Thinking in Motion
I still have a foot in both the video and still worlds. But it’s tough to be able to shoot both formats on the same job – or that is to go back and forth trying to get both covered. Ultimately you always feel like something is being compromised.
But the most important point to state here is that I “flip a switch” in my head to think and see differently when I shoot with a motion tool. Still images are moments in time, while video is time in motion.
Video is shot in sequences with each sequence having a beginning, middle and an end. For instance – man enters frame – gets into car – drives off. Now that could be one shot or sequence if you will but it could also be conveyed shooting this same sequence from various angles, focal length etc. and then edited together in post.
So in order to get “the goods” and be able to have enough to work with in post – you need to “shoot and move”. Covering the gamut in angles, wide shots, close-ups etc. or you will be in a world of hurt when you go to edit.
Perhaps one of the most important things to remember about shooting motion is to let the action move in the frame as opposed to moving the camera. Don’t pan or zoom in just because you can – use these moves sparingly if there is a motivation for the move from a story point of view. For example – you’ve all seen the 60 Minutes interview technique of the camera zooming (or actually moving) in closer on someone’s face to accentuate a point or feeling. That’s a motivated move.
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Thank you I really need to read this. I will be part of the ASMP soon. Waiting on 7 more students to join to get in with the discount. If Only I can get with the discount without waiting for my class. I can’t afford a website yet but I am working on getting clients.
twitter.com/gtsphotography.
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In order to hone the video aspect, I come up with scene scenarios I would tend to come across in the field and storyboard them and mock shoot them on my own time. That gets my lighting and moves down for when I have to do it in the field. If you look at news or movie pieces. There are formulas that work, establishing shots, medium and then close up shots. Moving camera to stationary camera, moving with the subject, and letting the subject move out of the frame. Practice the moves, perhaps make generic storyboard swatches to take in your bag which might just work to galvanize the work flow in the field (and look as though you have some sort of sixth sense to the client!)
Now, I realize that shoots can be organic and have its own life, which could stray far from those storyboard swatches you have, but that is where your creativity comes in, to fill that instance. The swatches only serve as a base point to start with.