How To

How to set up a video/audio blog and a podcast. Freevlog.org
This site supplies short Quicktime videos on all you need to know to start setting up a videoblog. Also covered, is a great tutorial on how to set up a podcast.

How to use web design building tools GeekManuals.com
James Gonzalez, a professor at College of Marin, offers free Quicktime videos on how to use DreamWeaver, FireWorks and other web tools. Free, clear and very useful.

How to use online non-profit web resources TechSoup.org
TechSoup offers a wide range of help topics for building, maintaining and propagating web sites, networks, databases and much more.

How to do "live" video or audio streaming VitalStream.com
Vital stream offers a variety of packages for serving up "live" video or audio content, using Real, Quicktime or Windows media encoders. This tutorial page takes you step by step through the process of using the Windows encoder to present live video.

How to get a domain and web hoster MayFirst.org
MayFirst is a union friendly web hosting provider that offers a range of useful and advanced content management services.

Skype is a virtually free service that lets users audio & video conference for "free". Signing up is easy and fast, and all you need is a mic/headset or a webcam to start launching your message. Skype has a beta servicee called 'skypecast' that allows multiple callers to conference call at once on a variety of topics. Video conferencing can be done with up to 5 simultaneous viewers. The implications for sharing information with Skype are compelling. Visit Skype.

HOW TO SHOOT VIDEO

Instructor:

Randy Croce

Phone:(612) 625-5546

rcroce@umn.edu

Labor Education Service, University of Minnesota

Fax: (612) 624-1585

I. FIRST STEPS
A. Power on
1. Main power
2. There may be a secondary toggle switch with different settings.
Set to "standby" to be ready to shoot. On some cameras be sure “camera” instead of “deck” or “play” function is selected.
3. Remove or click off lens cap or cover.

B. FILTER/COLOR BALANCE
1. White balance - aligning the chips to the color of light
a. Consumer cameras do automatically. If you move quickly form indoors to outdoors, the picture may look too blue. Indoor shots may look too yellow if you are shooting as you go inside.

C. AUDIO
1. Put battery in microphone (if needed. Batteries wear out if stored in mics and can corrode them).
2. Connect mic to cable and cable to appropriate camera input.
3. Turn mic(s) on.
6. There are two channels of audio on DV, VHS and S-VHS tapes. Most cameras: the same signal is recorded on both channels from one microphone.
D. OTHER SETTINGS
1. For this class, set camera on automatic setting.

E. TRIPOD
1. A tripod is highly recommended for interviews and long distance shots. In fact, any time you can use one, do so.
2. Set-up: Extend legs to appropriate height and be sure they are locked. Level using balance bubble.
3. If you don’t have a tripod or can’t use one in the situation, brace
yourself against a wall, tree, etc. or place camera on table, etc. tilting to needed angle with book, wallet or whatever is handy.
4. Many tripods have a "quick-mount" plate. Screw this into the camera. Then the camera can be taken off or put back on the tripod in a moment.

F. TAPE
1. Insert blank tape, tape spools toward camera, label facing out.

2. High quality tape is strongly recommended. Mini DV tape has high picture quality, but the tapes are fragile and can wear out or break after many playings. If the material on the tape is important, copy it to another tape or digitize it to a drive as a back-up.

3. Always use the same brand of tape in a particular camera. Different brands use different tape lubrication and when they mix they can become like glue and damage the camera.
G. Space at start of tape.
1. . Record 15-30 seconds of black or of something that's not essential at beginning of each tape.
2. Beginning of tape sometimes unstable picture and sound..
3. Leader of tape gets most wear and tear, so you don't want
important images on this part of the tape anyway.
H. You're ready to shoot!

II. TIPS FOR GENERAL SHOOTING

A. Try to hold every stationary shot at least 10 sec. It takes 5 sec for the camera to get up to proper recording speed, so make sure you anticipate this and shoot some extra at beginning and end of shots. The natural inclination is to hold for much less than this, resulting in jerky shots and not having enough of a shot to make it useful in editing. It actually helps to count silently to yourself to get used to what seems a long time when you're shooting.

B. If the power is turned off, most cameras roll back to avoid leaving sections of blank, unrecorded tape, which looks like "snow" between sections of tape. (The recording process leaves a "control track" on the tape, which enables VCR's and editing decks to keep track of time on the tape. Unrecorded, blank intervals on a tape disrupt this tracking and cause editing and playback problems.) So you should shoot an extra 30 sec or so before you turn off the camera and when you don't plan to shoot for a few minutes, to make sure the very end of important footage isn't erased when you shoot again. (Many cameras will roll back and shut off automatically after two or more minutes in pause to protect the camera recording heads and tape.)

C. Keep your camera movements much slower and more deliberate than your first impulse. The camera seems to exaggerate movement and your audience will be dizzy if you move too fast.

D. You can use the auto setting for exposure, but may want to use
manual in some situations, as you get used to shooting, especially in unusual lighting situations.

E. Avoid back-lit and high contrast situations or adjust the exposure by opening the lens, (unless you want a silhouette, which can be dramatic, but is rather disappointing for an interview.)

III. COMPOSITION

A. Try to get a variety of shots at different distances and framings of your subject.
1. Try to be conscious of everything in the camera frame and try for interesting compositions. This takes practice and observing other visual media.
2. Try to shoot a wide shot that includes all the essential parts of a scene to orient the viewer. Shoot medium and close-up shots to emphasize details and make the visuals more interesting.
3. Think about what is happening and what details are important to tell your story. For example, fingers positioning a nail or a close-up of a hand on a saw, or a medium shot putting siding in place or a wide shot of the framing of a house all help to explain a carpenter's job.

B. Video has the advantage of movement to make points.
1) You can use a pan (move side to side) between people to emphasize how they are talking or interacting.
2) You can zoom out from a close-up of one person's face to a wide-shot of a crowd at a demonstration to emphasize solidarity.
3) Often, there won’t be time in a section of your video to use a 30 second panning shot. So make sure to shoot 5-10 seconds at the beginning and end of a pan or tilt, so you can use that static shot. It also often looks better to dissolve from one still shot to another so the static part at the start and end of a moving shot will make it possible to dissolve smoothly into other shots when you edit.
4) Be creative and try to mix a variety of still shots with moving ones to tell the story and develop your own style.




IV. AUDIO/SOUND
The biggest difference between good and bad video programs is sound quality.
A. Technique
1. The main secret is to get the mic as close to the source as possible, especially if it's a person talking. Put it on a stand, pole or clip it on the speaker’s clothes.
2. Take care that no one handles or trips on the mic cables, which produces noise when touched too roughly. Wireless mics are a great innovation, though pricey and work well, unless there are a lot of competing frequencies, as in some convention centers.
3. If possible, monitor the sound through headphones as you are recording. Then you can catch hum and noises you may not otherwise notice and fix them while you still can.
4. There may be need to block wind noise outside by a special "wind sock," placement inside the speaker's clothes or facing away from wind.
B. Microphone types and uses
1. Directional/shotgun: narrow, focused pick up for sound from a distance or for interviews when you want to mask out other sounds. Generally used on a pole and held and pointed by a sound person or mounted on camera.
2. Omnidirectional: picks up sound in every direction. Used on table in conference rooms or to pick up general ambient sound.
3. Cardioid - has a heart shaped pick-up. Often used for speakers at podium or by singers. Can be mounted on stand or held. A small one called a "lavalier" is hung or clipped on a person in interview situations.
4. All mic types are available in wireless versions that send a signal to a receiver at the camera without a cable connection.

V. SHOOTING INTERVIEWS
A. EQUIPMENT
1. Camera
2. Mic (lavalier or shotgun)
3. Tripod (It's really hard to hold a camera steady for long.)
4. Lights - usually 2 or more and/or a reflector (not always necessary outside, but may be helpful to reduce contrast)
5. Chairs - two, for interviewer and interviewee (optional - depends on situation. Standing or leaning can be effective and appropriate, as at a rally or construction site.)

B. INTERVIEW TECHNIQUES, PRINCIPLES & AESTHETICS
These tips also apply to a demonstration or "how-to" video or any situation where the same person is seen talking or doing something for some time.

1. Look at whole viewfinder/picture frame. What do background, surroundings convey about the person and message? Do they enhance the picture and point of the program or distract from them?
Move things around in the background if it would improve the picture and message (and you have permission and time). Be aware of and include complementary or repeated shapes and colors (again, if there's time!) in the composition.

2. Position person some distance from background for separation.

3. Move camera close to subject if out-of-focus background is desired. (Depth of field or focus is less at closer distances.) Or use a more telephoto lens setting. The “longer” or more telephoto/close-up the lens, the less depth of focus and the more out-of-focus the background will be.

4. Set camera lens at eye level of person speaking. Looking down or up at people has connotations of a superior or inferior position and viewers may unconsciously be affected by such perspectives. Also, people don't look great when staring up their nostrils or down at the top of their heads.

5. Place interviewer as close as possible to the lens on one side or the other of the camera and at the same height as the subject. Ask the interviewee to look at and talk to the interviewer instead of the camera. It's weird to stare into an unresponsive lens and people feel more comfortable talking to a person - like a real conversation.

6. Usually, frame person off-center for a dynamic picture, with more space on the side toward which she/he is looking and talking (called "speaking room"). Centering the person may be desirable if the person is looking straight at the camera, but it's a more static composition.

7. Change the shot periodically, from close-up to medium or wide shot. (A good opportunity is when questions are asked, so the camera movement happens in a part of the tape that won't be used.)
a) Make these changes for variety
b) This also allows editing shots next to each other without an apparent "jump cut" (an abrupt change or jerk between shots).
c) The framing can also match the feeling of what the person is saying or how you want the audience to feel about them. Close-ups are appropriate if you think the person will say something emotional or more personal. Wide shots are good for establishing, general points, like where a person works. Framing can connote a distant, aloof relationship or can strengthen a feeling of intimacy or comradeship in a close-up.
d) You also need some shots with enough room at the bottom for a text I.D. in the edited show, without covering the speaker's face.


C. INTERVIEW AUDIO
1. Clip or pin a lavalier mic as close to the person's mouth as possible on a shirt, tie, scarf or jacket lapel. Try to place it where the cord can be hidden. It's OK for the little mic to show (it gets muffled under clothes, though this sometimes can work and may be necessary if there's lots of wind). Position on the side closest to the interviewer, if not centered.
2. If using a shotgun, use a pole and be careful not to move it a lot to create noise. Point at person's mouth and coordinate with camera person so the mic is as close as possible, but not in shot.



D. INTERVIEW LIGHTING
Recent digital cameras work much better in low light than previous equipment, so you can usually get away without extra lights. However, for a visually pleasing and, more importantly, engaging shot of a person talking, lights can enhance the look and impact of the video. If you have access to light, here are some pointers.
1. Main light – shines the most light on the subject, either by being closer to the subject or being stronger.
a. Set above head level pointed at subject at about 45 degrees off center, on same side of person as interviewer.
b. Diffuse the harsh direct light (i.e. soften by spreading it out) through translucent material or bouncing off an umbrella, wall, ceiling or board. May need to adjust for glasses reflection by raising or moving light further to side of person..

2. Back light
a. Important to visually separate person from background by the halo caused by refraction (bending of light around edge).
b. Should be further away and appear less bright than main light.
c. Position behind and on opposite side of person from main light.
d. Usually use diffusion or bounce light off a wall or ceiling.
e. Part of the light can be used as "fill" on dark side of person.

3. Fill light/reflector
a. If a softer look is desired a light or reflector (even a sheet of white tag board or Styrofoam will do) can be positioned to the opposite side of the main light to lighten shadows and reduce contrast.
b. Room lights are usually enough to do this and also to light the background. It depends on conditions, how big a crew and time you have and how fanatical you want to be.