Web video producers are forgetting something. Sequencing their shots.
When shooting video it is wise to think about capturing the story as a sequence. This means shooting wide-shots, medium-shots and close-ups of events as they unfold. Remember to use a wide variety of angles. Change the elevation of your camera so the view is high, medium and low. Leaning the visual syntax of sequencing means when it comes time to edit your story, you will have the parts to assemble a compelling story.
Here is a quick introductory guide about sequencing your videos.
Buying a video camera can be a frustrating experience. Not just choosing a camera, listening to a sketchy sales pitch and wrestling with sticker shock. The real frustration comes with discovering not only how it works, but learning how to shoot good movies with it right away. Most of us just want to turn on the camera and go… This episode is part of a multipart series where users can glean common sense tips, and hopefully shoot better video. In this episode we examine the benefits and liabilities of the digital zoom.
For thousands of tech-heads, the Consumer Electronics Show is a trip to Candy-land. Bright shiny lights, glowing screens, and a preview of next Christmas’ “Must Have” toys. But this is more than a celebration of our insatiable consumerism; CES affords an opportunity to observe how technology is changing a product in one fell swoop. Here you can easily see the trends and make connections you might otherwise miss.
One trend that was particularly pronounced is the merging the best features from consumer video cameras with features previously dedicated to still photography. These new hybrids may appear in the guise of still cameras, but Canon's 5D mark II and Panasonic’s Lumix GF1 create videos that are vastly superior to what you get with a traditional video camera. Additionally, the quality of footage from a Lumix LX3, Samsung NX10 or Canon Rebel T1i will knock the socks off of their video cousins. Cameras have become hybrids where the user seamlessly switches between still and video capture.
This year the Consumer Electronics Show saw all the big companies unveiling spiffy new 3D TVs. It’s evident there is a scramble to profit from the hype surrounding 3D after movie hits "Avatar" and "Up" brought audiences back to theaters.
Additionally, CES saw plenty of industry announcements about consumer content and distribution. But despite all of the industry pronunciations about this inevitable embrace of technology by consumers, I am uncertain I get 3D. When it all comes down to it, 3D TV is just a gigantic television that costs a significant chunk of change with dorky glasses. Watching TV is not as immersive as the movies, and television has plenty more distractions than the theater (phones, laptops, dogs, kids, spouses, doorbells and neighbors to name a few.)
Sure the technology will roll out, but if my neighbor's general failure to adopt surround sound is any indication, 3D TV will be little used past early adopters.
Most of us are still using tape. And we are likely to use tape for some time to come. The cameras we have purchased in the past few years still make great movies. Not to mention the hours of legacy content we have of our families, sitting in a cardboard box on a shelf in the hall closet (the tapes are in the box in the hall, not our families. Although with four kids there are times…).
This is a simple little example of how to manage timecode on your tape-based content. This is a continuation of the series on mediaflow.spaces.live.com/