A great way to create more interesting video perspectives is to raise your camera higher. Positioning the camera above any scene gives a unique view—and putting the camera into motion from that position can result in really dynamic shots.
In this week’s video, we look at a couple of tools for raising your camera up higher, and discuss techniques for getting the most out of elevated shots.
Does your footage look too choppy? Are action scenes a streaky mess? It might be because your shutter speed isn’t set properly. The shutter in a camera is a lot like a pair of shutters on a window. It controls how much light comes through and hits the camera’s sensor.
This week, we continue to look at exposure. There are three critical pieces to achieving good exposure and creative control with your shots. Fortunately, shutter speed is the easiest to learn, with just a few simple rules.
When it comes to capturing great images, exposure is critical. Under- or overexpose your shot and you lose precious details. But setting the proper exposure isn’t easy; your light may move behind a cloud, or change over time. When shooting video, exposure requires an almost scientific understanding of light.
Whether you call it a sports cam, action cam, crash cam, or toy cam, the GoPro 3 has taken the production world by storm. While it’s not a true DSLR camera, we find ourselves mixing it into our production jobs all the time. For time-lapse, point-of-view, underwater, and aerial photography, these cameras are great.
When reading video scopes for the first time, it can be tough to figure out what you’re actually looking at. But tools like waveform monitors and vectorscopes can help with the exposure and color in your shots—and are definitely worth the time spent learning how to use them.
The primary thing to keep in mind is that these tools are more accurate than your eyes in providing an objective, analytical snapshot of your video signal. This week we’ll explore
· Why scopes are essential in helping you achieve better shots
· How a histogram complements the information on a waveform monitor
· How to use a waveform monitor to judge exposure and contrast
· How to use a vectorscope to analyze hues and saturation in a shot
A common phrase among DSLR pros is that “everything looks good on the back of the camera LCD.” While intended as a joke, the phrase really means that it’s hard to judge aspects of your shot like critical focus, color, and exposure using the LCD on the back of a DSLR camera. As these LCDs are generally very small, it can also be difficult for on-set clients and team members (like a focus puller) to clearly see what the camera is actually shooting.
That’s where field monitors come in. Over the past few years, lightweight field monitors offering flexible connectivity, high-resolution large screens, and extensive features have become more affordable. This week, we’ll explore the benefits of using a field monitor, including
Cars, phones, computers, clothes, and food are just a few examples of the plethora of products presented to us every day on TV and on the Internet. For commercials and many corporate videos, a product is the primary focus of the shot, so getting it to look its best should be your number one mission when shooting these types of projects.
Getting great product shots benefits from experience—but also a willingness to try new things with camera mounts, lighting, and motion. This week we’ll explore how to get a great product shot, including
Having clear, crisp audio tracks is essential for effective corporate videos, commercials, documentaries—and particularly critical for interview footage. Audiences are often willing to forgive small technical mistakes with video, but far less so with problematic audio.
This week we’ll set up to shoot an interview, and look at ways to improve audio recording quality on location. It’s easy to focus solely on capturing great visuals while shooting an interview; but audio that’s hard to hear, distorted, or runs together between interviewer and subject can quickly ruin a production–and possibly even require a reshoot. To help you capture the best audio with interview footage, this week we’ll discuss: