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.

The traditional shot of a talking head is face on or profile.  They will be slightly to the right or left of shot to show they are talking to someone, but by facing the camera, the audience is included in the conversation.  This is essential for engaging the audience in the dialog between the people on screen.

If there are two subjects talking to one another, then they should be facing each other.  This is to show the audience they are discussing between themselves, not to anyone else or just to the camera.

The main shots used in a talking head scene is mid shot to medium close up.  You may seen the occasional wide shot for establishment or for a cutaway but the rest will be the standard mid or medium close up.

Different shots are called when the subjects are delivering different types of information.  For example, if one of the talking heads is offering factual information or statistics then a medium close up is the most appropriate.  If they are delivering personal or emotional information then the shot goes closer.  That way the viewer gets pulled in to the conversation and the emotional space.  It increases the connection between the two.

There is often an established sequence of shots with an interview that follows a pretty standard course.  The scene will start with a loose shot of the studio, to include the interviewer.  To begin with the shots will be very similar between the interviewer and the guest.  Once the audience is familiar with them, the shots can be varied between them.

The most common shot is the mid shot for both subjects as the subject or the facts of the discussion are laid out.  If the conversation involves emotion the shots close up to draw the audience in.  If the subject gesticulates, move the shot out a bit, or cut to them if they aren’t in shot.  Vary these shots depending on the actions, and the discussion.  It’s important not to stay in close up for too long as it can make the audience feel uncomfortable.  Like they are invading the subjects personal space.

If you think the interview is going to need some heavy editing, then keep the shots between the two similar, so they can be spliced together easier.  There will be less jarring in a sequence if shots of similar scope are used.

Shooting an interview is a fairly simple process, and one that can be learned fairly quickly.  Despite that, it does take a while to get them just right, and it is something that only experience can teach.  Try watching interviews and current affairs programs and study the types of shot the director calls at different times.

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.