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After writing these newsletters for more then 10 years..once a month..you would think I would run out of ideas?..right? 

Inspiration is the key...and this newsletter came from me thinking, "what are some basic rules I take for granted after shooting for so long?".  This newsletter has the five big ones.

I also wanted to share some of my recent adventures working as a Videojournalist for Reuters News Agency here in Los Angeles.

1. Hold your Shots

Every editor needs room at the start and stop of all shots.

When shooting an interview..begin rolling..count to 5..then start asking questions...when you are done..keep rolling for an additional 5-10 seconds...if this is a "Man on the street" type interview...film the folks as they walk away.

Hint: the time to Zoom into the person's face is during the producer or your questions..to get closer as the interview unfolds...  You will edit out your questions and only use the person's answers...eliminating the Zoom.

Cutaways..or B-roll ( they are the same) shots must be held for 

10-20 second each.  You will Kill yourself in the editing room if all your b-roll shots are 3-6 seconds in length.

When you begin a move..a zoom out or pan...hold the start and end of the shot for a few seconds.  I count to 4 or 5 before I start the move, and hold the end of the shot for at least 6-10 seconds. Don't just turn on the camera and begin your zoom..roll for 4-5 seconds..then zoom..then hold your shot for another 5-10 seconds I know there is an editor out there thanking me for sharing this with you.

2. Use an on-camera Light, or a Window for "on-the-go" Interview lighting

I often find myself having to shoot multiple interviews on location in a short period of time...setting up 3 point lighting for each interview is impossible. 

I use the Chroma on top of my camera to fill in faces of folks I am interviewing.

This light is so soft..when you watch it later on, it looks like it was professionally lit. 

There are many on-camera lights on the market...and the key to remember is that some are BLUE "Daylight" Balanced..while others are "RED" "Indoor" Balanced, and some are BICOLOR. The Chroma is Bicolor, meaning it can be switched between Indoor or Outdoor light.  Use Tough Spun on the cheaper lights to make them softer...but the Chroma on it's own is so sweet...makes everyone look great.

My first choice for any quick lighting set up is to use a window as my main light source.  

Turn your back to the window and use it as a Key Light for your interview subjects. 

Ask any professional photographer and they will tell you natural light is the best.  

I often use a Flex Fill to help as a fill inside, and as a Key source when I am outdoors. 

When outside, the advantage of using a Flex Fill is that the sun can be off to the side, and the Flex fill "bounces" it onto the person's face.  

The secret, as with all lighting..starts with your selection of a background. 

Avoid Flat backgrounds, or shooting up against a wall or directly in front of a window.Look for deep backgrounds

3. Always get people to spell their name and title at the end of every interview

I find this simple way of getting everyone to spell their name and title at the end of every interview. I simply roll video/audio and ask them to spell it out for me.

It's a great way to keep track of correct spellings with out having to look back at iPhone notes, or finds little bits of paper.

At the end of every interview..including man on the streets..I get the correct spelling and if needed..where they are from.

The person you are interviewing should never look into the camera lens *.

Some people just want to look into the lens.like they are a weatherman on local news.

I always tell folks to look at me..not the lens...when shooting as a one-person-band, I move my head a little to the left to make it look like they are talking to a producer

*There are artistic documentaries (including mine) that break that rule..but in most cases only the presenter or host should be looking at the camera...not the person you are interviewing..tell them..look into my eyes...baby.

 

Remember to put your camera on the ground and shoot up.

Use a mono-pod and raise the camera up to get an angle from above. 

Low angle shots look awesome. I am always placing the camera on the ground...my hand under the front to "prop" it up and frame my shot.  

I often use sand bags to shoot low shots...Lay the bag on the floor and manipulate the framing while the camera is sitting on the sand bag...mini-bean bags can also work.