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BOOKS AND ARTICLES Filming: Tips for Beginner TV People
Where does the installation begin? Naturally, from the shooting. Inaccurately filmed material gives rise to a lot of editing problems - everyone who has ever tried to edit a "random" shooting or simply poorly shot frames knows this. Therefore, we will not bypass this topic. And let's start with the simplest - practical advice on the basics of preparing and organizing shooting. These tips do not claim to be true. Their task is to help those who are just starting their journey to mastery find a "foothold" when shooting in various genres. As practice shows, it is these seemingly elementary rules that are violated daily on TV. Moreover, the success of shooting depends not only on the professionalism of the operator, but also on the readiness for it and the knowledge of the technology by both the director and the editor. But when these rules become a shooting standard for you, change them as you like - you will no longer cross the line of professionalism. Basic shooting rules 1. When choosing a platform for synchronization, always remember that the viewer reads the situation from the screen not as a background, but as habitat hero. 2. When shooting indoors, do not rely on natural light: in order for reality to become a frame, it must not only be illuminated, but also painted with light. Use a classic lighting scheme whenever possible, especially when shooting portraits. It is not necessary to do this only with devices: use various reflectors, incl. and naturally present in the room. 3. Be careful not to mix natural and artificial light. Natural light can be covered with thick curtains, interrupted by artificial light (this is another reason why you need to have more devices on the set than it seems at first glance). If neither one nor the other succeeds, either look for a daylight filter (very expensive), or change the site. Do not count on color correction - the result will still be disgusting. 4. Alwaysif there is no special task, use a tripod. By the way, this is one of the main external signs of not only professionalism, but also the culture of the operator. Before shooting "a'la Urusevsky" or Fuchs, learn how to work like Moskvin - then you can afford to take the camera off the tripod without serious damage to the material. 5. When preparing for an interview, do not rely on general knowledge of the topic, always make a "questionnaire", but try never do not use them for filming. Pay attention to how unpleasant the presenter looks buried in a piece of paper before the next question and even during the interviewee's answer. But it is no less unpleasant to look at a person who is tongue-tied or hesitantly formulating a question. In addition, there is a psychological law of communication, expressed in a short everyday formula: "What is the question - such is the answer." 6. Whenever possible, hide the microphone (unless, of course, this is a situation where the microphone must be in the hands of the interviewer; but this should not be the rule - rather the exception). I beg your pardon for the crude comparison, but it's valid: have you noticed what the shape of most microphones looks like? Not enough associations - open Freud. Now it is clear, than You poke a man in the face?! 7. Never, under any circumstances, should the microphone pass from the hands of the interviewer to anyone else. The microphone during the interview is a "situation control rod". 8. Do not drag the microphone "from mouth to mouth" - if the room is not noisy, it is enough to choose a certain average distance between you and the interviewee, somewhere at chest level, and only turn the head - the sensitivity of the average microphone is usually enough. 9. On a documentary shoot, forbid yourself commands like "motor", "start", "stop", as well as all conversations like: "what, start?", "are we writing?" "the camera is working", etc. Find human synonyms for them and always pronounce it in a calm "everyday" voice. Even better - have a system of inconspicuous conventional signs for commands to the operator and other team members. All sorts of hand signals, etc. are also unacceptable (enough fingers) - what usually stimulates an actor knocks down an ordinary person, or even shocks. 10. Turn off (if there is a toggle switch or a function in the menu) or glue on the recording signal LED on the camera: the interview has begun imperceptibly for the hero, a good conversation is going on, and suddenly the person sees a red eye and understands that the recording is in progress. You will not have time to blink an eye, as his behavior will change. 11. Try to combine as few functions as possible on the set: it is impossible to simultaneously interview and control the operator, and even more so shoot. Find yourself either an interviewer or a director you trust (not only humanly, but also creatively, capable of realizing your idea). But if, having made sure before shooting that he understood you, you were trusted, go in this trust to the end and do not interfere with him. The situation of "7 nannies" is no better than uncontrollability. 12. The place of the director is behind the back of the cameraman. More precisely - to the left and slightly behind. By the way, it is this ear of the earpiece that should rise. Then you can very quietly give the command. And it’s even better to teach the operator to understand touches on the back - and the hero is not visible, and you can control it more accurately, including the speed of the pan and zoom (for example, slightly increasing pressure or transferring it from one edge of the palm to the other in panorama). For commands, one word is usually enough: "right", hitting, "hands", etc. 13. Pay close attention to shadows, especially when working on location. Even in 10 minutes of CHX, the shadow from the nose can grow by 5 cm, and the eyes can be in complete shadow. 14. Never use camera special effects when shooting - it is easier and more accurate to make them on the remote control, and it is no longer possible to remove the ones taken on the camera. 15. Do not get carried away with zooming, all sorts of movements and special effects, if this is not specifically in the task and style, "slow down" the operator and do not take them without extreme need for editing: these are too powerful tools to waste them in vain (why a sledgehammer where a screwdriver is enough), and the action and dynamics in the frame and editing are usually much more expressive than the dynamics of the camera. 16. Therefore, when shooting any panoramas and zooms in and out, teach the operator to shoot the initial and final shots in static mode (at least 5 - 7 seconds each) before moving the camera and stopping it after panning or zooming. Then unnecessary movement can be "cut out", leaving static plans. 17. Don't forget the horizon - the viewer is more likely to forgive a little camera shake than a steady but skewed shot. Naturally, each type of material has its own specifics of filming. Report Here the viewer forgives a lot: the microphone in the frame, the shadows, and the unstable frame. Just do not "overdo it", otherwise the feeling of a captured operational event will develop into a feeling of dirt. How about dirt? In general, when shooting a reportage, try to convey the atmosphere of the event. The most valuable synchronicities here are not explaining, but emotionally infecting, conveying energy, dynamics and emotion of the event. The most valuable shots are the same, plus the sharpest moments - supports, breaks of events. Explain the rest behind the scenes. If you shoot a story about a football match (or the like) with one camera, shoot the details: feet with the ball, whistles, goals, falls and screaming spectators. Throw-ins and running around the field are not interesting in general terms - a dozen of such shots are enough for a report. In the report, only one logic is important - the logic of the development of the event from scrap to scrap. It doesn't matter that you can't often film the event itself - only its aftermath. If you manage to imitate its course with a camera and editing (including archives), the viewer will forgive you for being late. Just do not try to act out or "artistically" reproduce - the stand is revered immediately and will destroy the credibility even of what you really took off. Special effects in a reportage and in general in information are inappropriate - except perhaps a curtain between plots and block breaks. The main and only requirement that the viewer makes to the reportage is to see with his own eyes the main phases of the event, to feel its emotional dominant. Therefore, the less sharp twists and turns, the less the time "price" of the plot - on average, it should not go beyond 1 ... 3 minutes. Report and shoot only the main thing and those details that convey the emotional dominant. Feature article presupposes, first of all, a certain author's comprehension of the material. Even if it is based on a reportage, the viewer's requirements both for the aesthetics of the frame and editing, and for the alignment of the overall concept increase by an order of magnitude. You are expected not just to show the event, but to reveal its causes, the plot of development and consequences, as well as, in contrast to the reportage, a clearly expressed author's attitude. All these requirements give rise to the need for a dramatic construction of the plot, which means that you have to use all its elements without exception. Frame instability, technical marriage, slurred sound and blue faces are no longer forgiven here. The viewer is not interested in our problems on the set and in editing. He knows that this is not aired an hour after the shooting and demands respect for himself. Moreover, the interest in the author's presentation of the event already outweighs the interest in the event itself. This means that the shooting situation is also changing. Here you can suggest the following: 1. Do not be afraid to replace the event itself with its artistic interpretation - unlike information, here it is appropriate and even necessary (of course, within reason - not to play with actors). 2. Accurately select the associative array - there should be neither few associations (artistic comprehension will leave), nor many (the viewer will simply "drown" in them, not having time to decipher). 3. Precisely choose the style of shooting in advance, based on the chosen genre. You can style the main story like a reportage or a detached surveillance or biased investigation, but it must be clearly defined and seen in the manner of the camera. Moreover, the style of shooting the main plot and your associative video comments to it may differ, but then this difference should be explicit, accurate and easy to read and be sure to go in the same key (as if remarks "from the author", given in a different font - let's call it, conditionally, petite). At the same time, then try to spread shooting in different styles by day - otherwise it will be difficult for the operator, and for you, to reorganize, and it may just be a mixture of shooting styles - a thing that is basically unacceptable. And yet, introducing a new style (but in no case no more than 3), accurately determine the visual "access keys" to them (preferably at least 2 - 3 at the same time). It can be a "live camera" on the main material and hard statics in "petite". Or a sharp change in editing and intraframe rhythm. Or color transitions - b / w. Or use only in the "petite" zoom, etc. and so on. Screen frame caching, finally. But if you took the style of shooting as a reception - lead it to the end, it cannot be changed. 4. If you feel that there is a danger of some kind of marriage, it is better to stop shooting or reschedule it for another day. In the essay system, a frame or episode shot in a marriage (it doesn’t matter in terms of sound, picture or composition) = not shot frame or episode. In no case should it be taken into installation. Especially, by the way, this applies to your "petites". Of course, marriage is different from marriage. A small loss on film is one thing, a skewed horizon and a "bump" of the frame are another. 5. Shoot the most difficult episode first, but in which the main character is not involved. Then - everything else. The paradox is that most likely this first piece will have to be re-shot again. But this will enable both you and the operator to feel the accuracy of mutual understanding, the degree of resistance of the material already on the camera, and will become, as it were, a tuning fork for the rest of the work. 6. Do not hold on to the accuracy of geographic, temporal, spatial and other references (unless, of course, this is not essential for the plot). What difference does it make which alley Bunin walked along, if the alley in the neighboring park is more in line with the mood of Bunin's "Dark Alleys". Mount them - that's all. This viewer will forgive faster than stunted bushes, but "the same ones." Production program requires even greater care in staging the frame and suggests the possibility of inserting game episodes or completely acting construction. Here, the originality of the idea, content and entertaining form already come to the fore - the material practically does not matter. In the end, what difference does it make who will play "Field of Miracles" there today - the viewer watches the process of the game itself. And the presence of "stars" is only a "spicy sauce" that sharpens the taste of a bored "dish". The main condition is to be careful with nature, because. that measure of convention, which is usually possible to build in the pavilion, in comparison with nature immediately, as they say, "climbs out like a stake" and sells precisely the staging of the decision. There are situations when this can be used and, having revealed the conventions of the pavilion, make it a director's move, an artistic device. But in most cases, in order to neutralize the feeling of a gap between nature, real interiors and the pavilion, separate efforts are needed. Keep in mind: Non-synchronous shooting, i.e. normal shooting without sound. The main advice here is: never try to use a sound accidentally recorded by a chamber "gun" as a synchro. This microphone is designed only for recording inter-noise and only for it this sound is suitable. The rest is operator skill. Synchronized shooting: Decide how you will shoot it right before shooting. In general, all synchros are divided into official speeches and interviews, open and hidden. 1. Formal speech: here everything should be subordinated to the task of focusing on the speaker. Those. no unnecessary details, especially of a personal nature. The main plans are medium and American medium. The angle is usually taken frontal "from the navel". It is enough to give a general plan 2-4 times for the viewer to orient himself in space, for example. at the beginning and at the end, under the credits (can also be used as an interruption, only then you need to shoot so that the speaker's lips are not visible). Those. here the utmost strictness and even asceticism of the frame is required. The microphone must be either hidden or stand on the table, covered by something (eg a desk calendar, etc.), but by no means in the hands of the speaker. 2. An official interview resembles a speech, but implies a greater openness (in no way accentuated) of the shooting situation, the presence of a journalist in the frame, who, however, in this case also cannot be a person, but acts as a "representative of the audience." Direct appeal to the audience here is possible only at the beginning and at the end of the interview. There can be no interruptions and, moreover, no argument with the speaker: a question, an answer with a clear period at the end, the next question. The microphone may be in the hands of the journalist, but it is better to put it on the table. The emphasis here, as in the case of an official speech, is on the interviewee. 3. Open sync, both interviews and monologues, already give much more freedom. This is the possibility of the presence of a journalist in the frame, and his open work on camera (up to a regular direct address to the audience), getting into the frame of filming and other equipment. Here you can create anything you like: from officialdom to complete absurdity - depending on the style and genre you choose. 4. Hidden synchronism, also it doesn’t matter, in a monologue or dialogue, it implies creating a feeling of being watched, the unintentionality of the situation in the viewer. Everything that relates to the technical side and the shooting situation itself should be extremely hidden. No microphones, lights, wires, camera questions, etc. cannot be in the frame. Even the look of the characters into the camera can only be accidental. Those. the viewer should have the feeling of a hidden camera. You can hide the microphone anywhere: from a buttonhole hidden along the lapel of a jacket to recording from a microphone "gun". If there is neither one nor the other, build a dummy book (a box in the size of a large book with a glued cover), put it with the back to the camera and hide the microphone there (small holes are made at the ends, and the rest of the space inside is pasted over with foam rubber). And you can come up with any number of such dummies. Shooting moving objects. Do not forget that the camcorder also has a shutter speed - the speed of the electronic shutter. The faster the subject speed, the faster the shutter speed should be. Although if you really need to emphasize the dynamics of movement, you can, on the contrary, set the minimum speed and thus get the object lubricated, like a trail behind it. And one more thing: the larger the object is shot, the longer the focal length of the optics, the greater the feeling of motion dynamics (remember the pillars next to the train window and in the distance). Again, just don't overdo it. The same applies to motion pictures. Shooting with motion: the main thing is to remove or at least minimize shaking. Such shots have to be shot mostly hand-held - if you do not have special equipment, the operator himself serves as a compensator. Rule 1 - minimize the contact area, the fewer supports, the better. Before pressing the button, try to adjust to the rhythm of movement and pitching. If it's rhythmic, like on a train, it's not difficult. But in the car potholes and potholes are not predictable. Therefore, looking into the viewfinder, try to feel, tune in to the sensations of the body. With some training, you will begin to feel the beginning of the push, and most of them will be able to compensate. Hidden camera: it is clear that in this case neither the camera, nor the operator, nor the microphone, nor the wires, nor the light should be visible. In professional photography, mirrors that are transparent only in one direction or the same tinted glasses are used for this. It is difficult to get them, so you can do it easier: a piece of velvet or black fabric stretched over a frame or made according to drapery. This place should be darkened and protected from direct light so that there is no glare from the lens. A hole is cut in the fabric exactly under the lens. The edges may be covered by furniture, etc. It’s good to put some bedside table and a vase of flowers or something else that matches the interior in front of this screen. In extreme cases, you can put a bunch of suitcases, throw the same rag on them and apologize to the hero for the mess, or hide the operator under a draped table. The light is set so that the hero is illuminated either by natural or reflected light and only, of course, by household lamps. The microphone is hidden on the table, wires under carpets, paths, etc. (again, do not count on the chamber "gun"). And another option: sometimes there is no need to even hide the camera, it is enough to point it in the other direction and play some kind of dialogue there. And use a mirror (preferably 2 - 3). Then even the light supposedly placed on another platform can be directed with mirrors to the right place. If you're precise and elegant enough, and don't sell yourself out looking at the cameraman, you'll hide the camera better than even hiding it. Just do not forget about ethics: immediately after editing, when there is still time to change something, be sure to show this episode to the hero and get his consent to be shown. In doubtful cases (if you are not sure of the decency of a person) - written. Can help get rid of litigation. Double exposure: This method is already related to composite shooting. Let's say (not necessarily in a fairy tale), you need to show two heroes - a giant and a midget, in one frame. This is done as follows: one of the characters is filmed in the right space with the right size and space for the location of the second character. The second one is filmed either against a blue background and framed by a mask (rear projection), or against a very black background (velvet or black hole, for example, at night on the street), illuminated by a very strong point light, and framed on a mixer. Both methods have their drawbacks. Rear projection (chrome key) gives a sense of applicativity, in the second there is a danger that background details will show through the character. And in any case, you will need a monitor on which the finished picture will be visible - without it, it is almost impossible to accurately adjust the movement and position of the second character. It's easier to do these things on a computer: some editing programs have a traceable mask feature. Here you mark the contours of the captured object and the electronic mask tracks its movements. Although everything is not so simple here, it is almost manual work. House-mapping and finishing the scenery: if you don’t have the opportunity to go to India or build an Indian rajah’s palace in the center of Kansk, and for some reason you really need to shoot a character against his background, then it’s enough to find a picture of this palace or, better, a local craftsman who will make you this palace is made of cardboard or plywood on a scale of 1: 100 (of course, the larger the better). Further - the same rear-projection. And in order to hide the applicability and give the characters the opportunity to somehow interact with the space, the elements of the 1st and 2nd plans are made in full size and installed in the pavilion. Sometimes a couple of floor vases with flowers or some cardboard columns are enough, which will overlap the hero during the aisles. It makes no sense to consider the technology of a virtual studio here: people who have equipment of this level usually do not skimp on staff training either. Shooting to a phonogram: it is clear that you first need to have the phonogram itself. Now most performers have the opportunity to make them on their own and more or less decent quality. And here is your work. The main problem with recording to a phonogram is to ensure accurate timing. If you intend to film the song in one piece and then slap city plans or any other out-of-sync into it, there is no problem. Take a "backing track" through a sound mixer, which the performer himself can get, build a balance between vocals and accompaniment, start the sound from the remote control and the picture from the camera to the VCR - and write as many takes as you want. But if you have a suspicion that the duplicates will have to be edited or you want to switch from medium to large shot by gluing, the situation changes fundamentally. And at the slightest mistake, a headache during editing from desperate attempts to get into sync is guaranteed to you. Firstly, in this case, use only the "plus sign". Not a single even the coolest professional will ever perfectly, up to 1/25 of a second, fall into the phonogram. Secondly, do not use even the most ideal audio tape recorders for playback of phonograms - their playback speed is too unstable. This speed deviation is not perceived by ear, but it is quite enough for serious desynchronization. Only a tape recorder with quartz stabilization of the speed of the drive shaft can absolutely withstand the playback speed. Such stabilization is used in audio recorders "Nagra", "Rhythm Reporters", some models of "Rhythms", etc. professional television and film technology. And absolutely in all, even household, video recorders. Therefore, the first thing to do when preparing for shooting with a phonogram is to rewrite the plus sign on a VCR. And rewrite only 1 time. If you want to simplify your life and rewrite it, so as not to unwind during takes, several times from a regular cassette, you will get the same sync discrepancy due to speed instability. You can re-record as much as you like from a VCR. It is advisable to record a short sound signal - "peak" 1-2 seconds before the phonogram. He will help then adjust the synchronism. Moreover, it is from this cassette (it will now be your master phonogram) that you need to make a copy on another video cassette, from which you will play the phonogram at the shooting. The master cassette, as a higher quality one, should only be used for editing. Further possible two shooting technologies: 1st - if you have a normal 220-volt outlet at the shooting location, you play the soundtrack from any VCR to the amplifier and shoot as many takes as required. 2nd - if you have to shoot in an open field or on a city street where there is no place to install and connect a VCR (not all studios have battery-powered V/M), you copy the phonogram onto a video cassette as many times as you need to shoot, insert this cassette into the camera, connect the camera's audio output to any amplifier with portable power, and shoot duplicates in the "Insert" mode. The quality of playback of the phonogram on the shooting does not matter - you will use this sound only for orientation during editing. It is only important to ensure the intelligibility and intelligibility of the sound for the performers, so that they themselves can get into their own phonogram. During editing, you take a master cassette and, entering CHX with a phonogram (it is best to do this by accents and strong beats, for example, a drummer), you overlay the picture, also in the "insert by video" mode, onto the phonogram. If you didn’t make a mistake in the preparation technology, hit exactly in time and the performer didn’t open his mouth across his own phonogram, you are guaranteed synchronicity. It is best to mount in the following sequence (not necessary, but more convenient): a close-up of the vocalist is synchronized and superimposed on the phonogram. Then, in accordance with the editing plan, middle and long shots are made into it, and then instrumentalists' cuts are made. Moreover, with the latter, you can use the so-called. "false synchronism", i.e. shots that do not exactly correspond to the performed place, but are similar to it in the general outline of the movement and fall into the rhythm. This technique is especially helpful when there is no way to record a musical number with a phonogram. Then you shoot only the vocalist on the song itself, and shoot the instrumentalists on other numbers. And you put it in a false CHX. If even in false CHX it is difficult to get into the rhythm (this happens especially often with drums), frame strobe and various washes, highlights, etc. can save the situation here. tricks that lubricate the exact perception of synchronism (just do not use them on the vocalist). And if you are a professional and you have something to add to this short guide for beginners, I will be glad to be able to expand this section with your advice. Publication: v-montaj.narod.ru
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