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BOOKS AND ARTICLES Newbie mistakes when shooting video
You must have heard a joke about a pilot who got into an accident because at the time of driving he decided to avoid a collision by pulling the steering wheel towards himself? The point of the anecdote lies in the fact that a person did not have time to rebuild his consciousness, having got from one situation to another, and habitual and unmistakable reflexes in one case let him down in another. To avoid mistakes in video shooting, picking up a camera, you need to rebuild your mind. At this moment you are not a pilot, not a driver. You are a videographer. So, I will start with the characteristic rookie mistakes, showing in contrasts how the videographer should think and act. Sniper Syndrome "One shot one kill". Movie "Sniper" A person identifies a video camera with an optical sight of a rifle. The most important thing is to see the object through the sight (as large as possible), then press the hook (REC button) - and you can put the camera in the case, or aim at another target. Netushki. We have a somewhat different final task - not an elk's head over the fireplace, and not a cup "For marksmanship" on the shelf. The picture should be meaningful, the viewer should not have any doubts about what he sees. Any event or object in the frame should have time to see (and realize what he sees) even the most slow-witted viewer. Don't associate a shot with a shot, that's not the case at all. A frame is a word, or a small but capacious phrase. Do not swallow it, do not crumple it. However, there is no need to tighten it. I do not advise taking a frame of any scene for less than five to ten seconds, the viewer simply may not have time to understand what he is seeing now. Be critical of camera shaking, for the viewer, such shaking is extremely uncomfortable. Better let the plan be not so large, but without shaking. Syndrome "embrace the immensity" You've probably seen the intensity of passion reigns during a talk show? Shouts from the place, the facial expressions of the main characters, the reaction of the audience. And all this is shown, all this the viewer sees, nothing is missed. Wow, I would like that... For those who have not been on such talk shows, I tell you: filming is carried out with at least five cameras (of which one is on a crane and one on rails), in a rectangular, close to square hall, evenly lit lots of soffits. Each shout from the spot - if it is interesting, then it is re-shot, forcing to shout again, already in the given microphone and with video cameras pointing at the most favorable angle. There is absolute silence in the hall, everyone is clapping, whistling, stamping their feet on commands. Do you still want to compete in the art of reportage shooting with such a team? Or maybe they don't know how to work or don't know how to count money? Well, if you happen to see how they prepare for shooting each frame on the set of a motion picture, how they set up the lights for hours and lay rails for the camera, how two people stand at each camera (the operator and the person responsible for focusing, in slang - " magician") - then the conclusion will come by itself: You should immediately imagine your strengths and not try to embrace the immensity. Resign yourself to the fact that with one very mediocre, from a professional point of view, video camera, you will never be able to give the viewer a complete picture of the ongoing event, he will never see everything that happened and will not hear everything that is said. Look for the most characteristic, the most interesting in any event, and do not raise the bar higher than your head. An attempt, say, to fix at least a small section of the route "as is" in a kayak trip, will simply lead to the fact that you will run out of all the film by the evening of the first day. You should not fix every minute of the route, but create the feeling in the viewer that he has done it together with you. Kayaks on the water surface. The tense faces of one of the crews. Oars, foaming waves.. The tired face of the commander, examining the surroundings. Floating near the coast, overgrown with pines. Fishermen are waving from the shore. The lagging boat catches up with the caravan, they are almost invisible due to the distance. We hear your partner's comment that the day's route will soon be completed. Another beach, pines, oars and tense faces. Through all this, the nose of a kayak suddenly appears on the sand, and the viewer sees a bowler hat over a fire. Two minutes of proper shooting - and you already have the necessary minimum for a story. Spend another ten minutes trying to shoot some particularly expressive shots (interviews, scenes of everyday life, some beautiful evening landscapes and hiking still lifes), which will significantly color your film - and go to sleep, row again tomorrow :). Of course, everything told here is true for filming a film-memoir of the journey, and not for a video course on the route. Lawn Waterer Syndrome A person with a camera, being at the epicenter of an event, chooses the most logical way, as it seems to him, to immerse the viewer in the atmosphere of what is happening. By constantly moving the camera back and forth in the manner of a lawn sprinkler, he thinks he is giving the viewer a chance to see everything. Everything seems to be correct, because it is enough, once at the epicenter of the event, to glance back and forth, as everything becomes clear to us, and without any discomfort for perception. The human gaze, having darted around for just a few seconds, is able to convey to its owner all the necessary information about the scene in which it is located. But the "lawn waterer" forgets that, receiving information from his eyes, he already knows where he turned his head, where he moved the pupils. The viewer, looking at someone else's picture on the screen, has to spend extra time trying to figure out exactly where the camera is pointing. You should not endow the video camera with the methods of concentration that are available to a person. Any movement of the camera should be clear to the viewer. The movement must either fully correspond to the movement of the main object of attention, or move smoothly enough so that the viewer has time to understand exactly where his eyes are moving right now. In addition, any movement of the camera must be justified, i.e., starting to shoot any event, to change the angle or plan, you must find a justified, logical reason that can be justified in ordinary, everyday language without any professional gibberish. theater goer syndrome - Let's go to the theater! - Yes, what are you? Three hours to watch the general plan? Old videographer joke One of the ways to "embrace the immensity" is, according to beginners, in the following effective technique: moving away from the event being filmed, fit everything that happens into one frame. Approximately as it is depicted in the paintings "The Last Day of Pompeii" or "The Appearance of Christ to the People". Such a frame, in itself, undoubtedly, has the right to exist, but the cameraman does not suspect (or does not think about) the fact that, say, the painting "The Appearance of Christ to the People" occupies the size of the wall of the cathedral, and there is always a guide nearby, who in detail paint each person depicted in the picture, draw attention to the characteristic details. Therefore, we should not assume that by inscribing all the objects in the frame, we will give the viewer an interesting story. The videographer will have to perform the role of the guide himself. With your video camera. If you can't see something through the viewfinder (such as a facial expression), then the viewer probably won't see it either. One of the main skills of a videographer is to imagine what the viewer will eventually see on the screen, abstracting from what is happening in reality. Walking excavator syndrome If we carefully consider many professionally shot motion pictures, we will find that very often the camera on the stage has a life of its own. Slowly moves between the main characters, flies parallel to the route of their movement, then overtaking, then skipping ahead. Usually, subconsciously, a beginner tries to imitate such spans, trying to smoothly walk with the camera while shooting some important event. The effect is completely opposite to the cinematic one. Due to completely objective reasons, the human body cannot be compared in terms of the smoothness of the movement of a video camera with special, very expensive devices, such as a steadicam, a camera crane or a trolley on rails. Usually such a video looks like it was filmed from the cab of a walking excavator, at full speed crushing the quarry dirt. Instead of the viewer abstracting from the personality of the operator, looking at an interesting scene from the most expressive angles, he, on the contrary, will have to constantly identify himself with the personality of a person who for some reason interferes with normal viewing of what is happening. If during the video shooting you need to move (not to be confused with camera rotation or zoom in/out), then it is advisable to do it as quickly as possible. When editing a small piece of a wildly jumping picture, cutting out is noticeably easier than a long attempt to smoothly approach a new point with the camera, moreover, there are ways to cut this fragment completely painlessly for the storyline. If absolutely necessary (for example, to interview a walking person), shoot only at the widest possible angle (departure as much as possible), then the vibrations will not be so noticeable. We take the camera in hand By chewing food thoroughly, you help society By analogy with weapons, after studying the material part and before starting the shooting itself, let's find out how to hold the video camera correctly. Let's immediately discard the option "we take the camera in our right hand, and with the left we hold a cocktail, a mobile phone, a girlfriend, a leash with a dog." If you're going to shoot video this way, then why read this article at all? We hold the camera with both hands, elbows rest against the body. For the right hand, there is usually no alternative, manufacturers suggest that it is conveniently strapped to the camera with a strap, the REC button is under the thumb, the ZOOM lever is somewhere nearby, perhaps the exposure button is nearby. The left hand should usually support the right or the body of the video camera from below, while if the buttons described above (exposure, focus) are nearby, then using them by touch should not cause any inconvenience. Using the screen may seem tempting, however, I advise you to pay attention to some important points:
The screen is indispensable when using the camera in non-standard angles (raise the camera over your head in the crowd, squat down and shoot the bottom shot, etc.), but you should not use it all the time. You should immediately take care that only the information you really need is displayed in the camera viewfinder, but you can decide which of them you need and which you don’t, only with practice. I advise you to immediately turn off the sound signal at the start / stop of recording in the camera menu, if you are going to seriously engage in video shooting, this will serve as a greater concentration of attention, and on the other hand, it will not give an extra reason to be embarrassed by who you are filming. At the same time, turn off the red light under the lens (if any). Learning to frame correctly Shots solve everything! The word "frame" has already been encountered many times in this article, and now the time has come to talk about the concept of a frame. In videography, this word has several meanings, which vary depending on the context of its use.
At the moment, we are talking about the frame precisely as an image visible on the screen. The purpose of this part of the article is to learn how to take correct and expressive shots so that at any moment of your video shooting the viewer sees a picture that does not cause internal discomfort due to the fact that it is shown incorrectly. The laws of framing - the correct construction of the frame - were discovered long before the advent of photography and cinema. The pioneers of these laws were the architects and painters of the first civilizations known to mankind. The laws of proper framing are alien to fashion trends, all kinds of new views on art, and so on. The laws of proper framing are the laws of the psychology of human perception, inherent in us by nature, so you should not look for a reason for innovation where there is none and cannot be. The center of the screen, which must not be touched, but must be reckoned with Let's look at the screen. Camcorders usually offer the user a choice of two options - to shoot in a 4:3 aspect ratio (suitable for broadcasting on television) or 16:9 (convenient for viewing on modern plasma panels, etc.). What involuntarily attracts attention in any frame? You can not try to surprise anyone with an original answer, psychologists have long solved this issue. A properly arranged human psyche in a frame will always be interested in its center.
Does this mean that all interesting objects in the frame should be centered? The answer will be unusual. No, the main objects in the frame cannot be centered! They will put too much pressure on our perception, create discomfort. However, the direction of movement in the frame, the direction of gaze (of the main subjects) should be from the edge to the center. About the concept of "always", "not allowed" and other dogmatic statements in this article There is nothing forbidden or impossible in art. Therefore, the words "always", "never", "only" should be treated critically. Usually they should be read as "in order to achieve the desired effect" ... (hereinafter the very categorical "it is impossible," always ", etc.). Therefore, let's step back from the narrative in a categorical form, and note that breaking the rules also creates a feeling in the viewer. As noted above, the location of the object in the center of the screen creates discomfort. By properly exploiting the violation of the rules, we can create the atmosphere we want on the screen. Do you want to let the viewer feel under the stern look of the investigator? Position the interrogator's face right in the center of the screen so that he looks directly at the bridge of the viewer's nose. Do not abuse this technique, but have it in your arsenal. So, the location of the object right in the center of the frame gives discomfort.
Despite the rather neutral, even somewhat friendly facial expression, you should feel some discomfort. Atavism inherent in us by nature: a direct look is an expression of threat. We will not understand the nature of this phenomenon, it is enough just to watch a flock of dogs, monkeys, or barracks "grandfathers" to understand that the phenomenon exists, and we must take this effect into account in our work. Now let's experiment with the line of sight, not letting it cross the center of the screen.
Hey what's going on? Where is the girl looking? By moving the direction of gaze beyond the screen, we created tension and expectation in the viewer. In the next shot, we live up to the viewer's expectation by showing the girl lighting a lamp on the ground. Violating the rules of comfortable perception of the human psyche, professionals create the so-called "accent", that is, a place in the narrative when it is possible to change the pace and manner of presentation; build up tension before a sudden event. If your videos do not provide for shocking the viewer, a sharp change in rhythms and moods - it's better not to break the laws, you'll see, they will be violated themselves, without your participation :) The rule of the "golden section" Another rule that follows directly from "The Doctrine of the Center of the Screen". And where should objects be located, if not in the center of the screen? The answer comes from ancient times, when architects and painters discovered the "Golden Section". Look at the picture:
Each line across the screen divides it into two parts. Moreover, one of the parts is exactly twice as large in area as the other. Two vertical and two horizontal lines, four intersection points. Do you want your shots not to cause rejection in the viewer at the level of psychology (no matter what is depicted in them)? Try to place the main objects along these lines and points, not forgetting the views and movements. 1/3 and 2/3 are used as easy to remember numbers, very close to the "golden section" in the variant of the harmonic proportion; a more precise definition (not related to this article) is easy to find on your own.
The ability to fit the main objects into the "golden section" is one of the arts that a videographer needs to master. I draw your attention to the fact that in order to train in building the "Golden Ratio" it is not necessary to constantly look into the camera's viewfinder, you can train anytime and anywhere, just imagining how you would frame those pictures that you see in front of you every day in everyday life. Mentally throwing the Golden Ratio mesh on any scene, you will get a good workout. In the process of filming, you will often encounter a situation where (for a variety of reasons) the main subject begins to move out of the frame. Here he violated the proportions of the golden section, now at the very edge ... What to do? If you are filming a football match - then the answer is obvious, try to dribble the ball and a group of players around it and further, usually the competition is filmed so that the viewer can know exactly who, at what second, with which foot ... etc. If something important happens behind the scenes (how long does it take to score a goal?) - of course, the value of your shooting will immediately and sharply decrease. But we're talking about artistic photography, aren't we? Then think about it: the scene in which the hero runs up to the border of the frame, then the viewer sees the convulsive movement of the videographer in order to prevent him from "escaping" ... My (and not only my) opinion - the scene suitable for admiring has already ended, and in the moment when the hero crossed the border not of the frame, but only destroyed his composition. What to do? That's it at the moment of destruction of the composition? If you can’t smoothly, unobtrusively for the viewer, adjust the frame, then you have two options:
When shooting reportage, when there is no rigidly established shooting order, and you cannot demand to replay the scene, you constantly have to think about how to compensate for an unexpected change in the composition of the frame that you did not foresee. With staged shooting, of course, it will simply be necessary to replay the scene, but in the absence of such an opportunity? If you are not just a videographer, but a videographer - i.e. a person who completely makes a finished video product, then the constant search for solutions in this area will constantly accompany you on your creative path. Let the object out of sight, accompany it, or urgently look for the next frame - the choice lies with you. Publication: ixbt.com
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