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BOOKS AND ARTICLES Basic rules for filming
It would seem, well, what could be simpler: buy a camcorder - and shoot yourself to your health, especially since modern camcorders support many automatic modes, as they say, for all occasions. This is what many novice video lovers think, at least until the first viewing of the footage. We really hope that the following tips will help you avoid some common shooting mistakes. One of the first and foremost problems that the video enthusiast faces is image instability caused by hand shaking when shooting. Moreover, no matter how light your apparatus is and no matter how physical strength its owner possesses, all the same, these shortcomings sooner or later make themselves felt. This problem can be almost completely avoided only with the help of a tripod. Nevertheless, it is not always convenient to use it: firstly, most tripods need to be prepared for work for a relatively long time, which in the case of dynamically developing events is an unaffordable luxury. Secondly, carrying a tripod around with you is also not a pleasant task. Therefore, for high-quality operational shooting, a monopod is often used - a support of adjustable length with a special threaded head for mounting the camera. When folded, it resembles a telescopic fishing rod and, by the way, is also often made of fiberglass. Most monopods can be quickly prepared for work: a light press on a special lever - and part of the links rush down under their own weight. The rest are produced using special easy-to-handle clamps. There are also fully automatic monopods, in which the length of the support is adjusted "in one touch" by means of a single lever lock. The price of these devices ranges from $20 to $100. Well, if you don’t have a tripod or a monopod at the time of shooting, then to minimize hand shake, rest your elbow on some fixed, stable object - on the parapet of the observation deck, the handrail of the stairs, etc. As you know, most manufacturers today produce camcorders equipped with an electronic or optical image stabilization system that allows you to compensate for hand shake to some extent, especially when shooting scenes with high frame zoom factors. And yet, in some cases, the use of this function should be avoided (especially for the electronic image stabilization system). For example, using this mode when shooting panoramas often leads to image sticking first, and then to unjustified jerks. Always "keep vertical", in other words, make sure that vertical objects in the viewfinder - telegraph poles, house walls, tree trunks, etc. - are parallel to the sides of the frame. Don't get carried away with frequent use of the image scaling system. Continuous and monotonous camera techniques such as "arrivals" and "departure" make the film boring and "sick" the viewer. Sometimes it's better to shoot a scene in close-up, then stop recording, zoom in, and start shooting again. A good style is when your videotape alternates close-ups, medium shots, and wide shots. The latter are used to shoot landscapes, landscapes, architectural ensembles and help the viewer get an idea of the place where the main events of the episode will unfold, the relative position of the extended objects of the scene being filmed. You can move from a general shot to an average shot - to show a group of people, a person in full growth, the interior of a room, etc. In fact, middle shots are the "bricks" that make up the "building" of the film. They are used to display the main actions and build the storyline of the film, everything else is just additions, decorations, binding to a place, creating a mood. A close-up serves to demonstrate various characteristics of the object - the face of the hero, the main part of the interior of the room or the landscape, etc. It is no coincidence that such an image scale is often used when shooting interviews, speeches at conferences and official meetings. Sometimes it becomes necessary to focus on some important detail - to show the expressive eyes of the hero; his hands, involuntarily crumpling a piece of paper; detail of the outfit (a rare award, expensive jewelry, a carelessly tied tie, etc.). In addition, it always looks good if a long panorama of a natural landscape is interrupted by shots that capture the dance of a leaf in the wind or a lone flower that has grown in some unknown way on a lifeless granite rock; and then slowly return to the original view using the zoom system. In all these cases, super-close plans are used. They give an emotional coloring to the video clip and allow you to fully reveal the director's intention. When shooting panoramas, it is desirable to move the camera at a slow pace and at a uniform speed, avoiding jerks and jerks. If possible, it is better to use a tripod or monopod for these purposes. Modern television has shaped people's "clip thinking" - video clips are best perceived, consisting of scenes lasting no more than 5 seconds. Some consumer camcorders even have a special "5 second" mode that allows you to force recording only short video clips, in addition, many models include a 10-second countdown counter for this purpose. These functions are very convenient to use when shooting weddings, feasts, anniversaries and parties, so that the long-awaited pleasant moments - happy faces of friends, pompous toasts of acquaintances, joyful chores of relatives - subsequently do not merge on the screen into a monotonous and monotonous fuss, hardly interesting even to the heroes of the occasion . Nevertheless, dynamic "slicing" is a task of non-linear editing. By and large, it is always better to have more working material so that there is plenty to choose from. As a result, 6-12 s is quite sufficient duration for one scene when shooting. Remember, the camera's viewfinder is not a gunsight, and it's not at all necessary (and sometimes not desirable!) to close your left eye when shooting. Peripheral vision allows the operator to perceive the action in more volume, and not only within the limits limited by the frame of the camera's viewfinder. Moreover, if there are more interesting events in the space visible to the left eye, you can immediately switch to them and not miss an important episode. If possible, avoid shooting on the go, because, as a rule, nothing good comes of this - you should not copy professionals in this regard. When filming with a movable camera, they use either a shoulder rest, available in expensive devices, or special (sometimes stationary rail) platforms that ensure uniform movement of the operator along with the camera in the desired direction. It is rather difficult to create such things in "home" conditions, and is the game worth the candle? Even when shooting a moving "group of comrades", it is better to run ahead, stop, look around, select a point and only then start recording. When shooting indoors with artificial lighting, you should not trust the automatic setting of the white balance - it will always be better to do it manually. When shooting landscapes, make sure that the horizon line passes near the center line of the viewfinder, or even lies slightly above it. Scenes in which about 2/3 of the frame is occupied by a cloudless sky look bad, and, as a rule, the automation in this case is mistaken with the choice of exposure. It is advisable to avoid shooting sharply contrasting scenes, where objects (or their elements) are both lit by the sun and lying in the shade at the same time. In such cases, color errors often occur due to incorrect determination of the white balance. To emphasize the perspective and give "volume" to your shots when shooting long and medium shots, you can place an object directly in front of the camera lens: a flower, a twig - when working with landscapes; candlestick, table clock - when shooting indoors, etc. It is important that this object does not distract viewers' attention from the main events, is characteristic of this composition and occupies only a small part of the frame (for example, is located somewhere in the corner), unobtrusively demonstrating the depth and scale of the image. And yet, in order to end up with an interesting and exciting video, it is necessary, but not enough, to adhere to the rules listed above. You need to constantly look for new unusual angles and shooting points. The same event can be presented in completely different ways. For example, when "perpetuating" ballroom dancing competitions, you can capture a general view of the stage from the podium or balcony, then look at the couples from the "judging point of view", that is, from the side of the arbitrators, or remove the dance from the floor level, thereby violating familiar perspectives. Fortunately, almost all digital video cameras are equipped with folding rotary displays, and in many cases it is not necessary to try to look into the peephole of the cameras while bending three deaths to control the image. With a creative choice of shooting angle, it is necessary to fantasize all the time, to overcome the prevailing stereotypes of thinking. It is necessary, if you want, in a certain sense to return to childhood, to remember your feelings, games. For example, you stroke a cat that is conveniently located on your hands, and then the thought: “And how does my Murka see me at the moment?”. Try to look through the camera viewfinder from the same point as the animal, at someone close to you, at the world around you - everything will appear before you in a completely different way. So you can fantasize further and further: how a bird on a branch sees the surrounding objects, a bee on a flower, a bat hanging under the arch of a cave. And each such "look" for the operator is a new dimension, a new pinnacle (well, let's start with a mound) of his skill. Author: Sergey Galushka; Publication: videokam.narod.ru
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