Do not the 180-degree line. Think football field games are always viewed on TV from one side of the field, – for continuity of direction, action and visual correctness. Make every effort to stay on one side of the action, event or subject for all shots. If you have to shoot from a perspective that changes the direction of your shot sequence, you must use a cut-in or cut-away shot; consider adding another long or establishing shot to show the changed direction; and possibly make some verbal reference as to why you are showing the change in direction. Think about what you see on TV or the news, and how people are used to watching news. Focus on people and actions your production is for sound and action, not a slide show. – As a closing thought, shoot more scenes and images than you think you will need. Shoot staged scenes 3 or 4 times, and gather other footage by 5 times the length of time you intend your story to be in final form. If something catches your eye while you are shooting, capture it. It could be the one shot that ties your story together, or covers an awkward scene change when you get to finalizing your production. If you are shooting this as a reporter-covered story, you will need to shoot your intro and outro pieces in the field, as you see on television newscasts. Make sure to do two or three takes of each to get one good segment for your opening and closing Post-production Post-production is where your video will come to life or die. However, no amount of talent and equipment can save you if you did not get the shot in the field. Standard protocol for editing is to first catalogue all of your scenes by the time code on your playback unit or camera, starting at zero. Make notations of particularly good or bad shots, and listen for pertinent or desirable sound bites from people you interviewed. Always refer to your rough script and storyboards (if you made any) to identify the scenes you will need. Catalogue your footage; compare it to what you intended in your script/story boards. Listen to interviews and look for the best sound bites, a good sound bite should not exceed 20 seconds. Viewers will tire quickly of a talking head. Long sound bites need to be enhanced by cutting away from the head shot of the interviewee to a shot that shows what they are talking about. Come back to the interviewee to give visual closure to their on-camera segment, if possible.
Do not the 180-degree line. Think football field – games are always viewed on TV from one side of the field, for continuity of direction, action and visual correctness. Make every effort to stay on one side of the action, event or subject for all shots. If you have to shoot from a perspective that changes the direction of your shot sequence, you must use a cut-in or cut-away shot; consider adding another long or establishing shot to show the changed direction; and possibly make some verbal reference as to why you are showing the change in direction. Think about what you see on TV or the news, and how people are used to watching news. Focus on people and actions – your production is for sound and action, not a slide show. As a closing thought, shoot more scenes and images than you think you will need. Shoot staged scenes 3 or 4 times, and gather other footage by 5 times the length of time you intend your story to be in final form. If something catches your eye while you are shooting, capture it. It could be the one shot that ties your story together, or covers an awkward scene change when you get to finalizing your production. If you are shooting this as a reporter-covered story, you will need to shoot your intro and outro pieces in the field, as you see on television newscasts. Make sure to do two or three takes of each to get one good segment for your opening and closing Post-production Post-production is where your video will come to life or die. However, no amount of talent and equipment can save you if you did not get the shot in the field. Standard protocol for editing is to first catalogue all of your scenes by the time code on your playback unit or camera, starting at zero. Make notations of particularly good or bad shots, and listen for pertinent or desirable sound bites from people you interviewed. Always refer to your rough script and storyboards (if you made any) to identify the scenes you will need. Catalogue your footage; compare it to what you intended in your script/story boards. Listen to interviews and look for the best sound bites, a good sound bite should not exceed 20 seconds. Viewers will tire quickly of a talking head. Long sound bites need to be enhanced by cutting away from the head shot of the interviewee to a shot that shows what they are talking about. Come back to the interviewee to give visual closure to their on-camera segment, if possible.