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Video shot : yamanote line.

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Who said the 2017 charger handles like shit?
VID-TALK
Drone footage â a gift or a blight?Â
Behind this, almost click-baiting title (fortunately Iâm not asking you to click anywhere), hides the sempiternal question of content vs form.
Let me start by saying that Iâm not against drones or any other vid-shooting technique that is not a static shot, like for instance, timelapses with a dslr, gimbal cam shots, etc.
But I canât help feeling that more and more videomakers (and to a different extent, photographers) - for better or worse - canât do without an obvious amount of fanciness in their shots.
I recently recalled something one of my teacher said, that I consider a personal rule that I hold dear : "the role of the technician is to make the audience forget about the technique" and it makes sense, right? You want the viewer to immerse themselves into your video, effortlessly âingestingâ its message.
To achieve this goal, you canât have the viewer notice technical elements, such as technical errors, for instance; a boom mic getting into the frame or the shadow or reflection of the operator (happened to me quite a lot in the past, actually). But in my opinion, the same applies with technically correct shots, edited in a manner that makes the intent of showing them off, obvious.
Letâs illustrate with some vid-editing math :
1:30 short vid, divided by an average of 1 shot for every 3 seconds â 5 if youâre feeling slightly contemplative (in the western-sense of the word because for instance Japanese-contemplative in video may give you 10 seconds or longer per shot)
So on average for one and a half minute (or ninety seconds) video youâll have thirty (30) three-second shots.
Videos of that length featuring 1/4th or more of their shots made by a drone isnât that exceptional anymore in the amateur/semi-pro world. (Some might also be drone-only, but maybe those would fall in a category of their own?)
In these amateur-semipro (and sometimes even pro) spheres it seems, itâs all about using the cool tools... and showing it.
So logically, youâll open with a drone shot. Youâll add a few more here and there, perhaps even several in a row because it is such a cool and unusual angle, right? Then youâll also have to finish with a drone-shot, just because.
The problem with that is that it generates a series of things that are usually pretty detrimental to the goal of making the experience seamless for the viewer.
First it breaks one fundamental rule :Â âa wide angle shot must be followed by at least two shots at different focal lengthsâ and since drone shots are all wide-angle, showing several in a row creates monotony and a sense of repetition and boredom.
Second, we could consider the impact of their unnatural angle of (birdâs eye) view. It makes it extremely hard for people to relate to the images shown. We are terrestrial creatures, we live and go on about our days with both our feet on the ground, so, flying around â in my sense â doesnât help people connect to the content. Come back to earth, get closer, get personal.
For the third point, Iâll just go back to my initial idea and mix it with the previous one : youâll end up making the viewer think âwow, this is a drone shotâ instead of the desired âwow this content, Iâm interested in itâ.
Drones are perfect when used scarcely : a situation-shot, a shot conveying an emotion through top-shots alluding to danger or confusion, a first-person shot and other creative shots like intriguing travelings using the elements in the foreground and background...
But thatâs about it. All in all, on a 90 shots of 3 seconds long production, I might consider using 3 in the project. Yeah, that small amount. Even though to me itâs not a small amount (as itâs 1/10th of the production). Finally, if I can avoid opening/ending on a drone shot, believe me, I will.
The drone shots I love are those shots where, as a technician, I had to ask myself : âwas that a drone shot?â. If I am unsure, even for a second, it means that the common viewer will just keep watching without thinking about it, and thatâs the goal of almost any audiovisual production.
As a rule of thumb, as a videomaker, I live by this advice about camera movements : âyou do not make a camera movement for the sake of aestheticism, movements have functions that need to be respectedâÂ
At one point I realised this piece of advice can be applied to anything in video, movements, but equipment too. If you steer away from the standard/classic static-shot, you have to know why you are doing it.
Everything you do should have a narrative purpose.
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