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Shooting for the Story ...not Picture

With the advent of CinemaDNG and 12 bit recording rates along with 4k..you will be able to crop and fix the cinematic quality of most shots.

But if you don't get the right coverage

in the first place...there are no shots to fix.

Thats why getting the correct story telling coverage is so important, and the core of everything we do here at DVworkshops.

Is there a formula for successful shooting in the field?

At DVworkshops.com we use a system called

THE 5 ELEMENTS it's our location based filming strategy.

DVworkshops Crash Course Filming in Los Angeles

The 5 Elements include Important Rules for capturing footage, and that's the subject of this newsletter.

3 Rules of Coverage

1- Use "PIVOT 1-2-3 technique while filming B-roll

2-Shoot "CHILL FOOTAGE"

3-Get as many close-ups as you can.

When I follow these rules, the footage almost tells me how to cut it together. I hope this helps you too.

Instructor Aron Ranen on Assignment for Reuters News Agency in Los Angeles

Just a quick note..

Going on my 13th Year teaching and writing these newsletters here at DVworkshops. Some of you have been reading them for a decade...yes u are that old!

I appreciate your support, and value the

friendships we have all built, and continue to build!

October 2013 Crash Course Students

Hope you have a great New Year..and feel fee

to call if you need info about our Hands-on Video workshops...or just want to say hello!

Attendee Rob Jordan from Stanford University with DVworkshops Intern Julian Womack

Aron Ranen Lead Instructor

DVworkshops.com

(415) 810-5934

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Rule #1

Shoot "Chill Footage"

Beyond the Interview Shot

Film your subjects doing something while Interacting with others

It may seem obvious..but many filmmakers just film interviews and forget to shoot footage of their subject DOING SOMETHING while INTERACTING with others. There is so much more you can film to reveal your subject's emotional character then just an interview.

Chill footage is filming your subject interacting with others...you just "Chill" and film them.

For example..shooting them on-the-job at the office, at an event or just grocery shopping! The Old School name for this is CINEMA VERITE

All you need is to Chill-Out..and let your subject's every-day reality unfold in front of

your lens.

Tell your subject..."Don't look at me or the camera...don't talk to me. pretend I'm a fly on the wall".

Then start capturing footage of them in the real world.

Make sure they don't try to explain to the camera what they are doing...if they start to act like a QVC host...threaten them with a stun gun
or cattle prod if they continue this behavior.

CHILL FOOTAGE adds another demsion to your character, while at the same time keeping your viewer's interest by breaking up the monontony of one-sound bite after another....this Opens up your Story and draws the viewer in with what I call "LEAN-IN FOOTAGE"

I use a wireless lavalier microphone on my subject to hear what he/she is saying from a distance.

Shotgun mic on my camera provides great audio of folks talking to my subject.

TELL A STORY WITH YOUR CHILL FOOTAGE VISUALS

There needs to be a beginning, middle, and end to the footage.

If you drop the viewer into the middle of CHILL FOOTAGE it can be disorienting with out first including set up shots.

Film subjects walking into buildings...saying hello and goodbye. Shoot transitional segments with them getting in and out of their car to help cover this type of footage

Look for "Button Shots" which are images that "Button up" and help end this part of your story.

Button Type Closing Shot

In all our DVworkshops Courses we teach you how to intercut Chill Footage with Interview Material using Final Cut Pro X.

Summary

You must film your subject out in the real world..interacting..not just sitting down being interviewed.

When shooting Chill Footage try to tell a complete story, from begining to end

Look for "Button Shots" that will end your Chill Footage sequences.

Rule #2

Use PIVOT 1-2-3

Create a visual sequence for your B-Roll or Cutaways

The PIVOT 1-2-3 shooting technique involves shooting 2-3 B-Roll shots from one position.

B-roll or cutaways are stand-alone shots that help illustrate a person's interview..or are used to cover narration tracks.

When shooting your B-roll....I do not suggest running around and filming "one-off" shots.

The basic PIVOT 1-2-3 concept is that you PIVOT from ONE POINT to create a series of shots that will edit together as a SEQUENCE.

EXAMPLE:

1-Start with a Master wide shot of the action..hold for 10-15 seconds (with Audio)...don't move your position.

2-Use your Camera's Zoom Handle and ZOOM -IN to get a close up shot of a scene detail or face. Hold this shot for at least 15 seconds.

3-Pan the camera to another scene detail ..and film a MEDIUM or CLOSE-UP shot.

Hold for 10-15 seconds.

4-then ZOOM back WIDE to get a Wide shot of the scene.

This shot ends the visual sequence created with PIVOT 1-2-3.

When you get back to the edit...you will simply cut together these shots next to each other to create a short sequence.

Please notice that I do not move..I PIVOT and ZOOM from ONE POSTION to another in order to change my shots.

Shot 1

Shot 2

Shot 3

PIVOT 1-2-3

Better then running around with the camera rolling as if your filming a family picnic.

SUMMARY

-Choose One position and shoot from there..don't move. G

et three shots.

-Start with a wide shot.

-Close up and medium shots are essential.

-Think of it as a sequence of still shots that will be edited together.

Rule #3

Get Lots of Close-up Shots when Shooting

or you are "Screwed"

Close up shots are your best friend in the editing room.

They can help out as transitional shots allowing you to cut multiple wide shots together.

For example you have 2 Wide-Shots of a Street

When cut together these images would appear as a jump cut. Which is disconcerting to your viewer.

You can solve this editing problem

by inserting a close up between the two wide shots.

For example a person is driving a car.

You need to film close up shots of hands gripping the steering wheel, and eyes looking in the rear view mirror

These shots will allow you to cut between wide shots of the road filmed out the front windshield, or with a GoPro strapped to the hood.

If you just run around and get tourist style wide shots...you will not be able to cut material together.

Summary:

Close-up shots are essential
Look for close ups that can connect wide shots.

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