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                  <h1>Shooting</h1>
                  <p>Click on the categories below to expand the tab and learn more about video production.</p>
                  
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                        <h2 class="current">MAKE YOUR ON-CAMERA TALENT LOOK THEIR BEST BY FOLLOWING THESE FIVE SIMPLE STEPS</h2>
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                    		<p>by Brian Peterson<br />
  January 2006</p>
<p>1. Mr. Make-Up?<br />
  It's true. When it comes to looking good on camera, makeup is not just for women anymore. Video producers often overlook this critical first step for several reasons. Perhaps they don't want to infer their talent doesn't already look their best; they don't want to take the time; or lacking a knowledgeable woman on the set, they simply don't know how to apply even the basics.</p>
<p>Put your talent, and yourself, at ease by acknowledging that even the best looking and blemish-free models, news anchors, and spokespersons (both male and female) always wear makeup on camera. Of course, good makeup will not (and should not) be apparent, so your only challenge is learn the basics and develop the confidence to at least apply a light amount of foundation or powder yourself. (Refer to our September 2005 article, &quot;Wardrobe and Make-up,&quot; for details).</p>
<p>2. Get My Good Side<br />
  If you've been shooting video of people for more than a week, you've probably already experienced the shy subject requesting that you only capture their &quot;good side.&quot; As a polite producer, you might sweetly insist they are both &quot;good.&quot; What's the cost of a tiny little lie, anyway?</p>
<p>Actually, they are probably right. What makes all of us unique is a combination of greater or lesser asymmetry of our bodies (and faces in particular, especially when it comes to makeup.) You can relatively position the shape, size and skin qualities of noses, eyes, cheekbones and chins to the camera to highlight the most attractive attributes.</p>
<p>It's your job to set up the camera to feature the side most pleasing to the camera. Of course, just how honest you are about this &quot;positioning&quot; is completely up to you.</p>
<p>3. Fabulous Filters<br />
  You've probably heard of various tricks camera operators have used in the past from stretching pantyhose over the lens to smearing Vaseline on a filter. But if most of us can easily apply a softening filter effect during editing, why bother putting anything in front of the lens while we're shooting? Because optical effects can sometimes give you a more natural look. But you'll need to try this for yourself before you put it to use in any productions.</p>
<p>Several manufacturers make screw-on lens filters that provide a wide range of softening. Some, such as those with sandwiched black or white materials, will primarily soften only dark or light tones in the scene. Others combine a little warming and softening at the same time. With these, it's important to white balance before you attach the filter. And remember: if you use a filter during production, you can't take out the effect in post.</p>
<p>4. Careful With That Light<br />
  Proper use of lighting is where you can make the most impact on the quality of your subject's skin. Using a large light source, such as an umbrella or softbox a little above and just to the left or right of the subject-to-lens axis. Called &quot;broad&quot; lighting, this technique will dramatically reduce apparent skin blemishes, but unfortunately, it's not too interesting.</p>
<p>The further left or right you move your main light the more you will emphasize skin texture. To create a minimal amount of depth you may find this is necessary. Just be sure to use a fill light (usually about half the power of the key) that is very close to your camera lens. Remember, to ensure your fill light doesn't introduce unwanted shadows, be sure to use a light at least as large (preferably larger) than your main light.</p>
<p>5. Framed<br />
  This may be obvious, but it bears mentioning. Extreme close-ups turn even perfectly perfect skin into moonscapes. Be careful and just remember that you always can simply backup or zoom out.</p>
<p>Of course, some people with skin blemishes resulting from acne, sun exposure, or accidents may be intensely sensitive to their condition. It's possible they may either be offended by attempts to make them look different than they are?or they may be relieved that you are willing to make them look their best. But having these tools at the ready will give you the ability to make that choice.</p>
<p>Brian Peterson is Videomaker's Editor in Chief.</p>
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                        <h2>What You'll Learn This Hour</h2>
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                            <p> Getting the story right: story creation tips from NBC-TV correspondent Bob Dotson<br />
  Writing in the active voice: Mackie Morris' writing tips—&quot;The Good Writer's Dazzlin' Dozen&quot;<br />
  Storytelling with video: scriptwriting tips from Hollywood screenwriters Stephen Black and Henry Stern<br />
  Stepping up to film: expert advice from cinematographer Charly Steinberger<br />
  The business of video production: Sam Prigg's tips on starting a video production company<br />
  Doing the video production thing: Joe Walsh's event shooting tips</p>
<p>Premiere Pro is a powerful video production tool. By choosing Premiere Pro, you've made a commitment to take your video production quality up several notches. To do that requires more than learning new editing techniques. You also need to hone your story-creation skills, writing style, and even business acumen. By moving to Premiere Pro, you're showing the kind of interest in video production that frequently leads to a profession within that industry.</p>
<p>This hour addresses those issues. I've turned to some colleagues and friends in the TV news, film, and video production industry and asked them to offer expert tips within their specialty.</p>
<p>Getting the Story Right</p>
<p>I worked in the TV news business as a reporter and anchorman as well as shooter and editor. In my 11 years working on-camera and off, I constantly critiqued my work and asked others to do the same. Some offered their advice in writing and I hung on to those words of wisdom:</p>
<p> An NBC producer who ran the affiliate feed—a daily collection of stories made available to local network stations for their use—once wrote about a prison counseling piece that I submitted to him. He said that my &quot;story talked about&quot; the subject &quot;but showed nothing&quot; about it. My tape &quot;cried out for some natural sound of a session in progress.&quot;<br />
  A Seattle TV news director wrote that my stories had a sameness—a voice track, a sound bite, more voiceover, another sound bite, and a standup close. &quot;Mix 'em up,&quot; he suggested.<br />
  And a consultant took me aside to tell me to &quot;break up my on-camera pacing with pauses.&quot;</p>
<p>I took all those tips to the bank. The NBC producer ended up buying about a story a week from me. The news director helped me get a job in a much larger market. And the consultant's advice helped me land an anchor job at that station.</p>
<p>I'm a believer in heeding expert advice.</p>
<p>In putting together this book, I've had the enjoyable opportunity to contact many of the people who have given me advice or from whom I have gained a lot of practical knowledge. Each agreed to provide expert tips focusing on their specialty. You've already met photographer Karl Petersen in Hour 2, &quot;Camcorder and Shooting Tips.&quot; In Hour 7, &quot;Applying Professional Edits and Adding Transitions,&quot; you'll hear from editor John Crossman. And in Hour 12, &quot;Acquiring Audio,&quot; Chris Lyons, an audio engineer from the world's leading microphone manufacturer, Shure, Inc., offers up his expert advice.</p>
<p>For this hour, I compiled six expert columns. I think they all speak to enhancing your skills beyond the fundamentals of camerawork, editing, and simply learning how to use Premiere Pro's toolset. Further, you might want to take what you do with Premiere Pro and move into a career in video production. These experts speak to that.</p>
<p>Up first, Bob Dotson.</p>
<p>Story-Creation Tips from Bob Dotson</p>
<p>NBC-TV Today Show correspondent Bob Dotson is, I think, the best human-interest feature-story TV reporter. Dotson has received more than 50 awards. The National Press Photographers Association award committee wrote, &quot;Bob Dotson's reports help us understand ourselves a bit better. They show that all our lives are important and really matter. After all, this country was built not by great heroes or great politicians, but by ordinary people—by thousands whose -names we don't know, may never know, but without whose influence America wouldn't exist.&quot;</p>
<p>Although you probably aren't a TV newsperson, you'll probably create human-interest stories—Dotson's forte. If there's a storyteller out there you should emulate, I think he's the one. During my TV reporting days I tried to watch all his stories, and when a station I worked for offered me the chance to attend one of his seminars, I jumped at it.<br />
  I've reproduced my notes, with his approval, here. I took many things away from his class. Three points stand out:</p>
<p> Give viewers a reason to remember the story.<br />
  When interviewing people, try not to ask questions. Merely make observations. That loosens people up, letting them reveal their emotional, human side to you.<br />
  Make sure that you get a closing shot. Most video producers look for dramatic opening shots or sequences (and that's still a good thing), but your viewers are more likely to remember the closing shot.</p>
<p>Bob Dotson's Storyteller's Checklist<br />
  Dotson's Storyteller's Checklist inspired his book Make It Memorable (Bonus Books) and a companion videotape of all the stories in the book. He prepared his list (and book) with TV news reporters in mind, but his tips apply to professional, corporate, and home video producers as well:</p>
<p> Always remember that the reporter is not the story.<br />
  Make sure the commitment is present. Commitment is your description of the story, stated in one sentence. That is, what you want the audience to take away from the report. You should be able to state the commitment as a complete sentence with subject, verb, and object. &quot;Outside money is altering the city's architecture,&quot; &quot;This cow has never taken an order in her life,&quot; &quot;You can't murder a pumpkin,&quot; and so on. You formulate this commitment to yourself to help guide the story creation. Then you use your images to prove the commitment visually. Very seldom will you state the commitment verbally in any story.<br />
  Write your pictures first. Give them a strong lead, preferably visual, that instantly telegraphs the story to come.<br />
  The main body of the story should usually be no more than three to five main points, which you prove visually after you've identified them.<br />
  Create a strong close that you can't top, something you build toward throughout the story. Ideally, the ending is also visual.<br />
  Write loose. Be hard on yourself as a writer. Say nothing in the script that your viewers would already know or that the visuals say more eloquently.<br />
  Throughout the story, build your report around sequences—two or three shots of a guy buying basketball tickets, two or three shots of a husband and wife drinking coffee at a kitchen table, and so on. Sequences demand matched action.<br />
  Allow for moments of silence. Stop writing occasionally and let two or three seconds or more of compelling action occur without voiceover. For a writer, nothing is more difficult to write than silence. For viewers, sometimes nothing is more eloquent.<br />
  Use strong natural sound to heighten realism, authenticity, believability, and to heighten the viewer's sense of vicarious participation in the events you're showing. Some reports merely enable you to watch what happened. The best reports make it possible for you to experience what happened.<br />
  Tell your story through people. People sell your story. Try to find strong central characters engaged in compelling action that is visual or picturesque.<br />
  Build in surprises to sustain viewer involvement. Surprises help viewers feel something about the story; surprises lure uninterested viewers to the screen. Surprises can be visual, wild sounds, short bites, or poetic script. Always, surprises are little moments of drama.<br />
  Short sound bites prove the story you are showing. Don't use sound bites as substitutes for more effective storytelling.<br />
  Address the larger issue. &quot;A trailer home burned down.&quot; Such a story fails to meet the &quot;so what?&quot; test. &quot;The trailer home burned down because the walls are full of flammable insulation&quot; describes the larger issue and meets the &quot;so what?&quot; test.<br />
  Finally, make your story memorable. Can your viewers feel something about the story and its subjects? If feeling is present, the story will be memorable. It will stick in the viewers' minds.</p>
<p>Keep It Simple...and Short<br />
  As a coda to Dotson's advice, I'll add that you need to remember, this is only TV. You need some mighty compelling or entertaining material to keep viewers glued to the tube for more than a few minutes. Think about whatever message you're trying to get across in your video project and consider what images, sound, and graphics will convey that message in the briefest, most effective manner. Then shoot with brevity in mind.</p>
<p>That's not to say that you don't grab unplanned video that looks great. Or that you cut interviews short even if you haven't heard some compelling sound bites. Videotape is expendable. Feel free to shoot plenty. Although it's true that you might have to wade through a lot to find the best shots, the advantage of DV is that after these shots have been located, you can simply capture them to your hard drive and they become immediately accessible.</p>
<p>http://www.samspublishing.com/articles/article.asp?p=169588&amp;rl=1</p>
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                        <h2>Storytelling with Video</h2>
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                            <p>That's what you do. You're a storyteller. In most cases, you might go out on a shoot with only a basic idea of what you're going to tape and how you're going to piece it together. That kind of approach will get you only so far.</p>
<p>As you up the ante in your work, there will be times when you'll want to work from a script. It may be as straightforward as a corporate safety production with employees doing the acting, or you may have aspirations to create a dramatic feature.</p>
<p>In either case, some fundamental scriptwriting skills will help you raise the bar of your production. I've tapped two of Hollywood's top writers to do the honors.</p>
<p>Stephen Black and Henry Stern's Scriptwriting Tips<br />
  I count myself fortunate to have Stephen Black and Henry Stern as neighbors and friends. Their TV scriptwriting and producing credits would fill this page. They forged new directions in episodic dramas with their work on Dynasty, Falcon Crest, Flamingo Road, Matlock, and Knot's Landing. Their work as head writers on As the World Turns and consultants for One Life to Live stirred things up and added sizzle to both of these long-running daytime staples. They've had a hand in a half-dozen TV movies, including the only TV film starring Audrey Hepburn, Love Among Thieves.</p>
<p>They got their start as a writing team doing comedies in the mid-1970s. Stern had been one of Broadway's youngest producers, and Black had written a couple plays. Despite failing to sell their first comedy script to The Mary Tyler Moore Show, they were given free access to the set where they watched rehearsals and show tapings, all the while taking copious notes. That led to a brief stint writing for a new show called The Love Boat (&quot;It paid the bills and got us in the Writers Guild&quot;) and finally landed them a job with Norman Lear Productions, the company behind All in the Family.</p>
<p>These days they're working on their second novel and a movie script. Here's their advice to aspiring scriptwriters:</p>
<p> The most important thing is that we like to tell stories.<br />
  And the most important thing in stories is the characters. The best kind of character is one with the ability to surprise you. The audience is not dumb. You've got to come up with something unpredictable. You don't want a white hat or black hat. You want people wearing gray hats. People you can't read. You want to be interested in what happens to them.<br />
  It's not a good idea to start your script writing with a plot. It's better to start with a theme. Know what you want to say, how you want to say it, and where you want to be at the end. The theme of our current film script is, How does the death of someone affect his three closest friends?<br />
  With the theme in hand, we next create the characters. What is their arc and how will that change throughout the story? We invent detailed character bios. Where did they go to school? What were their parents like? What was their childhood like? We don't have to use all that in the script, but it's good for us to know to help craft the story.<br />
  Next we sit down with a yellow legal pad and make 30 to 40 story points, such as guy robs bank, hides in mother's house, falls in love with neighbor, and so on.<br />
  Then we write an extensive narrative outline—30 pages or more. We include texture—the tone and detail. We take time to describe settings and characters. Instead of merely using physical descriptions of characters, such as Bob is 6'2'' with the torso of a long distance runner, we're more likely to write, &quot;As John was driving up Canyon Avenue, he looked out his rain spattered window and caught sight of Bob, one more time, running in the rain.&quot; That says a lot. We love doing that. It makes it easier to do the script.<br />
  It's really crucial that you learn how to structure a piece so that your story makes sense. Know where your story is going and how plot elements and character elements will build on each other so they peak at certain points. An excellent film example of structure is Two for the Road, with Audrey Hepburn and Albert Finney. Even though they use multiple flashbacks, you know that from beginning to end this is a story of a marriage on the skids.<br />
  Tell as much of the story as you can without dialogue. Tell it cinematically. Don't give camera directions such as wide, tight medium. That's the director's job and disrupts the story flow. But it's okay to script camera angles. We wrote a scene where a woman was about to tell her husband their son was killed in combat. The husband ran a steak house and happened to be in the walk-in freezer when his wife arrived. We directed the camera to look through the window and, without any dialogue, watch the woman tell the husband and see the reaction.<br />
  You can't write if you're not an observer. We're constantly eavesdropping in restaurants. We're acutely aware of dialogue going on around us. Our characters have to speak in the vernacular of the time.<br />
  Dialogue is more than just writing down what two people say to each other. Good dialogue is succinct, crisp, entertaining, and rich. It's a level above conversation.<br />
  Bury the &quot;pipe.&quot; The pipe is the exposition, the conduit of information, the stuff that the audience needs to know to make sense of the story. Say the character's been divorced three times, has six kids with six different women, and runs a grocery. You don't come out and say that. You impart it to the audience in an interesting way.<br />
  Scriptwriting is collaborative. Everyone has a hand in it. A screenplay will go through 10 to 15 drafts before shooting begins.<br />
  Writing is hard work. To sit there in front of a blank, empty computer screen knowing that you have to come up with compelling characters and stimulating plots, week after week after week can be daunting. Back in 1970, we were working with Leon Uris on a musical production of his novel Exodus. After several tiring meetings with potential backers, Stephen asked him if he had any advice for aspiring playwrights. He said, &quot;Put your ass in a chair in front of a typewriter.&quot; This was the most succinct, valuable information we were ever given.</p>
<p>Unblocking Creativity<br />
  Writer's block strikes us all. As Black and Stern noted, it's darned hard to sit down in front of a blank computer screen and start putting words in the computer.<br />
  Here are some ways to get the creative juices flowing:</p>
<p> Bounce ideas off others. Simply talking about your project typically will give you a whole new perspective. Listening to questions posed to you about your work will help you focus your writing.<br />
  Change your work environment. I have the luxury of going outside and sitting on a rocking chair overlooking a lovely valley. That moment in the fresh air helps bust loose a few cobwebs.<br />
  Scribble down some ideas. Turn away from your computer and grab a yellow legal pad and a felt-tip pen. Connect the thoughts on paper.<br />
  Take a break. Listen to a great tune. Take a jog. Then get back to work—you're on deadline!</p>
<p>http://www.samspublishing.com/articles/article.asp?p=169588&amp;seqNum=3&amp;rl=1</p>

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                        <h2>Stepping Up to Film</h2>
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                    		<p>I count myself fortunate to have one of Germany's top cinematographers, Charly Steinberger, as a friend. He's served as director of photography on scores of movies and TV shows. His films have won numerous prestigious awards, including German Film Award – Best Cinematographer, Venice Film Festival – Best Film, and the New York Critics Award – Best Film.</p>
<p>Steinberger has worked with some of Europe's most famous actors: David Niven, Roger Moore, Kim Novak, Gina Lollobrigida, Sophia Loren and, topping his personal list, Marlene Dietrich. Few readers of this book will have the opportunity to work at this top end of the film production scale, but I think everyone can take Steinberger's advice to the bank.</p>
<p>Charly Steinberger's Tips for Prospective Filmmakers<br />
  Steinberger's guidance comes from the perspective of a filmmaker who has seen absolutely everything. He has a pragmatic view. Here are his filmmaking tips:</p>
<p> The most important component of a film is a good script. Unfortunately that happens only rarely.<br />
  Next in importance is a solid budget.<br />
  A good production team can make or break a film. Topping the list is the director and the cinematographer, followed by the set designer, costume designer, makeup artist, lighting specialist, grip, and editor. Overseeing it all should be a producer with a reputation for spending money wisely. Too many producers try to cut corners and save money by hiring less experienced (that is, cheaper) crew members.<br />
  The photographer's primary responsibility is to use the camera to tell the story well. Too many cinematographers get lost attempting to create brilliant and grand images.<br />
  A point that often gets neglected is the critical search for and selection of locations—be they cafes, apartments, or offices—to help give characters their correct motivation. The right settings bring life and depth to your characters.<br />
  In the post-production world, there is no longer any difference between film and video. Both now use nonlinear digital editors.<br />
  I still work with film instead of video because film has higher resolution, truer colors, more accurate reproduction, more brilliance, and solid contrasts. That said, it won't be long before video will equal film in quality.</p>
<p>http://www.samspublishing.com/articles/article.asp?p=169588&amp;seqNum=4&amp;rl=1</p>

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                        <h2>The Business of Video Production</h2>
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