Video Boot Camp Guide for Teachers and Trainers. Download Free!
It’s the start of the school year. Coming up: a year of student video projects. And hours of misery for viewers. If only there was a way to make student video better. Hmmmmm….
Wait– I’ve got it! How about this free 5 hour lesson plan to help your students do better video? Teachers and trainers have been downloading it in droves, and why not? It’s free! Nothing to buy, no email address to leave.
If you’re a teacher or trainer, or know one, check it out. And if you HAVE used the Video Boot Camp lesson guide in your classroom how’d you do?
I just discovered commercial director Jordan Brady’s podcast, Respect the Process. I discovered it when he invited me to be on it, but it turns out I’m late to the party– he has a ton of subscribers and some really great guests.
The podcast is now up. Jordan’s beat is creativity and (surprise!) process in film, video and entertainment, which I’m always happy to talk about and learn more about. We covered a lot of information– about shooting video, how to get started in unscripted television, and how he once shot a spot in my garage.
Watch any film or TV show and you’ll see a series of very short shots (read why here). I argue that most people should get out of the habit of running the camera non-stop when shooting. And every so often I get a letter like this:
I am a professional videographer, and your advice to “shoot short shots” is totally misguided. Pros shoot more than they need so they can make their video perfect in the editing room. Turning the camera on and off is an amateur move. How have you made a living in this business?
–Chris F., New York
Chris isn’t wrong. My advice to try in-camera editing isn’t based on professional videographers, who do shoot differently. But the underlying principle is true– for pros and everyone else. To understand, let’s break it into two cases, the editors and the non-editors :
If you don’t edit later: Dads at soccer games. Employees at the company picnic. Grandparents at graduations. For anyone documenting a live event and not likely to edit later: don’t run the camera non-stop. Not only will that 45 minute ballet recital be horribly boring to watch, but if you shoot everything in real time, you’ll need an extra lifetime to view it. For these people, shooting short shots instead means their video will fall out of the camera looking professionally edited— and way more interesting to watch.
If you do edit later: Pros still plan their shoot because pros know that shooting and editing aren’t free. The more you shoot, the more time it takes and the more money you pay your crew. The more footage you shoot, the more time you need to edit later. Yes, pros shoot differently than someone going with friends to a rock concert. They budget extra time and money to try multiple takes, repeat moves, and take more flyers on things that might not work (but would be awesome if they do!) But even pros can’t run the camera non-stop.
Your movie has to be shot in 45 days and edited in 10 weeks. Or your commercial has to be shot in 12 hours, and delivered in 2 weeks. To make those deadlines (and the budgets that come with them) you need to carefully plan your shooting and know when to stop.
To summarize: If you’re not editing later, edit “in camera” by doing short, thoughtful shots and your video will be way more watchable. If you are editing later, keep an eye on your time and money. In both cases, the more you plan and think about your shots in advance, the better.
Running the camera non-stop just means you have no idea what you’re doing.
Father’s Day Video. Memorable–or as undercooked as the runny eggs and cold toast the kids bring Dad in bed? Here are a five tips to improve the video you shoot this Father’s Day.
1. Find the Hero: Focus your attention on someone– anyone! Having a hero invites us to think about our videos as stories aboutsomeone, which makes them more intriguing.
Choosing a hero changes the video. For example, if Dad is the hero, your story might be “Dad gets woken up for breakfast in bed– at 4:30am.” Told from Dad’s point of view, the story might alternate shots of the kids sneaking toward the bed, dripping coffee everywhere, with shots of sleeping Dad. The grand presentation would focus on Dad as he gamely chokes down breakfast.
If your daughter is the hero of the same video, it might be called “Sarah surprises Dad.” That video might spend time with 7 year-old Sarah in the kitchen making eggs in the microwave (and a colossal mess) because she’s not allowed to turn on the stove.
There’s no wrong answer here– just focusing on someone will make your video better.
2. Interview your kids: We see interviews on TV all the time for a reason: They work. They work especially well at capturing the precious moments of childhood. You’re only 6 once. Start before the big day and ask them to show you what they’re preparing, tell you how Daddy’s going to like it..how they thought of it…if it’s a surprise or not. Interrupt as little as possible. If you’re lucky, you’ll get plenty of material for the inevitable embarrassing wedding video in 15 or 20 years.
3. Interview Dad: Dad’s less likely to say something cute, but your kids will want to remember what he looked like way back…um…now. And future birthdays may also call for embarrassing video.
4. Change your perspective: We tend to stand and hold our video camera at chest height so we can see the monitor. But where you hold the camera changes the look and feel of your video. Shoot kid shots at kid level for more intimacy. Try shooting Dad shots from slightly to the side, or over his shoulder as the kids visit, or super close-up. A different point of view reveals a different world (see also 50 Ways to Shoot My Daughter Doing Homework.)
5. Stay Close. Zooming in may look great for a few shots, but as a shooting member of the family it also puts you far from the action. This can make your video feel less intimate. Father’s Day is full of subtle emotion. Stay close to the action and your family’s faces to catch it. Added benefit: you’ll actually be able to hear what they say. There’s no such thing as a “zoom microphone.”
Have you had this experience? You grudgingly agree to watch a friend’s video. You click on the link. The first few shots are good. Cute kids. But about 10 seconds in you start to get a sinking feeling. This video isn’t about anything. It’s a bunch of shots that aren’t leading anywhere. And you’re stuck having to watch enough to lie to your friend about how much you loved it.
You are watching a video without a story. Your friend took out a camera or phone, pointed without thinking, and shot for a while, also without thinking. The result is a series of unrelated images that become more boring the longer they continue. Your brain is trying its best to make sense of the images cascading before your eyes, but failing. That failure induces boredom, distraction and tension.
This happens in pro video too- it’s the difference between a satisfying ending (and a rush to be the first to share with friends) and something that’s cute but just peters out.
If you know story, your videos will be better– whether they’re birthday parties for the kids or short films with actors. But talking about “Story” scares people. Screenwriting books are filled with stuff like “three act structure,” “inciting incidents,” “act 2 turns” and “petting the dog.” Here’s a secret: it’s all jargon you don’t need to know. Story is simple.
The real secret to story is right here– 12 pages of it. Jargon-free, with exercises you can try right away. No registration required, so feel free to share the link with your story-challenged friend.
Click the cover for the free PDF. No registration required!
What’s the best way to shoot a stunning place, like a summit with great views in all directions?
I have tried slow panning for 360 degrees a couple of times, but I am not satisfied. If we pan slowly for better view, the whole 360 takes substantial time– if we pan fast…not good either. If we just record short clips 5 secs each in several directions, people might not get the idea of how stunning the place really is.
What do we do?
Instead of shooting stories like most people, you shoot a genre we in the business call Nature Videography (because you’re, you know, shooting video of nature. We people in the business are geniuses.) In Nature Videography, beauty is paramount.
Yet even in nature videography, beautiful shots can still be boring. And I suggest that they are boring for the same reason they’re boring in any other video: they stop adding information. “Too long” = “I’ve already understood the shot, you’re not telling me anything new, but I’m still looking at the same thing. Yawn.” Shots that don’t tell us anything new don’t work in any kind of video.
A pan is essentially moving the camera direction from right to left, or vice versa. There is nothing magic about them, but they can be a great tool to add information. For example:
CUT to a man’s shocked face. The Camera PANS RIGHT to reveal a hand holding a gun. It FIRES.
We didn’t know the gun was there until we moved the camera- the pan revealed this information. After the gun fires, the shot has no more information to give us. No new information = boring. So we CUT TO something else.
Here are some ways to think about using pans to add information to nature videos, but the principals apply to any video:
Pans don’t just show, they reveal. Carefully choose the starting and ending point for your pan to convey information. Start on FACE, pan to GUN. The same rules apply to nature video. What makes the shots special? In a nature video it might be the light, the composition or a surprising vista. Make sure you end your pan on a shot that really pays off for the audience.
Judge the length of the pan by how much information it conveys. If you’re bored, speed it up or cut out the boring parts and make the pan into multiple shorter pans.
The In-Between must add information too. What’s going on between start and end points in your pan? It needs to be worthy of the time allotted. If there’s nothing brilliant in-between, don’t pan.
Pans aren’t the only way to do “stunning”. You can get a sense of grandeur by starting with the mind-blowing ultra-wide shot of the mountaintop, then cut into a series of tighter and even more stunning still shots. The geography we remember from the wide will make the tighter shots more interesting. Or do short pans that overlap to give us a sense of scope. There are no rules here– panning the camera isn’t the only way to move it. Experiment on your next video, and find alternatives that work for you.
Milosh’s video, below, looks great. I’ve cued up to one of his panning shots. If you like nature video, it’s worth watching from the beginning. Nice job, Milosh!
The only thing worse than a blog post cobbled together out of all sorts of short things you don’t really feel like fashioning into a full blog post is a post explaining why you’ve been too busy to post lately. So here is the second-worst blog post I will ever write. Although, to be fair, there is a lot of free stuff in this one:
1) Craft Beer Fans can rejoice at the return of Brew Dogs! Season three starts Wednesday, April 1 at 10pm on the Esquire Network. If you haven’t seen the show, it’s sort of like Top Gear for beer. More of a humor/travel/stunt show than something you need to be a hophead to enjoy. Although if you are, you will. Here’s the great new season kickoff promo Esquire put together for us–
2) My friends at Discmakers just posted a free Story Guide I wrote for them, mostly with my favorite story advice right out of How to Shoot Video that Doesn’t Suck. It’s 10 pages of exercises and story-telling fun, and totally, entirely, free!
3) Speaking of How to Shoot Video that Doesn’t Suck– it’s holding fast at number one (!) on the Amazon Cinematography list. Sure, I’m bragging. And no, I don’t check my Amazon sales rank every day. Mostly. (As with another famous solo sport, any author who tells you they don’t is lying.)
I mention this not because I wanted to go off the innuendo deep end, but rather to say that there is now an audio version of the book that is also picking up steam. Better still, you can get it free on Audible.com as part of their trial deal.
That’s three FREE things in one post (assuming you already have cable). Not bad for something cobbled together out of parts.