Camcorder Masterclass - Index
Choosing a Videotape Format

Both Eric and Ron asked us what camcorder should they buy; Eric's preference being a Sony model. We suggested that, before contemplating a particular model or manufacturer, they should take a long-term view and ask themselves: will the camcorder be used regularly and for what purposes; will interest extend beyond shooting and embrace both picture and sound editing and will editing equipment be purchased when funds permit? They should then consider, within their budget, which format camcorder and features thereon, will best satisfy their potential needs.

As Eric intends to make and distribute a martial arts video he will be involved in editing and making copies of the edited version (master edit). Ron also intends to edit.

• 8mm
  Picture and sound quality is good and the tapes allow up to 60 or 90 minutes of recording (standard Play). They cannot be played on the normal domestic VCR (usually VHS), but the camcorder can be directly connected to a TV, or linked to a VCR for both viewing and copying. Obviously, an available 8mm or a Hi-8 VCR can also be used.

  The major disadvantages with this format are the lack of good edit-orientated 8mm VCRs and the intermingling of both sound and picture signals. Neither can be independently changed except by copying and/or editing the tape on a VHS, or an S-VHS VCR. The extent of success of such editing is dependent upon whether audio dub and insert edit facilities are available and if one, or two VCRs are used.
  

• Hi-8
  Picture quality, and frequently sound, is superior to 8mm and this reduces the extent of any noticeable degradation which occurs during copying/editing processes. Unfortunately, the reservations concerning suitability of the format for editing on domestic equipment likewise apply. There is a partial exception, the only current Hi-8 VCR permits sound to be changed without affecting the picture, but not vice-versa. As previously indicated, an 8mm tape can be played in a Hi-8 VCR.
  
• VHS
  This format is used by the majority of householders to record TV programmes. VHS camcorders use the same size tapes and are, therefore, bigger and heavier than most other types. This affords extra stability when hand held (usually shoulder mounted), but can be a pain when carrying. Picture quality is broadly comparable with 8mm and the more prevalent mono sound on VHS tends to be a little hissy. But don't be put off. There is a good selection of "edit" VCRs which permit independent changes of picture and sound as well as accurate cuts. The picture quality of an edited master tape,( usually second generation, i.e. one copy down from the original) is acceptable. A copy of the master is less so.
  
• VHS-C
  The only difference between this format and VHS is that the tape length has been shortened to provide a shooting time of 30 or 45 minutes (standard play). Thus the cassettes and camcorders are smaller. There are no VHS-C VCRs but the tapes can be played on a VHS or S-VHS machine, usually using an adapter. Consequently the editing advantages of those two formats likewise apply.
  
• S-VHS
  Picture and sound quality is, generally, similar to Hi-8 and considerably better than VHS. Tapes, although the same size as VHS, can only be played back on S-VHS equipment. S-VHS VCRs can record in their own format and VHS. They can also accept S-VHS-C or be linked to a VHS VCR for editing or copying purposes. Whilst the picture quality of the VHS copy will not be as good as that resulting from an all S-VHS configuration it will be superior to that from an all- VHS one. All current S-VHS VCRs are well endowed with editing features which facilitate advanced and accurate editing of pictures and sound.

• S-VHS-C
  This is a compact tape version of S-VHS, the tapes having a standard play time of 30 or 45 minutes. Except where the recording is in a VHS format or the camcorder is used, playback requires an S-VHS VCR. All the advantages of that format apply.
  
• Digital
  (Several digital formats have appeared since these articles were first written.  For amateur use mini-DV using matchbox-sized cassettes running up to one hour and a Hi-8 sized cassette running slightly longer are the most common choices.  These use computer technology to record images as millions of "on-off" signals.  High compression is used but the results are markedly superior to other formats and can be copied without loss. - Webmaster.)

Overall Conclusions on Choice of Tape Format

8mm is a preferable format for those requiring good picture and sound quality, but have no desire to edit. Hi-8, which costs more, is favoured by many enthusiasts but, in the team's opinion, is not the best editing format.
VHS and VHS-C is a good option for editing enthusiasts but it has its limitations when producing third generation copies. Undoubtedly the S-VHS format will best meet Eric's, and to a lesser extent Ron's, requirements. The purchase of a camcorder in that, or the S-VHS-C format, would provide improved picture quality, and a VHS/VHS-C capability if funds do not subsequently permit the acquisition of S-VHS VCRs.
Careful consideration should be given to going digital.  The camcorders are smaller, pictures and sound better, for a small increase in price. - Webmaster.

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Camcorder Masterclass Index
Shooting Errors - and how to avoid them

Common beginners faults are wobbly pictures; a waving of the camcorder from side-to-side, or up-and-down, (hose-piping), and purposeless panning. Furthermore, visuals are frequently just a succession of unrelated snap-shots. These traits need eradicating. Here's how:

• Wobbly pictures
  Where possible mount the camcorder on a sturdy tripod but, when a tripod is impracticable, consider using an alternative form of support, perhaps a monopod or a chest-brace. Always test before buying; not all aids are suitable.

  Look for natural supports such as car bonnets, seats and walls. leaning against a wall, with the feet splayed slightly forward, arms braced but tucked in, helps. There rock-steady-y support is unavailable don't set the lens on or near the telephoto position of the zoom scale. That magnifies camera-shake.

• Hosepiping
  A simple solution - Don't do it. When looking at scenery, or objects, we do not crazily wave our head around. A series of fixed-camera position shots showing the different locations or subjects, is less distracting and more effective.
• Panning
  Pans should have a purpose and not used indiscriminately. If it is necessary to video a moving object, such as a car, then allow frame-space for the car to move into; the distance between the bonnet and (say) the right-hand side of the frame being considerably greater than that on the left. Another purposeful use, not necessarily the best solution, is to illustrate the distance or relationship of two subjects. Perhaps the artist at work and the nearby boats, referred to under Snapshots. Often pans are used to show a panoramic landscape. They are rarely effective. Overlapping shots may be better. Pans should be strictly controlled, commencing with a static shot at the start point, then moving slowly and smoothly to the stopping point. Continue shooting for a few seconds so that the viewer can absorb the change. If possible rehearse the pan, taking care to ensure that the starting and finishing points exclude unwanted objects.

  A good tripod, especially one with a fluid-head, adds smoothness. If the camcorder is hand-held, stand comfortably and point the feet towards where the pan will end. Then twist the top of your body back to the starting point. When shooting, swivel from the waist, round to the stop point. It helps to lean against a wall.

• Snap-shots
  Think sequences, shoot for editing, and snap-shots should become a thing of the past. Imagine you are Filming on the sea-front and spot an artist painting a picture of some fishing boats. There's two potential sequences here which could be neatly linked.. approach the artist, tell him your plot and politely ask permission to film. Most people will co-operate, enabling a whole series of interesting shots to be set up. They could include an establishing (long) shot of the artist at work, with the boats in the background. Following shots would include big close-ups of the artist's face and eyes (always interesting), the brush dipping into the paint and onto the canvas, and so on. They should be taken from a variety of angles. The final sequence shot might be the artist's impression of the scene; to be followed by the corresponding actual scene to provide sequence linkage.

  Alternatively, by excluding the boats from the establishing shot of the artist, an air of mystery could be created. All would be revealed in the final shot of the sequence.

Check out our hot tips. One final tip for now: If shooting for post-production editing allow at least five seconds of recording at both ends of each shot. This takes care of any early picture unsteadiness and make it easier to edit.

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Camcorder Masterclass Index
Editing - an introduction

Editing involves selecting required shots from the original tape; re-arranging them into a pre-selected desirable order, discarding unsuitable material; ensuring that each shot is of the right duration and, creating and adding a better soundtrack. Given the right material, a good editor will ensure that the finished movie is properly structured, flows and achieves what was intended. With the same material a poor editor can ruin it.

Editing can be divided into two types; post-production where the tape is copied, required shot by shot, onto another VCR or, editing in camera. In the latter instance, which is the one dealt with in this issue, the material is shot in the desired order, the finished product being first generation.

Editing in camera

A movie created entirely in the camcorder will never match the standard that can be achieved by post-production processes. Too many instant, as opposed to studied, judgements are necessary. There are other factors. But editing in camera is better than none.

Although beginners will not possess sufficient knowledge of movie-grammar, nevertheless, we advocate that they have a go. It instills self-discipline and will induce a sequence-shooting approach. The key to editing in camera is to think what you are doing. Work to a theme, even if it is only in your head. Think sequences and the shooting order. Remember, the video must flow . There mustn't be breaks in continuity or, what is known as a jump-cut. The latter can occur when the camcorder is deliberately, or accidentally stopped shooting an activity and then re-started during that same activity. You will need to cover the time lapse by inserting one or more buffer shots. These might consist of onlookers (cut-aways) or, perhaps, the subject's feet pounding the pavement and his sweaty face (cut-ins).

Finally, if a subject moves out of picture on the left-hand side of the frame then, if they re-appear, still walking across the frame in the next shot, make sure their entrance is from the right. Ideally , before editing in camera , the best approach is to set out your requirements and shooting order on paper, but that, of course is not always feasible. Therefore you may have to think on your feet.

One final tip here is that, if time permits, check each recorded shot to ensure that it is satisfactory. Also don't forget the all-important sound - try and keep the mic. out of the wind, and wear headphones for monitoring purposes. And check out our hot tips too.

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