Camcorder Masterclass - Index
Photography

• Manual focussing
  Eric recently screened a video about martial arts which he had taken in a local hall. He used auto-focus throughout and on many occasions the lens wandered in and out of focus, a condition termed hunting.

  We explained that the shooting conditions were precisely those where autofocus can't cope properly. Lighting was only fair, there were several shots incorporating large expanses of wall and people frequently wandered between the camcorder and the subject matter.

  We suggested that he copied professionals and serious amateurs, i.e. always manually focus. It is easy and eliminates focussing problems. The means of manual focussing can vary but the principle remains the same. After ensuring correct adjustment of the viewer eyepiece diopter, switch to the manual mode and target the subject. Set the zoom lens to maximum telephoto by hand, button or wheel, and rotate the focal lens clockwise or counterclockwise until the subject is at its sharpest. You may now zoom out to frame the picture, which will remain in focus throughout the shot. When moving to the next shot don't forget to re-focus.

• Zooming
  The main purpose of the zoom is to assist accurate manual focusing and to frame the picture.It is not, as some first timers seem to think, to trombone in and out. Sometimes it may be right to zoom, but before doing so think, "Is there a better way?" Perhaps moving and re-angling the camcorder closer to the subject is the answer.
  • Zooming in
    This draws audience attention along the zoom path and at the end they are entitled to see something of significance in the context of the previous and/or the following shot. Possibly the most hackneyed use in films and TV starts with a long shot of a building followed by a gentle zoom in, often accompanied with a pan and a tilt (vertical movement) until a window fills the frame. The next shot is inevitably the room where action is occurring. The message is simple. In this building, and in this particular room, a dastardly deed is taking place.

    Another ploy is to draw attention to something within the action. Perhaps a long shot features a little old lady sitting on a park bench and very slowly the camera zooms in to reveal tears running down her face.

    An ultra-slow zoom is often employed in a talking head sequence, the motion stopping on a close-up of the speaker's face. In such instances refrain from zooming out from the close-up during the talk, it diminishes the importance of the speech.

  • Zooming out
    Primarily this should disclose the location of the subject or its relevance to something else. I once saw a moderately interesting shot of a small boat develope into an impressive view of a magnificent bay. A shot of a goodie in a small group could widen to show that, unbeknown to him, the baddie is nearby. This might work better than two different shots.

    
    Six Golden rules about Zooming

    1. Always use a tripod to eliminate camera shake.
    2. Use manual focus.
    3. Zoom sparingly and only with good reason.
    4. Consider zoom speeds; you don't have to be governed by the rocker switch. With a decent zoom lever you can manually determine the speed, which should reflect the mood required; slow for suspense and calm moments and much faster for hectic scenes or a desire to shock.
    5. Normally leave two or three seconds of "zoomless" material at the beginning and end of the shot. This allows viewer assimilation.
    6. Rehearse a zoom to ensure correct framing throughout. A pan and/or tilt whilst zooming might be necessary for correct alignment.

Camcorder Masterclass - Index
Types of shot

A movie consists of a series of pictures taken from various angles and distances, the shots having their own terminology and, requiring a logical order of assembly. There are three main framing shots; the long-shot (LS), medium-shot (MS), sometimes termed mid-shot, and the close-up (CU).

• Long shot
  Often referred to as an establishing shot because it usually discloses the location of the action and the position of the subject matter within the scene. When a LS relates to a person he, or she, will occupy about one-half to two-thirds of screen height. A variation of LS is the extreme long shot (ELS) frequently used, with great effect, in the British sitcom Last of the Summer Wine: Compo, Foggy and Foggy being silhouetted on a distant horizon. At the other end of the LS scale is the medium long shot (MLS), where a person is framed from the ankles to the top of the head.

• Medium shot
  This usually follows the LS. It displays less surround but more clearly identifies the subject matter (people are framed from the waist upwards) and/or actions.

• Close-up
  This, or the big close-up (BCU), generally has far greater impact than other shots because it shows minute detail. In personal terms the CU could be a head and shoulders shot whilst the BCU fills the frame with the face, or another feature of the body, a thumb perhaps. A shot showing the head, shoulders and chest represents a medium close up (MCU).

  Remember - the terminology applies to all shots and when finally edited together they should have a logical progression, which usually means first informing the viewer where the action is occurring (LS or variation) and then what is happening, dealt with by a host of Close Ups or Big Close Ups. The big insider tip here is:

  Small screen + Big pictures = Maximum impact.
  
  
  

  ---

  Camcorder Masterclass - Index
  Location Sound

  Many newcomers to our hobby are extremely disappointed when they listen to the sound captured during the course of a shoot. There are so many things that can go wrong, most of which can be mininised with a little bit of knowhow. Here's some of the most common problems and how to overcome them.

  • Inaudible speech:
    Most on-board mics. are omnidirectional and pick up all nearby sound. However their range for picking up audible speech is limited to a few feet. The solution is set the camcorder nearer to the sound source or, if this is impossible, use an external mic. perhaps attached to an extension cable. It could be a tie-clip or a highly directional so-called gun mic. which picks up sound from a narrower field instead of all around. Although the latter's range is greater than the omnidirectional mic. it won't perform miracles and, unlike our own senses, cannot isolate sounds coming from within the same area. A gun mic. is liable to be boomy when used indoors, especially where there are bare surfaces.

  • Wind noise:
    This is one of the most common sound spoilers and the foam windshields, which come supplied with on-board and external mics. are ineffective for anything more than a slight breeze.

    The best remedy is to shield the mic. from the wind, choosing a more sheltered shooting position. If necessary a sheltered external mic. of the tie-clip or some other type will help.

    A secondary and well worthwhile precaution is to fit a better windshield. It is too expensive for most of us to get a custom-built muffler, similar to that used by the professionals, but much cheaper (albeit less effective) home video versions are available.

  • Speech at the beginning of a shot is lost:
    Always allow a few seconds of camera run before commencing dialogue.
    
  • Sound jump-cuts occur
    When you stop and start the camcorder during the course of speech or music then sound continuity is lost. If you are going to post-production edit continue recording as much as you want, if necessary reframing or moving the camcorder without stopping it. At the editing stage new pictures can be insert-edited (if you have the facility) over the rubbish.
    
  • Camcorder and Handling Noise:
    Some models are more susceptible than others. An external off-camera mic. is usually the answer.
    
  • Automatic Gain Control:
    This sound equaliser has a nasty habit of reducing and then pumping up sound levels at innapropriate times. If your camcorder does have manual audio level control, do use it. Without manual control? Well, a sound mixer on location can be used to set the level to just below where the AGC operates.
    Useful tip: If subsequent edditing is to be undertaken, give a loud count-in on location just a second or two before the desired recording. This will ensure that the opening sounds are at the correct level.
    
  • Use headphones:
    Monitor your sound whenever possible using headphones - preferably ones with generous earmuffs, rather than the earpiece which is usually provided.

  Finally, do check out our Hot Sound Tips