights and any other potential light sources. Avoid placing your
subject directly beneath an overhead light as it will illuminate the top of
the subject’s head and nose, creating a harsh shadow on their face.
SHOOT ON CLOUDY DAYS
When shooting outdoors, the best day to shoot is on a cloudy day. The
clouds act like a filter over the sun and give your image a nice even tone.
If shooting outdoors on a sunny day, try to place your subject in a location
that is shaded so they aren’t squinting their eyes while looking into the
camera.
USE A BOUNCE BOARD
A bounce board or “reflector” is a reflective surface used to “bounce”
light onto a subject and help reduce shadows on the face. Simply position
the board facing a light source and tilt it until the light hits the subject.
High-grade reflectors are available at film and video supply stores but
even an inexpensive, homemade bounce board can help. It can be as
simple as a piece of white foam core (sold at most art stores) or a piece of
cardboard painted white, gold or silver. Different colors reflectors give the
light a warmer or cooler tone.
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26. Elements of Storytelling
WHAT IS STORY?
Story is a fundamental way that humans organize and store information. Story is
a selective batch of information. It selects details and arranges them.
When a story takes shape, we’ve taken a string of events and invested them
with meaning; what was important enough to shape into a story..and tell others
about?
That unsuspected sum is the special mathematics of story. Story imbues meaning
to words, images and events. It also connects us in a very simple way, as listener
and teller.
Stories connect events and create meaning; they also connect people to each
other.
HOW TO WRITE A STORY?
Writing a story can seem overwhelming and difficult. When writing a story, a
common trick is to answer the 5W’s and H: who, what, when, where, why and
how. Any story should answer most or all of these questions. Find a topic or
subject and practice answer the 5Ws and H. Then begin visualizing how you
would want to hear and see that story.
Is the storyteller the narrator? Will you write and record a voiceover based on
the 5Ws and H? Will the storytellers be various individuals who you have answer
those questions or will it be a combination of both.
WHAT IS THE IMPORTANCE OF B-ROLL?
Once you have determined your story and how you want to present it, it is
important to accompany that story with visuals. B-roll is footage relevant to what
the storytelling is discussing. Whether you are the narrator or interviewed subjects
on a topic, it is important to capture images and/or video of the topics being
discussed. For example, if someone is telling a story about grocery shopping in
Florida, you could show (b-roll) images of them in Florida or if possible shoot
video of oranges at the grocery story. Always shoot at least 10 seconds of b-roll
so you have enough to work with during post-production. If you don’t have a lot
of options for shooting b-roll, vary the shot composition to make it appear as if it
were a new b-roll shot. Avoid using too much of the same thing for b-roll.
The most important thing to remember about b-roll is that you can NEVER shoot
too much b-roll.
Ch. 6 Field Production Essentials
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27. Organizing & Transferring Media to a Hard Drive
Once you have completing recording media for your production, the
next step is post-production. In preparation for editing, it is important that
you have a storage device with enough space to hold the media
recorded onto the SDHC/SDXC cards.
We recommend you obtain an external hard drive (Mac formatted if
editing at MNN) with at least 1TB of space and a speed of 7200 RPM.
You should review your clips in-camera before leaving your shoot location
to ensure sound and video have been recorded. Once you have
confirmed your clips have been successfully recorded, you can begin the
process of transferring your clips to your hard drive.
Before you begin transferring clips, it is extremely important to remember
to be ORGANIZED. When working with digital media, you can accumulate
a lot of files and you want to make sure you know how to find them once
you are ready to begin editing. Here are the recommended steps when
organizing and transferring SD card media onto your hard drive.
*These following steps are specific to MNN equipment and software.
‣ Plug in your external hard drive.
‣ Create a project folder on that hard drive. Title that
folder the name of your show, episode or something
related to your project. Inside of that folder, create
another folder titled MEDIA. This is where you want to
keep all video clips, images, music, etc.
‣ Plug in your SD card into the slot on the back of the
Mac computer. Once your card mounts, click on it to open the contents
of the card.
‣ When an SD card is formatted for use with the Z150, it creates a special
folder called PRIVATE. This
folder is where all of the
media clips you recorded
on the camera are stored.
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28. ‣ Next, you will need to reveal the
contents of the PRIVATE folder to
find your clips. Right-click on the
AVCHD file and select “SHOW
PACKAGE CONTENTS.”
‣ This will reveal the BDMV file. Right-
click on that file and select “SHOW
PACKAGE CONTENTS.”
‣ Now you will see various files and
folders. Your clips are stored in the
STREAM folder with the extension .MTS.
Drag the entire STREAM folder to your
MEDIA folder on your external hard drive.
You can then rename the STREAM folder
to something that relates to the clips.
**You can also drag the entire PRIVATE
folder to your hard drive and then
organize your media.
‣ If you want to review any of the clips on the computer, open
the application VLC. Once open, select the clips you want to
review and drag them into the drop area for VLC Media
Player. The player will automatically begin playing each of the
clips.
‣ After reviewing clips, you can
rename them on your hard drive by
single-clicking the default name and
changing it to something specific to
the clip.
‣ After you have transferred and
organized your media, you are
ready to begin editing.
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