When to Move the Camera

You know the camera moves and names, but that's just half the battle. Here are some answers to when and how to use those moves effectively. In the early days of filmmaking the camera didn't move very much and this was for several reasons. First, no one had yet thought to put them on wheels, and secondly because directors believed that moving the camera would confuse people trying to follow the narrative. As moviemaking progressed, cameras started to move in all sorts of ways and these movements were used to add to the storytelling. Today, most major productions feature a lot of camera movement, from subtle dollying along as two characters walk down a pathway, to elaborate crane maneuvers which fly us over a scene and bring us in close to the action. Read More »

Slow Motion. Boo-Yah.

Why in the crud is slow motion so dang awesome? For some reason we like to watch highlight films, extreme sports films, Sherlock Holmes, etc. that have pretty amazing slow motion effects and when we see them, we're like, "Whoa!" Read More »

Thoughts on Storytelling

Why do we tell stories? Plato once said, “Those who tell stories rule society.” Think about that for a second. A long, long, long time ago, storytellers played a huge role in different societies and cultures. Societies held storytellers in high regard. People loved to hear myths, fairytales and stories of their ancestors. Stories were used to teach, pass on history and heritage, inspire, and inform. I think it’s safe to say that stories today do much of the same things, but the way in which we tell stories has changed. A lot. Read More »

Storytelling and Film

Written by Brian Dunnigan Film has developed out of a narrative and dramatic tradition in which the art of storytelling is a central concern. Yet filmmakers have also challenged the seductive and manipulative power of story through playful resistance to narrative convention or by exploring other elements of the medium: the interplay of image and sound, rhythm and gesture, rather than reliance on plot mechanics or character psychology. But the audience for non-narrative film is small: the rapt faces of the aircraft passengers watching the flight attendant point out the nearest exit, remind us that we enjoy the [thrill] of disaster but need to believe in the possibility of a happy ending. Read More »

The 180-Degree Rule

In video production, every time you break the rules, you take the viewer outside of the viewing experience to puzzle over what just happened instead of simply enjoying the story. The master producers follow an established set of rules for a reason - to move the story along in a logical way that won't confuse the viewer. There are many things that we "know" about movies simply from having seen lots of them. We "know" for example that when the camera pans across a vast expanse of city and zooms in on a sign on a building that says International Widget, that the action that takes place after the cut is happening at International Widget. There are a number of rules we all know subconsciously even if we've never been told them. The 180 degree rule is one of them. The rule states simply that when filming (or videotaping) two elements (people, cars, armies, sports), the camera should stay within a 180 degree field and not "cross the line". Read More »

How to Record Better Sound

What do the movie The Making of Mr. Right, the television show Live at the Apollo, and American Express commercials have in common with your video productions? Sure, the former all had the advantage of big bucks pro gear and mega-salaried talent. But they also share the application of audio recording techniques that you can duplicate with consumer equipment. Like any enthusiast, we appreciate how simplicity can open up the creative floodgates. To get the best sound from your camcorder, listen up as I explain how to use pro techniques with consumer tools. Read More »

Three Point Lighting

Three point lighting is so ubiquitous that everybody who works with video should know how to set it up in their sleep. "I need you to set up three point lighting on that podium there, I have to run out for more video tapes." This is something that you might hear on nearly any video shoot. It's the easy answer to a myriad of questions and, it's very adaptable, doesn't necessarily requires three lights, and luckily, its not terribly difficult to learn. Read More »

Shooting to Edit

Always Plan and Shoot With Editing in Mind Read More »

The Interview, pt. 2

Last time we talked about interviewing, we talked about “on-the-street” interviews. These are typically lighter and more fun, simply because we’re asking a lot of people a question or questions that aren’t extremely revealing or difficult. Because of this, the way in which we conducted the interview matched - we were fun and light and often elicited a comical answer. Ultimately, the video was less formal. It was casual, fun, and often energetic. The “on-the-street” interview is a great way to get a lot of opinions fast. Now it’s time to shift gears a little bit. Read More »

On Being Creative

When an artist does work that seems innovative, we say that he or she has created something. The more I think about the process we call "creating," the more I'm convinced we use the wrong word to describe it. Articles on film sound usually stay clear of questions as basic as "What is creativity?" and "Is it possible for an artist to become more creative?" Read More »