Much more affordable than they used to be, camcorders are the mainstay of home or small studio movie making.  Like any type of technology, there is a bewildering array of options, language, and features to choose from.  To find a camcorder that is most suited for your purposes, you need to know a little more about them.

The first consideration is the format.  The most popular is the MiniDV, which offers the best combination of price and performance.  It uses a tape to record the action, which is getting a little dated, but nonetheless is still a popular choice.  If your budget can stretch to a hard drive recorder, then I suggest getting on of those.  They are by far the easiest to work with.

It shouldn’t be a problem if buying locally, but if you buy over the internet ensure that the standard is correct for where you will be using the camera.  NTSC for the US and PAL for Europe.  The signal can be converted between the two, but it’s another step in an already long process.

The zoom is the next consideration.  Ignore digital zoom, it means nothing.  The only useful zoon feature on a camcorder is optical zoom.  This is what makes the real difference, and you want at least a 10x to be able to shoot effectively.

Manual controls are a must if you want to shoot professional looking footage.  Automatic functions are okay for home or online movies, but manual adjustment is always best.  Manual focus, iris and white balance are what you’re looking for,

To shoot good video, you need either a viewfinder or LCD screen.  The larger the screen the better as long as it still fits the camera.  Make sure to check it outside, as well as in the store.  Not all LCDs are created equal, and not all of them will work too well in natural light.

Ease of use is also an obvious concern.  While cameras are getting smaller, and more portable, it means the real estate for the controls is getting smaller.  We don’t all have dainty little fingers that can dance over controls like a pianist.  You need to be able to access all of the controls without looking at them, and without pressing anything else by accident.

Connectivity is also a consideration, as a camera is not good if it can’t transfer the film to the editing suite.  Analog outputs are handy, but not essential as they mainly connect to the TV or VCR if you still have one.  Firewire output is the preferred, and faster options, if not then USB2 is acceptable.

Audio is also an important part of a camera.  At the very least it should be able to record audio in stereo.  If you want to make better quality movies, then an external microphone input, or attached to the camera is essential.

Without getting into brands, and particular models, the information above is intended to provide you with an overview of the important aspects of choosing a camera.  Most expensive doesn’t mean best.  Get the camera that feels comfortable, and does everything you need it to do.

Close Up (CU).  Part of the subject most often the head, takes up the whole frame.  Often used in news when there isn’t much else going on, or on scene where there are people around playing to the camera.

Extreme Close Up (ECU).  This moves further towards the subject, highlighting a particular part of them to great detail.  Most often the face, but can be injuries, or some defining feature pertinent to the piece.  Not used too often because not everyone likes seeing so much detail.

Cut Away (CA).  This is a lightening shot, a brief shot of something other than the action, or the subject.  If the subject is intense or emotive, cut-aways are used to lighten the atmosphere for a second or two before returning to the action.

Cut-In.  This shows something of the subject in detail.  This can be an injury for a news piece, fidgeting or other manifestation in an interview, or a sidearm in a police scene.  Something that adds character to the subject and context to the happenings in the scene.

Two-Shot.  A shot that fills the frame with two people, often standing or sitting side by side.  The frame is similar to a mid shot, waist up with a small space above the head.

Over the Shoulder Shot (OSS).  Looking from behind one person at the subject.  Often used by news crews for interviews.  It gives the interviewers perspective on the subject.

Noddy Shot.  This is a reactive shot where the frame is filled MCU or CU with an interviewer listening and reacting to what is being said to them.  Named so because interviewers often nod unconsciously when taking information in.

Point of View Shot (POV).  Extension of the OSS shot, showing the complete point of view of the subject.  This can often lead to some strange camera angles, depending on the context.  It is ideal for putting the viewer into the shoes of the subject.

Weather Shot.  Exactly what it says really.  A shot with something in the foreground that concentrates on the weather, most often the sky, but can be of the sea or mountains.  Used for weather shows, news broadcasts or sports.

A video or movie is made up of many more shots than the average viewer would detect.  Now you know what kind of shots make up a piece you will begin to see your TV in a different light.  You will begin noticing the different shots and how they are used in different contexts and styles.

Watching how other people do things is a great way of becoming a better filmmaker.  I encourage you to do it whenever you can.

The choice of shot differs from person to person, that’s what makes movies by different directors all the more appealing.  They all see the same thing in different ways, and will want to portray that thing in their own particular style.  Choice of shot and camera angle are one of the ways different directors distinguish themselves from each other, and one of the ways they make the piece interesting.

So to the shots.

Extreme Wide Shot (EWS).  This shot covers a lot of ground and is most often used outside as an establishing shot.  Often the subject isn’t even visible in an extreme wide shot, but it can set the scene or give an idea of scope for a later shot.

Very wide Shot (VWS).  We have moved into the subject a bit here, but they are still in the background, and not the focus.  It is a continuance of the EWS, placing the subject in context or scale with the surroundings.  Often used is establishing shots for reality TV, where an EWS wouldn’t work.

Wide Shot (WS).  Similar to the long shot, where the subject takes up most of the frame.  To continue putting them in context with their surroundings, or to include activities around them in the shot.  Also used in reality TV a lot where a group of people are all in the scene.

Long Shot (LS).  Works the same as a wide shot, has the subject in full frame, but also includes the surroundings, including anything that is pertinent to the scene or makes for interesting viewing.  Useful for when you want to portray the subject being in the middle of the action.

Mid Shot (MS).  This is a half body shot, which half depends on what the subject is doing.  Most often this is a shot from the waist up, which also gives an impression of the whole body.  This is a popular one for news broadcasts.  Upper body only with a small space above the head at the edge of shot.

Medium Close Up (MCU).  This is a halfway house between a mid shot and a close up.  The subject fills the frame which is cut off high chest and leaves a little room above the head.  The standard new anchorman close up.  CU is often too close for studio work, so the MCU is used instead.

Those are just some of the camera shots possible in modern film making.  I will go through the others in my next post.  There is more to movie making than you think!

That isn’t to say that those enthusiasts or smaller operators aren’t any good, because they probably are, but in their own little niche.  You wouldn’t ask a wedding photographer to make a music video, the same as you wouldn’t ask a news crew to make a movie.  Each operator has their own expertise, and should know what they can and can’t do with their training and resources.

That’s where outsourcing comes in.  You don’t just hire the most expensive you can afford, you hire the best you can afford in the given genre.  Like the example above, you need to find the professional outfit that has the style level and niche expertise that you’re looking for.  They need the skills to make your intended genre come to life.

On the flip side of that you need to have an idea of the level of your intended video.  If you want it on prime time news or MTV then you’re going to have to pay for it, and hire the appropriate crew to do it for you.  If you’re making a video for the net or local use then you could probably save a few thousand dollars and hire a smaller scale company.

If money is an issue, do the pre-production yourself, let the crew do the production and some or all of the post.  You may be able to post-produce yourself, only you can know that, but again, it will save you money if it’s an issue.

If you can’t afford a whole professional crew, try asking at your local TV station.  They often hire out crews when they aren’t busy or permit them to freelance.  Whatever their arrangements, they can often be much cheaper than a video studio.  If they don’t have someone to hire, they will probably tell you the whereabouts of some if you’re polite.

Whoever you decide to hire to do the work, make sure you see a demo reel or portfolio first.  If you can, watch them in action on a shoot before you engage them.  If you know movie making too, you will soon be able to tell if they’re any good or not.

When you employ someone to make a video for you, appoint yourself executive producer.  Make sure you’re at the top of the organization for the shoot and make sure you call the shots.  Lean on the crew for advice and stay out of their way when they are working, but convey to them what you see in the finished movie and ensure they are keeping to that vision.

Reviewing what you have before leaving a location is essential. If you have frames missing or are unusable then you want to be able to recreate the conditions as closely as possible while you can. Doing this at the time, especially if travel is involved will help the production team no end, as well as improve your reputation as a cameraman.

Editing is the pivotal time in filmmaking and needs proper thought and preparation. Checking the footage before going to editing is a great way of speeding the process up. Some shots may not have worked, while others may have exceeded expectation. Make sure you watch all the material before the edit and, like above, ideally before you leave location.

While reviewing the footage bear in the mind the story you’re trying to tell. Do they match? Does each frame further, or color the story sufficiently to be included? You may find while watching back that a new story emerges, or a different angle or take that might make a better feature. Reviewing and editing your own footage is an ideal learning experience as you can pick up on errors, or room for improvement much quicker when you see it in front of you. It also gives you a chance to make good any mistakes before the editor sees them!

Logging your shots as you make them pays off when coming to editing. You can link up the footage that best tells the story you’re trying to tell. It doesn’t matter if you use a notepad and pen, excel or a purpose built software package. If you have a timeline of what shot was where, on what tape at what time then hours will be saved when it comes to the edit. Ensure you mark the outstanding shots so they can be included in the final feature. Use whatever method you want, longhand or an asterisk or something. Make sure it’s recognizable to both you and the editor.

Log the sequences, not individual elements as it will become laborious when it comes to editing. For example of you have just shot an interview, don’t log the questions, but the whole sequence. This prevents you having to load each question individually and waste a lot of time. There is a risk of over-editing something and it not ending up as first envisioned. Resist this temptation and just put together something that feels right and don’t over-edit.

In the end its you the cameraman who is telling the story, therefore you need to ensure that the material is in the order you want, the way you want before it goes to editing. Then feed into the editing process by talking through the rush with the editor to give them an idea of the story and what you’re trying to portray.

The editing process can be as long or as short as you make it. By shooting good quality footage, on topic, with good sound levels will make for a simple edit. Doing something other than that is going to add to your time in the editing suite.

Good planning is essential in any enterprise if you want it to succeed. Video production is no different, especially if you want to avoid having to make decisions on location or creating problems during edit.

Even on the easiest shoot, having a schedule will help get the most important shots in first and plan logistics or interviewees. If shooting outside it is double essential to have a schedule as it will factor in the environmental aspects of the shoot as well as the practical ones.

A good schedule will include;

• Time for a recce. This is essential in planning where to get sited and set up, the light conditions at the time of day, and any other factors like traffic noise, aircraft or other things that could interrupt a shoot. Consideration should be given to the area and time of day. There is no point shooting near a school or factory when its knocking off time. Also recce a “plan b”, if something happens to the original site, have a backup site ready to go.
• A timetable and shooting schedule. Allocating time to take the shots, conduct the interview, film the occasion or whatever. Planning how long each detail needs and setting it into a schedule. Considering the environmental factors as noted above should also feature in the timetable. Avoiding high traffic or noisy times if shooting outside, avoiding flight paths or bus routes.
• Time for travel and set-up. Something often missed by newcomers. The traffic conditions can vary, breakdowns happen and the equipment doesn’t come out of the box ready to go. Adequate time should be allocated for unforeseen circumstances and to set up the shoot.
• Take into account the weather forecast is working outside. This is an important factor as many shoots need ideal conditions in order to work. Different weather conditions may mean different shots, microphones and lighting. Knowing in advance what to expect can help you when packing the kit.
• The needs of any interviewees or contributors. Advance planning of all those needed to make the piece happen. Especially civilians or other contributors not with the crew. Taking their needs into account will make for a far more effective and congenial shoot.
• A script will also form part of a schedule. This will help you adapt if the situation changes. It’s much easier to change tack or ad-lib if you know the general direction of the piece. It will allow you to keep the thread if the unexpected happens.

The old adage “failing to plan is planning to fail” is as true here as anywhere. Having a comprehensive plan, and a good idea of what’s going on, where and when, will allow you to concentrate of capturing great footage, while allowing you to react to situations as they arise, but not be surprised by them.

These elements are what separates a good video production from a great one. Awards are won when the crew is prepared but able to capture the unexpected.

Each type of production has a distinct style. Within that style is a further one. For example, a wedding shoot has a fairly serious style, with an edge of familiarity and humor. The standard shots need to be taken, the bride and groom preparing separately, interviews with family, the bride walking down the aisle, speeches, cutting of the cake, first dance and others. Within that framework, a further style can be chosen. While nobody wants a John Woo style wedding video, elements of all types of film making can be used in any kind of production.

A single perspective using a single angle can tell a seamless story from a single viewpoint. This can be ideal for interviews or reality style filming where there is a main character and the story is told from their perspective. A single shot like this will need to be creative with the viewing angles and use zoom and wide in order to avoid becoming predictable and boring.

For a documentary style shoot, many angles and other film making techniques can add a little spice to the feature. Using drama or a build up, mystery, or whatever. A documentary doesn’t just have to be a monologue describing situations. You need to give the viewer a reason to watch. A compelling and relevant story won’t always do that on its own, so keeping the shots varied and interesting is just one way of making it more compelling for the viewer.

If you join a shoot for an existing format, or do a piece for that format, then it is advisable to learn all you can about the existing style. Each network, channel, and program has its own unique style and all the footage they use will need to conform to it in one way or another. Learning the style in advance will allow you a lot more shooting time, and may give you ideas about how to work within it or even improve it.

Sometimes, it’s just better to let a story tell itself. It can be tempting to reshape a story in editing. You can do a lot with the right footage and editing skills, enough to completely change a story. Sometimes though it is just better to edit it seamlessly but leave the rest alone. A human interest story, or one about a grueling journey may lend itself to a lot of editing, but often, if the filming is of good quality, it’s just better to let the story unfold.

Keeping the “house style” in mind when shooting will save time in the shoot, in the editing room and deliver exactly what the director wants. The end result will fit nicely into the slot and won’t jar the audience with a change in style or pace from what they’re used to.

If there isn’t an existing style to conform to, then it’s an ideal time to make your own. While this comes with responsibility, it is also an ideal opportunity to stretch your creative legs.