#video basics

Image credit: Basicblogtips.com

Video blogging can be a really great way to share your knowledge with other people on the web and also a way to generate more traffic and make sales for your business.

Recording YouTube videos is not so simple and you need to learn the basics for how it works in order to get the most out of it.The videos do not have to be perfect but there are certain things you must get right.

BasicBlogTips.com shares an really interesting article called Video Basics: 5 Tips For Recording Outstanding Video Blogs

Film Making is the most recent of art. Even though digital art is more recent, it is really only a new tool and not a new form of art. Since filmmaking is a unique art form, it has its own set of elements and principles.

Film making combines theater, music and visual art. Early filmmakers would just set up a camera and film a stage production or an everyday event. The camera was fixed and static. Very quickly though, film makers learned that you could move the camera for new and more interesting angles. They were soon taking scissors to their film and cutting and arranging them into ordered sequences. The Great Train Robbery, directed by Edwin S. Porter in 1903 used basic film editing techniques to create a story.

If you have every been to a live performance at a theater, you will remember that you probably had to sit still in a fixed position and you only had one view of the stage. The players did not change in size and the scale of the scene was always the same. You could not get close to the players and to see the expressions on their faces. The actors may have had to exaggerate their emotions so people in the back row could tell what the character was feeling. In contrast, filmmakers can place the camera 2 feet away from the actors face for a dynamic close-up. They can film the shot 2, 3, or 30 times to get it just right. They can film the production over 6 week and piece the best shots together later. Filmmakers can add sound effects and music. They can add the actors voice, called a voice over, if a mistake was made during production. They are not limited to real time.

Film makers can film inside a studio, outdoors or at a location remote from the studio. Many production companies would travel to areas far from Hollywood to shoot their films. The desert scenes in Star Wars IV were shot in Tunisia and Tremors was shot near Lone Pine, California.

The Elements of Filmmaking

Filmmaking also has basic elements that are inherent to the process. You will find these elements in every film

Image

All filmmaking uses a light capture/recording device. It is then projected upon a screen. In theaters powerful lamps are used to project the image through a focusing lens. In television a vacuum tube projects lines of electrons upon a phosphor coated screen. Although the image is a recording of captured light the aesthetics of what we are viewing is still determined by the use of the basic elements and principles of static, fine art. The rules of composition are still the same. Color theory still needs to be applied to any successful film production. Lines and shapes need to be pleasing to the eyes, and more importantly, they need to be used subliminally to direct the eyes of the audience to the next shot without creating a distracting "jump cut". The elements and principles of art need to be read, reviewed, memorized but more importantly, they need to be used consciously. When critiquing your film, you should be able to identify why your film is visually effective using the elements and principles of art. Together the intelligent use of the elements and principles of visual art can help you create dynamic compositions that will help give your film good overall continuity.

The single photographic exposure on film or video of the image is called the frame. Frames are combined to create a shot. Shots are combined to create a sequence. A shot is any uninterrupted exposed section of film or video. A frame is in actuality a still photo image. It doesn't record motion; it records light and the result of a single frame is the same as a still photograph.

Time

Film had two types of time. The first is the actual length or duration of the film, for example, a run time of 90 minutes. The other type of time is called diegetic time, or time that is the result of the story or narrative. The story may span the a few minutes, a few hours, a few days, a few years or a lifetime although it may only take 90 minutes to tell the story through the film. In Stanley Kubricks "2001 A Space Odyssey" he leaps his story over a span of 3 million years. Diegetic time also works with simultaneous actions, using a technique called cross cutting. For example, during the running home scene in "Ferris Bueler", shots of Ferris and his sister are shown in separate locations but happening at the same time. Film makers can quicken time or retard time. Often, stories are told in short sections of real time edited together in sequence. Anything unimportant to the story is omitted.

Motion

Motion pictures, whether video or film, give the illusion of motion by the movement of many still frames through a projector. Because of a physical property of the eye and brain called the "persistence of vision" you are able to perceive the illusion of motion using motion picture technology. This illusion of motion distinguishes motion picture photography from still photography. Some of the earliest motion pictures were made from paper photo prints arranged in a flip book. This technology had drawbacks since they could only be viewed as very short shots and the size of the audience was limited to one.

Frame rates of motion pictures are 24 frames per second. That means that the camera records 24 shots per second and it is played back at the same rate. If it is played too quickly the motion appears to quicken and if it it played back too slowly then it appears slow. If you were to shoot at twice the speed, lets say 48 frames per second, you would achieve a slow motion look when the film is played back at 24 frames per second. The video frame rate is 29.92 frames per second, however for simplicity sake we will refer to the rate as 30 frames per second.

The element of motion is the motion that we see while we watch a film or video. Since everything moves it would be difficult to shoot a truly still shot with a film or video camera. There is always some motion somewhere. You can easily tell the difference between a still shot taken with a still camera then inserted in the video, and a non action shot filmed with a motion picture camera.

Because we are so accustomed to seeing motion editors will add motion to still photos that are inserted. Any stop in motion will distract the viewer and cause a jump cut.

Sound

Sound is not essential to a motion picture however sound is so common in film that it is included as an essential element. For the first 30 years of cinema motion pictures did not have sound tracks; sound technology evolved more slowly that the motion picture technology. Since films had no sound track, an organist, pianist or small ensemble would accompany the film. The score was played live. Now sound is an integral part of the film and it has been since 1928. For a few years, sound technology, since it lagged behind photo technology, forced cinematographers to return to more primitive filming styles. Many of the camera motions had to be abandoned because the microphones could not record sound at a distance. Microphones were awkwardly hidden in props close to the actors but out of necessity, the sound technology quickly advanced to meet the needs of the dynamic film styles that were developed in the 1920's and even earlier.

Most films now include dialogue recorded on the sound stage, sound effects that are included during post production, music scores, narrations and voice overs. The explosions, gunshots, car crash sounds, wind, rain, and thousands of other sounds are all added during post production by sound designers called "foley artists."

Believe it or not, professional film productions do not use the built in microphones included with consumer camcorders. Professionals use expensive sound equipment that is beyond the financial reach and technical know-how of most amateurs. The quality of the built in mikes is poor and acceptable results can only be achieved in a indoors in a well "padded" room without a fan, air-conditioning or electric motors. Like the camera, the microphone does not differentiate and seperate the good sound from the bad sound. For this reason it is very difficult to do a good dialogue with the built in mikes and often you will need to resort to a narrative voice over to tell your story.

Lighting

When we record using photographic instruments we record light. We do not record objects, people, buildings or anything at all - we record light. Image is what the mind does to the light once it is recorded and played back.

Cinematographers strive to have control over lighting conditions. The most experienced ones have full control over lighting and work with the director to create mood and effect as well as consistent continuity throughout the film.

Like sound technology, lighting is expensive and requires knowledge to use it effectively.

Sequence

After filming is complete, the editing process begins. The editor and director together will decide the length and order of the shots and piece them together to create a sequence. The sequence tells the story using the visual language of film, or film syntax. We have a specific way of viewing shots that makes the most sense to us as an audience. The most common way of ordering and arranging shots is called continuity editing.

Composition

Composition is the use of the visual elements and principles to create a frame that is aesthetically interesting, attention holding, and consistent with overall continuity. Composition is the placement of the shapes within the frame that enhance the film reality or "mise en scene".

Because the frame has a fixed boundary, composition will happen automatically. However, good composition must be made to happen. It is rare that it happens by accident. Directors work with set designers, costume designers, lighting technicians and cinematographers to create the best possible placement of "filmic" objects. Actors must be blocked (placed) carefully in each shot so they can be clearly seen by the audience.

Choose a film you have seen many times and pause on a frame. Look carefully at how the director has placed the actors and objects in the shot. All the actors were carefully placed on their "mark."

Everyone has a favorite shot from a favorite movie. A scene that transcends the basic elements of film and visualizes the theme and action so perfectly that it becomes a valued memory. These moments are not accidental, but the result of the purposeful integration of all the visuals elements that are seen on the screen.

The shot

All video is made up of shots. A shot is a single, continuous image taken by the camera. It can be as short as one-thirtieth of a second (the length of a single video frame) or as long as the length of the entire program. Most of the time, you assemble a number of different shots into a sequence to show the viewer the action from the best possible angle, distance and viewpoint. It is your job to develop shots in such a way that you emphasize the elements in your video which require audience attention, while conveying the proper meaning.

Sequence of shots

In order to do this you need to consider two different, but very related functions. The "frame" is the picture you see in the viewfinder on a monitor. Composition refers to the layout of everything within the frame: What your subject is, where it is in the frame, which way it's facing, the background, the foreground, everything. Anytime you point your camera, you are "framing" a picture. When you  frame  a shot, you adjust the camera position and zoom lens until your shot has a good composition. Rather than simply pointing the camera at the subject, you need to compose  a shot. 

The decisions you make regarding framing and composition combine to create each shot of your video, and ultimately determine whether your video is successful or not. Knowledge of a basic array of choices available to the videographer will allow you to make choices, with your video camera, that will result in a more effective and a more professional looking video. Only the essential elements of how to improve your video composition will be covered. These include:

framing basic shot types

camera angles

shot movements

shot composition

shooting for continuity

To begin the lesson make a selection from the buttons on the menu at the top of the page. If this is your first visit then you should start at part 1. After you examine the elements of framing and composition, review the Conclusion section for advice on planning your shoot.

Most domestic camcorders can do just about everything automatically. All you have to do is turn them on, point, and press record. In most situations this is fine, but automatic functions have some serious limitations. If you want to improve your camera work, you must learn to take control of your camera. This means using manual functions. In fact, professional cameras have very few automatic functions, and professional camera operators would never normally use auto-focus or auto-iris.

The most common camera operations are briefly explained below (they are covered in more detail in other tutorials). Starting at the beginning, learn and practice one at a time, leaving the others on auto-function.

Zoom

This is the function which moves your point of view closer to, or further away from, the subject. The effect is similar to moving the camera closer or further away.

Note that the further you zoom in, the more difficult it is to keep the picture steady. In some cases you can move the camera closer to the subject and then zoom out so you have basically the same framing. For long zooms you should use a tripod.

Zooming is the function everyone loves. It's easy and you can do lots with it, which is why it's so over-used. The most common advice we give on using the zoom is use it less. It works well in moderation but too much zooming is tiring for the audience.

For more information see Using the Camera Zoom.

Focus

Auto-focus is strictly for amateurs. Unlike still photography, there is no way auto-focus can meet the needs of a serious video camera operator. Many people find manual focus difficult, but if you want to be any good at all, good focus control is essential.

Professional cameras usually have a manual focus ring at the front of the lens housing. Turn the ring clockwise for closer focus, anti-clockwise for more distant focus. Consumer cameras have different types of focus mechanisms — usually a small dial.

To obtain the best focus, zoom in as close as you can on the subject you wish to focus on, adjust the ring until the focus is sharp, then zoom out to the required framing.

For more information see the focus tutorial.

Iris

This is an adjustable opening (aperture), which controls the amount of light coming through the lens (i.e. the "exposure"). As you open the iris, more light comes in and the picture appears brighter.

Professional cameras have an iris ring on the lens housing, which you turn clockwise to close and anticlockwise to open. Consumer-level cameras usually use either a dial or a set of buttons.

The rule of thumb for iris control is: Set your exposure for the subject. Other parts of the picture can be too bright or darks, as long as the subject is easy to see.

For more information see the exposure tutorial.

White Balance

White balance means colour balance. It's a function which tells the camera what each colour should look like, by giving it a "true white" reference. If the camera knows what white looks like, then it will know what all other colours look like.

This function is normally done automatically by consumer-level cameras without the operator even being aware of it's existence. It actually works very well in most situations, but there will be some conditions that the auto-white won't like. In these situations the colours will seem wrong or unnatural.

To perform a white balance, point the camera at something matt (non-reflective) white in the same light as the subject, and frame it so that most or all of the picture is white. Set your focus and exposure, then press the "white balance" button (or throw the switch). There should be some indicator in the viewfinder which tells you when the white balance has completed. If it doesn't work, try adjusting the iris, changing filters, or finding something else white to balance on.

You should do white balances regularly, especially when lighting conditions change (e.g. moving between indoors and outdoors).

For more information see How to White Balance.

Audio

Virtually all consumer-level cameras come with built-in microphones, usually hi-fi stereo. These work fine, and are all you need for most general work.

Getting better results with audio is actually quite difficult and is a whole subject in itself. We won't go into it much here — you just need to be aware that audio is very important and shouldn't be overlooked.

If you're keen, try plugging an external microphone into the "mic input" socket of your camera (if it has one). There are two reasons why you might want to do this:

You may have a mic which is more suited to the type of work you are doing than the camera's built-in mic. Often, the better mic will simply be mounted on top of the camera.

You might need to have the mic in a different position to the camera. For example, when covering a speech, the camera could be at the back of the room with a long audio lead running to the stage, where you have a mic mounted on the pedestal.

The level at which your audio is recorded is important. Most cameras have an "auto-gain control", which adjusts the audio level automatically. Consumer-level cameras are usually set up like this, and it works well in most situations. If you have a manual audio level control, it's a good idea to learn how to use it (more on this later).

If possible, try to keep the background (ambient) noise level more or less consistent. This adds smoothness to the flow of the production. Of course, some shots will require sudden changes in ambient audio for effect.

Listen to what people are saying and build it into the video. Try not to start and finish shots while someone is talking — there's nothing worse than a video full of half-sentences.

Be very wary of background music while shooting — this can result is music that jumps every time the shot changes, like listening to a badly scratched record. If you can, turn the music right down or off.

One more thing... be careful of wind noise. Even the slightest breeze can ruin your audio. Many cameras have a "low-cut filter", sometimes referred to as a "wind-noise filter" or something similar. These do help, but a better solution is to block the wind. You can use a purpose-designed wind sock, or try making one yourself.

For more information about sound quality, see our audio tutorials.

Shutter

At the beginner level you don't really need to use the shutter, but it deserves a quick mention. It has various applications, most notably for sports or fast-action footage. The main advantage is that individual frames appear sharper (critical for slow-motion replays). The main disadvantage is that motion appears more jerky.

The shutter can also be used to help control exposure.

Unless you know how to use the shutter effectively, leave it off. For more information see the shutter tutorial.

Effects

Many consumer cameras come with a selection of built-in digital effects, such as digital still, mix, strobe, etc. These can be very cool, or they can be very clumsy and tacky. They require dedicated experimentation to get right. Like so many things in video, moderation is the key: use them if you have a good reason to, but don't overdo it.