TGJ2O_Audiovisual_production

include component="page" page="course_tabs_header" include component="page" wikiName="jmcintyre" page="menu_tgj2o_crumbs" include component="page" page="menu_tgj2o_audiovisual"

=Production (shooting the footage)=

Production is the process of shooting your video. In the "real world", the costs of equipment, technicians, actors and sets can make this incredibly expensive. In your student productions, TIME and OPPORTUNITY are the "expense" - it's important not to waste either!

1. Camera Preparation[[image:http://upload.wikimedia.org/wikipedia/commons/b/bb/Newark-film-production.jpg width="624" height="469" align="right"]]

 * Check the Battery, Format SD Card & Check Date
 * Check the Camera Settings
 * Set aspect ration/footage quality
 * Make a choice - footage __MUST__ be consistent throughout your project, once you choose you will not be able to mix footage types.
 * Set White balance, ISO
 * Check mic batteries/levels

2. Shooting

 * Camera Mount
 * Use a Tripod whenever possible
 * Use a "Steadicam" or "Dolly" for traveling camera shots
 * Use Handheld only if necessary
 * Composition and Framing (cinematography)
 * Use your storyboards to remind yourself what it is you want the shot to look like
 * Ensure sound settings are correct.
 * Provide about 5 seconds of LEAD IN and leave 5 seconds of LEAD OUT before calling "action"
 * Basic Photography
 * Fill the Frame
 * Keep the Background Simple
 * Arrange proper Lighting
 * Don't shoot with a light source in frame
 * Think of what mood you want and have a light source that reflects that style

media type="custom" key="25029242"
 * Sound
 * You can edit OUT camera sound and replace it with voice-overs or captions
 * The mic should be the shotgun, lavaliere, boom-pole or zoom

3. Video Capture/Transfer

 * bring in footage either by plugging the camera in, or copying footage off of SD cards

SHOT TYPES
Source - gratefully from MediaCollege.com

Extreme Wide Shot (EWS)
The EWS is often used as an "__**establishing shot**__" - the first shot of a new scene, designed to show the audience where the action is taking place.
 * [[image:jmcintyre/ews.jpg caption="ews.jpg"]] || In the //extreme wide shot//, the view is so far from the subject that s/he isn't even visible. The point of this shot is to show the subject's surroundings.

It is also useful in scenes where the action is very spread out. For example, in a war movie an extreme wide shot can show the scale of the action. The EWS is also known as an //extra long shot// or //extreme long shot// (acronym XLS) ||

Wide Shot (WS)

 * [[image:jmcintyre/ws.jpg caption="ws.jpg"]] || In the //wide shot//, the subject takes up the full frame. In this case, the boy's feet are almost at the bottom of frame and his head is almost at the top. Obviously the subject doesn't take up the whole width and height of the frame, since this is as close as we can get without losing any part of him. The small amount of room above and below the subject can be thought of as safety room — you don't want to be cutting the top of the head off. It would also look uncomfortable if his feet and head were exactly at the top and bottom of frame.

As with many shot types, the wide shot means different things to different people. However the wide shot seems to suffer more from varying interpretations than other types. Many people take the WS to mean something much wider than our example, i.e. what we would call a very wide shot. ||

Mid Shot (MS)

 * [[image:jmcintyre/ms.jpg caption="ms.jpg"]] || The //mid shot// shows some part of the subject in more detail, whilst still showing enough for the audience to feel as if they were looking at the whole subject. In fact, this is an approximation of how you would see a person "in the flesh" if you were having a casual conversation. You wouldn't be paying any attention to their lower body, so that part of the picture is unnecessary.

The MS is appropriate when the subject is speaking without too much emotion or intense concentration. It also works well when the intent is to deliver information, which is why it is frequently used by television news presenters. You will often see a story begin with a MS of the reporter (providing information), followed by closer shots of interview subjects (providing reactions and emotion). As well as being a comfortable, emotionally neutral shot, the mid shot allows room for hand gestures and a bit of movement. || = =

Close Up (CU)

 * In the //closeup shot//, a certain feature or part of the subject takes up most of the frame. A close up of a person usually means a close up of their face (unless specified otherwise).

Close-ups are obviously useful for showing detail and can also be used as a cut-in.

A close-up of a person emphasizes their emotional state. Whereas a mid-shot or wide-shot is more appropriate for delivering facts and general information, a close-up exaggerates facial expressions which convey emotion. The viewer is drawn into the subject's personal space and shares their feelings.

A variation is the chocker shot which is typically framed on the subject's face from above the eyebrows to below the mouth. || ||

Extreme Close Up (ECU, XCU)

 * [[image:jmcintyre/ecu.jpg caption="ecu.jpg"]] || The ECU (also known as XCU) gets right in and shows extreme detail.

You would normally need a specific reason to get this close. It is too close to show general reactions or emotion except in very dramatic scenes.

A variation of this shot is the choker. ||

Point-of-View Shot (POV)

 * [[image:jmcintyre/pov-racetrack_240x135.jpg caption="pov-racetrack_240x135.jpg"]] || This shot shows a view from the subject's perspective. It is usually edited in such a way that it is obvious whose POV it is (see the example below). ||

Example Sequence
= = = Camera Movement =
 * Shot 1 [[image:jmcintyre/g1.jpg caption="WS (Wide Shot)"]] || Shot 2 [[image:jmcintyre/pov2b.jpg caption="POV (Point of View)"]] || Shot 3 [[image:jmcintyre/goss.jpg caption="OSS (Over-Shoulder)"]] || Shot 4 [[image:jmcintyre/pov1.jpg caption="POV (Point of View)"]] ||
 * Dolly || The camera is mounted on a cart which travels along tracks for a very smooth movement. Also known as a tracking shot or trucking shot. ||
 * Follow || The camera physically follows the subject at a more or less constant distance. ||
 * Pan || Horizontal movement, left and right. ||
 * Tilt || Vertical movement of the camera angle, i.e. pointing the camera up and down (as opposed to moving the whole camera up and down). ||
 * Track || Roughly synonymous with the dolly shot, but often defined more specifically as movement which stays a constant distance from the action, especially side-to-side movement. ||
 * Zoom || Technically this isn't a camera move, but a change in the lens focal length with gives the illusion of moving the camera closer or further away. ||

SteadyCAM
The steadycam combines the stabilized steady footage of a conventional tripod mount with the fluid motion of a dolly shot and the flexibility of hand-held camera work. While not completely replacing the role of the dolly shot. While smoothly following the operator's broad movements, the Steadicam's armature absorbs jerks, bumps, and shakes and yields professional quality footage.

Setting up the AllSteady balanced gimbal: [|Youtube Video] Using the AllSteady gimbal settings: [|Youtube Video]

media type="youtube" key="LtGz8l5EiiI" width="560" height="315" Example media type="youtube" key="COsjeDaMp5I" width="560" height="315"

 =Assignment #9 - Shot Types=

You are to select a scene from a movie of your choosing. Target 20 seconds of footage. This 20 second selection should feature 4 shot types or camera movements. You are to recreate as best you can that exact selection (minus special effects). Use this storyboard for planning purposes. ==

Each member in the group can share the footage, but each is to turn in a final edited product and the storyboard (one for the group is fine) should be submitted. Using best practices for camera operation, take your shots and compile them back into the 20 second replica.To do this you need to read all aspects of the Production submenu. Ensure your cameras are shooting at 720p resolution.

When done in Premiere - click on SHARE AND PUBLISH in the top right corner. Use the dropdown menu and choose AVCHD. In the dropdown keep (or choose if it's different) MP4 - HD 720p 24fps - submitting the Adobe Premiere file is NOT acceptable - only the exported submission

Evaluation:

 * ===CATEGORY=== || ===Breakdown of curriculum=== || ===Level 4=== || ===Level 3=== || ===Level 2=== || ===Level 1=== ||
 * **Pre-Production** ||
 * Storyboarding || //K&U, T&I, Comm, App.// || Storyboard is easy to read and all elements are so clearly written, labeled, or drawn that another student could create the presentation if necessary. || Storyboard is easy to read and most elements are clearly written, labeled, or drawn. Another person might be able to create the presentation after asking one or two questions. || Storyboard has missing elements or is hard to read with rough drawings and labels. It would be hard for another person to create this presentation without asking lots of questions. || Storyboard is missing many key elements and is hard to read. One cannot tell what goes where. It would be impossible for another person to create this presentation without asking lots of questions. ||
 * **Post-Production** ||
 * Editing/shot recreation || //App// || Clip choices and cuts are well thought out and enhance the content. The story-arc is obvious and well-crafted without pandering. || Clip choices and cuts show a degree of skill but some may lead to distraction away from the message of the film. The story arc is largely obvious and well crafted with few-to-no confusing scene choices || Clip choices and cuts leave a somewhat coherent story behind. The story arc is understandable, but confusing at times. Choices in clips not always complimentary to the story. || Clip choice and cuts distracting and appear random. The story arc is confusing, or barely present based on clip/scene choices. ||
 * **Misc.** ||
 * Use of Time || //K&U, App, Comm// || Used time well during each class period (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well during most class periods (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well (as shown by observation by teacher and documentation of progress in journal), but required reminders on one or more occasions to do so. || Used time poorly (as shown by observation by teacher and/or documentation of progress in journal) in spite of several reminders to do so. ||