Camcorder Masterclass - Index
Editing: Visual Links

There are basically two ways of linking shots; a straight cut, where the first frame of the incoming scene abuts the last frame of the previous one, or linkage by a special effect, which may be relatively simple or require a highly sophisticated processor.

We'll ignore the more sophisticated effects and concentrate on straight cuts, fades, wipes and dissolves. If you don't possess an effects processor, despair not ! Whilst useful, they are not essential. Straight cuts are the norm. Apart from any employment in introducing and ending titles, fades and wipes usually denote a passing of time between adjoining sequences or, occasionally, as a rather gimmicky way to indicate the obvious - the scene has changed. Nowadays their usage has declined, especially by professionals.

My Hometown - the Movie

Let's assume that an editor is creating a video to highlight the various attractions in my hometown, Southend. All the right type of shots (miracle) and an editing processor is available. Furthermore an earlier prepared Edit Decision List has noted several shots which, because of their similarities in shape or character, might prove useful as linking ones.

The video starts with the title sequence being faded in from black. It could also have been faded out and the following opening sequence faded in, but a straight cut was preferred. Wipes, which make the picture disappear or appear vertically, horizontally, inwards, or in other ways, were similarly rejected.

An early attraction featured in the video is a visit to a local park. This is introduced by a straight cut involving two focus-pulled shots, the first of someone studying a map, which goes out of focus, followed by a further blurred shot which materialises into an establishing view of part of the park.

A later park sequence consists of a beautiful floral garden complete with lots of close-ups of the flowers. The editor decided to show the latter as a montage and, because the pace is to be fairly slow, elected to link each close-up by using a dissolve rather than the immediate straight cut. Given the general similarity of the shapes and their screen size this dissolve has eye appeal. The final shot in the park was a close-up of a little boy's toy sailing boat being blown along in the boating pool. This herald a location change, the next shot being a straight cut to an off-shore wind-surfer.

Other straight cut links between different sequences included the revolving sails of a windmill on a stick, coupled with a switch to the rotating "Big Wheel" at the nearby "Peter Pan's Playground".

Subsequent shots of roundabouts, kiddies rides and a small scenic railway etc. were themed to perpetual motion with appropriate music. The movement linked the shots but on a few occasions shapes were broadly similar. Obviously not all sequences can be linked by shape, size or character. Indeed, if they were, the movie would become too predictable. Nevertheless a fair smattering can work wonders.

Linking shots - summary

1. Whilst processors are useful, they shouldn't be overworked and are not a substitute for imagination and observation.
2. Generally the best cut is a straight cut.
3. When shooting and editing look for similarities in shape, character or movement with a view to linking shots and sequences.

Camcorder Masterclass - Index
Camerawork: Using Insert Edit

Eric said "My camcorder (GR-S707) has Insert Edit but I'm not sure what it does and how to use it. Can you explain please?"

We told him that Insert Edit enables new pictures to be substituted into any part of previously recorded material without causing disturbances (glitches) to the visuals and, in the case of VHS/S-VHS and their compact versions, without alteration of the original linear soundtrack. However, any stereo sound which is embodied (multiplexed) beneath the visuals will be altered.

Unfortunately, unless very expensive specialised equipment is used, with 8mm and Hi-8 the original sound is replaced when inserting the new visuals. To overcome this disadvantage many 8mm/Hi-8 owners elect to edit in the other formats. This entails using their camcorder as the editing play machine or copying to VHS/S-VHS as a prerequisite to editing. Neither is the perfect solution. VHS/S-VHS insert Edit opens up a new creative world but because the facility on imported camcorders only allows picture substitution by shooting through the lens, (with two exceptions there is no line input) its full benefit cannot be realised during editing in-camera. Post-production editing, where line input allows previously taped material to be inserted, is far superior. However, for those persons, whose editing is limited to in-camera, a camcorder with Insert Edit is still worth having.

Here's an example to trigger your imagination. The project - a record of a gala, with all the usual things, a band or two, displays, stalls and so on. The video might start with a shot of a military band playing. But because the selected tune lasts for three-four minutes, screening the whole piece could be yawn provoking. One solution would be to show an extract then switch to something else. With Insert Edit a better plan is to use the music as a backdrop to certain other scenes.

The location insert-edit procedure

1. Continuously record the entire selected piece, the establishing shot or shots having early priority. During the continuous shoot, rapid pans, zoom-ins, positional changes and re-focussing is required to capture close-ups of the musicians, their cheeks puffing out, fingers fingering, reflections in the gleaming brass of the tuba etc. This secures an uninterrupted audio recording.

2. Carefully determine where to Insert Edit. Obviously the unwanted camera movements must go, whilst appealing visuals should be retained.

3. Replace the unwanted material with shots of onlookers and, other incidents and activity. Some re-establishing shots showing the proximity of such activity to the band may be necessary.

The end result of this section of the video is some interesting and synchronised shots of the band, individual musicians and other material without musical jumpcuts. Only Insert Edit can achieve this.

Let's not pretend that in-camera insert editing is easy. Too many snap judgements are required and there is a considerable risk of wanted material being irretreivably lost. Familiarity with the accuracy or otherwise of the Insert Edit facility is required. Do the replacement visuals consistently commence and stop precisely as programmed ? if not then some adjustment will be necessary in the programming. Prior to serious use experiment until you are capable of ensuring a high degree of accuracy.

The Mechanics of Camcorder Insert Editing

This may vary from model to model but will be along the following lines:

1. Locate the desired edit-out point on the tape and press Pause/Still.
2. Reset the real-time counter to 00.00 and press Memory.
3. Rewind tape to the required the entry point. Press Pause/Still.
4. Whilst pushing the Insert Edit button press Pause/Still.
5. Check that Insert Edit mode has been selected and when satisfied with framing and focussing of the replacement shot press the Recording Start/Stop button. The inserted recording should cease at the zeroed edit-out point.

   Note :For 1 and 3 allow for any known inaccuracies. Repeat 1 to 5 for subsequent inserts.

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Camcorder Masterclass - Index
Location Shooting: Equipment Checklist

It's not much good getting to a destination only to find that an inevitably all-important piece of equipment has been left at home. It pays therefore to compile a checklist and retain it, perhaps with the camcorder, for reference when preparing for the next away-from-home shoot.

Here's our suggestions along with additional comments. It covers both holidays and other types of shooting and can be adapted according to need, weight, bulk and practicability. The list is broadly in order of importance.

• Batteries
  Make sure that you have sufficient power. Batteries seldom live up to manufacturers claims. That apart, much depends upon how you shoot (auto or manually controlled etc.) as well as the temperature and the task involved. A minimum of three won't come amiss, but a better investment is a battery belt which provides longer lasting power and doesn't suffer from the so-called memory effect. Don't forget the charger.

• Plugs and leads
  If travelling abroad you may require a travel plug/adaptor for recharging purposes and possibly a transformer, if the charger only works on 210-240 volts. Also ensure that you pack suitable leads including charger, power supply from battery belt and maybe an RF for connection to a TV.

• Camcorder support
  Even though your camcorder may embody an image stabiliser take either a tripod (whenever feasible), monopod, chest brace, and perhaps a bean bag to help ensure steadier pictures.

• Video cassettes
  Take sufficient and don't rely on obtaining them at your destination. ibis is particularly important if travelling abroad, where different systems may apply.

• Camcorder bag
  Where provided, we recommend using the manufacturer's hard case for transporting the camcorder to the holiday destination. Because this can be a pain to lug around during shooting sessions a well padded water-resistant bag, capable of carrying both the camcorder and small accessories etc. is worth considering.

• External mic. and wind-mufflers
  An external mic. is invaluable, especially if directional. The provided mufflers are rarely adequate so fit better ones on both external and on-board mics. With a little bit of ingenuity you can make your own at a fraction of the commercial price. A tie-clip mic. is also very useful.

• Supplementary lenses
  Permanently fit a Skylight or UV filter on your camcorder. It will protect the valuable on-board lens from damage and, in certain situations, reduce the extent of summer haze in your shots or make the sky look bluer. A wide-angle lens to enable you to cram more into the picture when shooting in restricted spaces etc. plus a polariser to reduce or eliminate reflections from shiny or watery surfaces are also recommended.

• Headphones
  These will facilitate sound monitoring. Ideally they should be well-padded but even a less bulky pair, or the ear-pieces, usually provided, are better than nothing.

• Miscellaneous
  Camcorder waterproof cover or a suitable plastic bag (for protection when filming in the rain). A soft cleaning brush, lens cloth or lens tissues, gaffer tape, note pad plus a pen/pencil, Don't forget the shooting script/story board (if prepared). Finally, if travelling overseas with a relatively new looking camcorder take proof of purchase with you. It should satisfactorily resolve possible enquiries from Customs authorities.