Tips from the Top

A general call for simple rules that promote better movie making brought in a fascinating set of maxims. Maybe you should print them out and learn by heart.

Lighting Techniques - from Lee Prescott

If your script calls for water ripples reflecting in your character's eyes or on his/her face. Often, it just isn't very practical or convenient to set up lighting to get this effect using a real water source like a lake. So, don't worry. It is really quite a simple effect to create:

All you need is a deep pan like a rectangular roaster or a painter's roller pan. Then get a mirror as near to the length of the pan as you can get one and cut it into two to three inch wide pieces with a glass cutter, (mind eyes and fingers etc), and place them in the bottom of the pan, mirror side up. Cover the mirror strips with about 3 inches of water. Shine a small, intense light into the water so that the light reflected from it falls onto the face of your character. Gently move one end of the pan up and down to create a soft ripple effect. You should see water ripples in your character's eyes and, if required, on the character's face too, even reflected in the "shades" if he/she is wearing 'em.

Depending on the light strength or depth of effect required, you may need to get the pan (fairly) close up to the characters face. Additionally, if you need too, you can colour the reflected ripples simply by fixing a coloured gel over the pan!

Why cut the mirror, well you can try it without cutting the mirror but for some darned reason it seems to work better with strips of mirror. You can also criss cross the strips, X /\ - etc.

Special note: Watch (manual) focussing and white balance.

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One Liners

When you stop your camera, move angle and alter your subject size. (Fred from Leeds MM)
Remember 'the line'....never cross it! (An imaginary line drawn between two people: if the camera crosses that line they seem to face away from one another when talking - or to be running towards each other in a chase.)
Faces not Places! (The old Ilford film advert makes the point that people like to watch other people.) (Gerald Mee from Stoke)

Tips for Better Movie Making

From Tom Hardwick:

Your finished movie will tell a little story. Remember this as you film; you can't shoot willy-nilly as you can with a still camera.
The best film-makers are invariably the best editors. Chop that movie down to size.
Shoot lots on the day. Remember, this day will NEVER come again.
Get some big bold closeups. Close is hardly ever close enough.
Shoot cutaways and POVs (Point Of View shots - as though through the subject's eyes). Then shoot some more.
Remember variety is the spice of life and movies. If you don't have an earth shakingly good script, use extremes of focal length, viewpoint, frames per second, shot length, camera movement.
Don't bore the audience; leave them wanting more.
Use your imagination. Or use other peoples; TV is a great source of inspiration.
Include people. People are much more interested in looking at people than at steam locomotives.
Have a point of view to put over. Evoke emotion, any emotion, and you're half way there.

You can read more of Tom's practical wisdom each month in Film & Video Maker magazine.

Tips for Non Linear Editing

Colin Lamb offers some thoughts for those embarking on Non Linear Editing:

If it "aint" broke don't fix it.
Do not buy a mark one version until it is proven by others.
Do not buy a major upgrade until you have proof that it will work on your system.
Do not buy software unless it is supported by your hardware manufacturer.
If you are not competent with the workings of a PC buy a ready made system.
A PC from a High Street vendor may not be suitable for nle use.
Buy cheap to learn.
Your new system will soon become out of date.
Pay for tuition.
Go onto the internet.
Have a removable caddy fitted to your PC and your boot disk fitted inside it. A second caddy can then contain another boot disk with your nle programs the only ones ever loaded - do not upgrade any software on this disk if it functions satisfactorily.
Before you add a capture card to our PC download the editing software trial version from www.Adobe.com and spend time learning how to use it.
Get your local small shop to quote you for making a system, conditional that you test it in the shop for performance before you buy.
Buy a PC with a DVD drive.
Have a midi or full tower case (a minimum of three 5.25 inch drive bays).
Good hardware at the expense of processor.
You can upgrade motherboards/RAM/processor/graphics cards very easily.
Use Windows 98 Service release 2.
Better hardware and software will be released just after you have bought yours.
Do not break rules 1 to 4 inclusive.

Variations on the Rules

Lee Prescott of Stroud adds his own variation to some basic themes:

Crossing the line
There is one situation where this doesn't necessarily apply: in the front seats of inside a car etc. where dialogue is between driver and passenger alongside. Watch carefully next time such is on tv - or film. It can be so cleverly done it often goes unnoticed !

Frequent Cutting
With video especially, unless following something specific such as dialogue or movement-(pan), I would suggest that 2 to 3 seconds per shot is long enough - sets the pace of the piece, enlivens interest. Of course where something needs to be established longer it is, I think, achievable by changing camera angles and using appropriate camera movement.

I would also suggest that tracking in or out using wide angle is much better than zooming.

Editing
Finally I would suggest something which I now always do: when the "final" edit - visuals and sound - is completed leave it for a few days, a week. Then go through it again. Then do this again. And maybe a third time. Throughout this "maturing of the brew" it is surprising what improvements present themselves !

You CAN move the camera

And Brian Roberts also argues for variation on the rule: make the subject move, keep the camera still:
I keep hearing this old one and it makes me wonder if it is such a good guide. Just look at the creative shots that are now produced by professionals and amateurs alike by using Jibs, Dollies, tracks and Handycams to name but a few. When the camera moves (in a controlled manner of course) the results can be stunning.
Of course some rules will always be true, like leave looking room, leave travelling room, rule of thirds and so on but I always cringe at the keep the camera still and let the subject move one. Pretty difficult with a pan and tilt shot as well!

Tom's Top Ten Wedding Shoot Tips

Quickie advice for those about to embark on shooting their first wedding video singlehanded. In no particular order ...

If at all possible visit the location beforehand to assess the layout, lighting, powerpoints for recharging and to be nice to the priest/officials. Check out the parking access to enable a quick getaway from house to church to reception. See (7) below.
Have a checklist for the Big Day, so you don't forget a single thing. Don't use new untried kit on the day.
When shooting, shoot lots. Remember, this day will never come again. Much easier to edit down your master tapes than to lengthen them.
Dance on your toes. Stay very alert. Concentrate on keeping the camera still (unless you're adept at tracking). Get big powerful closeups. Shoot people, all the people. A bit of the location, but go back and shoot more people. Remember we're all here because people like looking at people.
Check over your kit very carefully. Check whitebalance, exposure, focus settings are all as you require, and are happy with.
6) Check with the bride if she's asked you to do this film. Ask exactly what she'd like you to record. I had one bride who insisted that I never let the camera stop even for a second. They called me one-shot Tom for months afterwards.
Try to be in two places at once - see (4) above. Wear unobtrusive clothing, take a brave pill and move amongst the guests, filming and smiling graciously.
Decline alcohol (difficult one this) as drinking time is lost filming time. You can't do two things well, so concentrate on getting the footage. Don't be tempted to shoot stills; it requires a different mind set.
Edit ruthlessly, you hear me? Keep the original masters for sure, but if possible get the happy couple to see your edited masterpiece before they see the ***long *** version.
Remember your video camera is a sound recorder that just happens to record pictures at the same time. If you stop recording mid sentence the conversation (and therefore the shot) will be nonsense whereas the pictures may be fine.

- Tom Hardwick (regular columnist in Film & Video Maker magazine.)

Thanks for the ideas, everyone. But are these the last words? I doubt it. Email contributions to me: webmaster@theiac.org.uk

- Dave Watterson May 2002

Page updated on 21 March 2008

Authors' views are not necessarily those of The Institute of Amateur Cinematographers

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