Making movies
Creating your first video using only the camera
In the second part of our video-focused series, we take you through the process of crafting narrative – how to find it, the settings to make that happen, plus some sound advice
WORDS BY ADAM DUCKWORTH
IF YOU OWN a camera that shoots video as well as stills, you have everything needed to shoot your first movie. An external microphone, tripod with a fluid video head, choice of lenses and maybe some ND filters would be nice to have – but these aren’t essential. Mirrorless cameras are usually easier to shoot video with because they provide live view through the viewfinder, flip-out screens and more video settings. Most DSLRs are good enough, although you do have to use the LCD screen to frame. For your first video shoot, you have to think about the story you are trying to tell. With a still photo, viewers can initially be wowed by the lighting, composition and subject choice, then pore over every detail as their eyes scan around the frame. With video, that doesn’t really work, it’s all about the story. The moving pictures and audio have to relate a narrative – as TV and cinema has done for decades. Video is all about movement – an essential part of keeping a viewer’s attention. Two ways to achieve this are either to keep the camera locked off as you film a scene with movement in it, such as people walking into shot and doing something. Or, if the scene really is static, introduce some movement by shifting the camera. For example, a traditional landscape shot can work as long as there is some lapping of waves on a seascape, long grass blowing in the wind, clouds moving by or flags fluttering in a cityscape. If there is no movement at all – such as a brutalist building on a grey and windless day – you can create some by moving the camera. This could be done with a tripod – if you have
“Videos are all about the story. This could be the story of a wedding day, a trip to the beach or an artisan craftsperson in the studio”
one – and panning around the scene. Or perhaps use your camera and lens image stabilisation and carefully try to handhold a shot as you move forward or backwards through the scene to reveal the location. If you can shoot slow motion, this is a good time to use it, because when you slow the footage down it will always look much smoother. What’s the story? Videos are all about the story. This could be the story of a wedding day, a trip to the beach, an artisan craftsperson in the studio, or a day in the life of a musician. Maybe even as simple as cooking a meal. It doesn’t have to be an epic production with actors and a script. There are dozens of books written on the art and craft of visual storytelling, but that’s for more advanced work. For your first attempt, try to write down an obvious line illustrating the central theme of your film. Then think about the key ‘scenes’ in it that have to be captured to tell the story. For example, a family trip to the beach could start with packing the beach balls and towels in the car. Then driving to the beach and
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want some medium-distance shots of the subjects loading the kit in the car and interacting with each other. After that, some tight shots of the kids being put in their car seats and seatbelts fastened, close-ups of the contents of the boot, Dad putting on sunglasses, Mum setting the satnav, then starting up the car. Perhaps an audio of the weather report on the
parking; setting up the windbreaker; the family having fun and relaxing; the kids playing football; the first dip in the freezing sea; buying an ice cream; having a barbeque as the light drops; driving home with the kids asleep in the back of the car. Then all you have to do is capture it on video and assemble it in an order that makes sense! For each of the key scenes you have identified, it makes great practice to get an ‘establishing’ shot of each, then some shots showing the meat of the action – and finally lots of detailed, close-up shots that can be added to the final edit. For example, the beach film could start with a wide-angle shot of the car on the drive at home, with the family coming out of the house, opening the car boot and putting beach balls and towels inside. Then you would
Welcome to our series designed to help novice filmmakers get to grips with the essentials of making movies. In every issue throughout 2023, we’ll be covering key parts of the process, including camera skills, audio advice and editing tips. Follow along each month, and by the end of the year you’ll have all the advice you need to be the next Spielberg! Your tutor is Adam Duckworth, editor- in-chief of our sister title Pro Moviemaker, and in this second instalment he covers storytelling with key scenes and audio tips.
FLIPPIN’ GREAT A mirrorless cam with articulating screen is ideal for video
Issue 104 | Photography News 41
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