TMHS+Juneau+Videography+Workshop+w.+John+Wahl




 * YOU ARE CINEMATOGRAPHY TEAMS, CAPTURING INTERVIEWS FOR AN IMPORTANT DOCUMENTARY PROJECT.**

Camera Tripod Videotape that fits the camera Microphone Three lights
 * I. GEAR ESSENTIALS – WHAT DO I NEED?**
 * digital or analog; almost all are digital now
 * high-definition video
 * mountable on tripod
 * a mic input
 * avoid tripods with ‘cookies’ (the little hook-up-to-camera piece – the cookie is removable and often gets left with camera, making tripod worthless)
 * if no tripod, keep camera arm’s elbow tight into side to steady the camera
 * label it with name and project title
 * run about 30 seconds of footage that’s NOT important at the beginning of the tape
 * if a tape gets damaged, it’s usually the beginning of the recording.
 * for downloading into FinalCut Pro or other programs, you need ‘header’ footage that will not be usable in editing (so you don’t want the header to be crucial footage)
 * use the first 30 seconds to est WHITE BALANCE – put a piece of white paper in front of lens
 * GRAYSCALING – holding a grayscaled sheet to lens and checking that those gradations are visible on the video image
 * Also, test the audio mic input
 * Camera’s on-board mic is poor
 * Avoid capturing surrounding background noises
 * Small hand-held mic; or a lapel mic
 * To implement ‘three-point lighting system’
 * Light bulbs
 * Extension cords & power strips


 * What’s the Three-Point Lighting System?**
 * A system that forms a triangle of light sources around the subject
 * Key Light – the primary light
 * Fill Light – illuminates the side of the subject opposite the side illuminated by the key light
 * Back Light – Illuminates from the rear in order to separate the main imagery from the background (when it’s on alone, you get ‘halo effect’)

//John’s Gear Tips:// //-Know your gear: what to use and how to use it// //-Mark your gear so it doesn’t disappear//


 * II. GETTING READY TO FILM**
 * Scout the location
 * If the location is someone’s home, ask for a pre-production visit to investigate power sources, light sources, background, etc
 * Think about the COMPOSITION of your shots
 * Rule of Thirds
 * Divide the visual shot into 3rds horizontally
 * Line up natural horizontal images with those horizontal lines (ie the horizon)
 * Divide the shot into 3rds vertically
 * The four points around the center of the image are potential good focal points in your shot
 * The Four Design Principles
 * Contrast
 * Repetition
 * Alignment
 * Proximity
 * Framing an interview:
 * The eyes of your subject should align with the upper third line, and one eye should line up with a vertical line
 * Subject should be looking toward the empty space in the center of the grid
 * Angles and types of shots
 * Consider using multiple cameras for interview work
 * Extreme wide shot – sets the whole scene where the interview takes place
 * Wide shot – can see the whole space of interview; subject’s whole body
 * Medium shot – waist up
 * Medium close up – head and shoulders
 * Close up – head only
 * Extreme close up – face fills the frame
 * Tilt up shot
 * Tilt down
 * Zooming in, zooming out
 * Bird’s eye view
 * Medium high shot – positioned slightly above the subject; suggests position of authority
 * Eye level shot
 * Medium low – positioned slightly low, suggests largeness/child’s perspective
 * Worm’s Eye view – shooting from very low (ie the ground); subject becomes huge


 * Check your GEAR SETTINGS:
 * Audio settings
 * they ‘default’ to the lowest audio setting (12-bit, 1 channel)
 * we need to switch the audio settings to 16-bit (the highest input)
 * if the cameras are recording at difft audio rates, then the computer editing program will have troubles
 * Check the **aspect ratio** – it should be at **16x9**


 * III. TO CONSIDER FOR POST-FILMING…**
 * Rule in film: ‘say dog, see dog’ – If the interviewer talks about something, the viewer will want to see that thing
 * After the interview, analyze what was discussed – then go capture footage of it, considering what type of shot you want
 * These are ‘cut-away shots’ or ‘B-roll’

1. Director of Cinematography -white balance -16-bit audio -16x9 aspect ratio
 * IV. JANUARY TEAMS – 3 to 4 people each**

-what shots do you want? John suggests— -wide ‘2’ shot -close up of face; what angle? – eye level, high, or low -3rd camera = moving camera Production Assistant (same as Lighting Director) -marking tapes -taking notes – name of interviewee, length of interview -note which camera got which shots (shot 1 = closeup; shot 2 = wide angle; etc)

2. Lighting Director -lights -tripods -save cookies for tripods after shoot -check for power; organize cords and power strips

3. Audio Director -setup mics -test audio ahead of time; check tape to ensure that you’re capturing audio -have a backup audio source in case of failure -on headset during the shoot to monitor audio levels

WEB RESOURCE: [] - a Student Filmmaking Page

-Prepare the gear and the shot set-up before the interviewee arrives, if possible -Our goal is to MAKE THE INTERVIEWEE COMFORTABLE -Be subtle about alerting Ryan / other leaders when you’ve begun recording. Shouting ‘rolling!’ or ‘action!’ will only make the interviewee feel nervous. -Never correct the interviewee or ask him/her to move or adjust position for your shot—WE, the crew, must adjust for him/her. -Be ‘Film Ninjas’—silent & invisible to the interviewee as you capture your excellent footage.
 * IV. RYAN’S TIPS FOR PROTOCOL DURING INTERVIEWS (to be discussed in more detail in January)**