Video tips

Use an extreme wide shot (EWS), or wide shot (WS), at the beginning of your video to establish location.

05/03/23Template copyright 2005 www.brainybetty.com

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Use a medium shot (MS) to provide more info about what the action is, who is involved, and where it is taking place.


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Use a closeup (CU) or extreme closeup (ECU) to give detail to the shot.


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Be aware of distracting backgrounds.

If possible, change depth of field to blur the background.


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Make it a habit to tape a wide shot before you begin shooting at a location.

If shooting a street location, progress from general to specific.


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Closeups can create intimacy between character and viewer.

… Can heighten tension or emotion, and provide additional info.

Point of View (POV) shots pull viewer into action.


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Shoot at the widest possible focal length to reduce shake.

When possible, use a tripod or monopod.

Use closeups as a transition between scenes to leave the viewer with a final impression of a character or object.


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Do not walk stiff-legged.

If you have a view screen and can hold the camera away from your face, try to simulate a steadicam with your arms.

If standing still, try to lean against a wall, etc.


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For a low-angle shot, lie on the ground with your elbows steady on the surface, or, kneel down on one knee.

For a steadier picture, keep your elbows in, close to your sides.

Guide the camera move with the hand that’s under the camera body, not the one operating the main controls.


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Use a tripod whenever possible.

A monopod is probably your next-best option.


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There are a variety of shoulder & chest mounts giving hands-free operation.

The “Cameraman” is a remote control mount.

The Steadicam and Steadicam Jr. provide shots that seem to float.


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If your camcorder has a remote control, use that to start and stop recording.

If you’re using a combination movement (e.g., zoom & pan), use an assistant.

Rehearse moves before you shoot.


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High angle: typically gives viewer dominance.

Straight-on angle: everyone is on equal footing … typical.

Low angle: gives subject dominance.


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Handhold the camera for a first-person POV shot.

Do not follow a high-angle shot with a low-angle shot, or vice versa, except for effect.

Once an angle is established for a subject, e.g., a child, maintain that angle; the child may grow up with the angle changing accordingly.


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Lens moves: a Zoom In/Out … makes the subject appear larger/smaller.

Camera moves: Pan L/R, Tilt U/D, Dolly In/Out, Truck L/R.

The speed of the move is critical: the faster the move, the greater the sense of urgency.

Combining various moves can be effective.


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A shot should be “still” before a move begins, and the move should end before the next shot begins.

The move should have a purpose. Rehearse the move. The move must be smooth.


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Always look at all subjects in the frame and their relationship to each other.

Look for differences in the amount of light falling on each subject.

If the shot has a camera/lens move, look at the perspective from start to end.


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First Person POV: the viewer sees the scene from a particular character’s point of view.

To shoot First Person, establish the character in a location, then, follow with a shot from the character’s location.


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Second Person POV: makes the viewer part of the action; camera is an unseen companion; actors never make eye contact with camera.


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Third Person POV: most-used camera position; looks at the scene as a detached unseen observer.

Third Person is usually a wider shot of the scene.

Videos are more effective when they combine all three POVs.


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Perhaps try beginning with a wide 3rd person shot, cutting to a 2nd person shot; finally, cut to a 1st person shot.

First person shots can be thrilling when the situation is tense or active.

E.g., in a thriller, opening a door that has something evil behind it can be effective.


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Let the shot dictate the POV. A video that uses only one POV

throughout will be boring. To make First Person POV most

effective, use it sparingly and for dramatic impact.


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Depth of Field refers to the subject being in focus and the foreground or background being out of focus.

It is controlled by the zoom lens focal length setting, and, size of the iris opening.


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Make sure the main subject is in focus before adjusting the depth of field.

Be aware of confusing backgrounds, such as small patterns and shadows.

Place the main subject as far from the background as possible.


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Continuity problems can occur with: shots, audio, subject, shot sequence, action, screen direction.

Shot continuity: never cut from a wide shot to a wide shot of the same scene, or from a closeup to a closeup of the same person.


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Audio continuity: try to keep volume levels consistent throughout.

If narrating, be sure to wait a second after your last sentence before stopping tape to allow for editing room.

Subject continuity: stick to the subject; avoid confusing inserts.


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Shot sequence continuity: don’t confuse the viewer with a departure from the natural progression of events.

Action continuity: if someone is putting on a ring, the ring should not mysteriously be totally on the finger in the next closeup scene; start where you left off in the last scene.


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Screen direction continuity: if a jogger is running from screen L to R, don’t reverse direction from another camera angle.


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Look at all elements of the shot to maintain continuity.

Before changing to a new angle, know how the last shot ended.

If you must break continuity for some reason, consider using a fade in/out to help cover it.

Review last shot if there is any confusion.


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Dubbing, or copying, video requires two machines—one to play the video and one to record it.

Cue the play machine to a few seconds before the dubbing point and press pause; put the record machine into record mode, and then release pause on the play machine.


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One way of capturing fast action is to pan with the speeding object.

The background tells the viewer how fast the speeding object is moving.


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Another method is to have the camera remain stationary, or locked off, capturing the actual speed of the object.


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The third method is to combine the two camera techniques, striking a balance.


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To increase the speed of a moving object even further, do a reverse pan as the object approaches.

To maximize the speed of the object in a locked-off shot, tighten the shot to limit screen time.

To make a choice between shots, decide if you want to see the speeding object or emphasize the speed.


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The fade: when one shot gradually disappears and another appears.

The jump cut: making something jump from one place in the picture to another by cutting from one shot to the next—visually jarring, grabbing the viewer’s attention.


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The swish pan: rapid camera move out of or into the shot, causing the picture to blur—suggests passage of time; you can do it both out of the outgoing shot and into the incoming shot … or do only one swish.

The pop zoom: rapid zoom in or out—visually jarring; use intentionally.


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Before you record a shot, decide what transition you’ll use to the next shot.

When doing an outgoing and incoming swish shot, be sure both go in the same direction.

Finish any camera or lens move before the shot ends, unless you are leaving the move unfinished for effect.


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Bear in mind the 3:4 ratio of the TV screen (3 high, 4 wide).

Safe title/graphics area is only 80%, whereas safe action area is 90%.


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Add only titles/graphics that enhance the video, not distract from it.

Keep it simple. Busy titles/graphics do not read well on the small screen.

When using titles over video, be sure they do not interfere with the picture.


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Using a storyboard will prevent many headaches down the road.

Plan an ending. Plan credits,

including anyone who assisted.


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Be more selective about what you shoot.

Be careful about how long you shoot. Make sure the (tape) is at the end of

the last shot before you begin recording the new one; try pressing the Pause button instead of Stop for a cleaner edit.


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In the old days, this was done with the camcorder. Now we can do it with nonlinear editing.

Pay attention to continuity when inserting shots that were not a planned part of your storyboard.


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A built-in mic is limited to about 10 feet. External mic options include: handheld,

mic on a stand, lavaliere, wireless. Be aware of ambient audio so that it

does not conflict with what you want to record.

With a built-in mic, a camera move can impact audio level. Try to maintain relative distance from the audio source.


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To minimize the impact of a strong wind:

Use the camcorder wind/noise feature, if available.

Change camcorder position.

Use an external mic with a windscreen.


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If you don’t need the audio from a shot, turn the built-in mic off by inserting a cable plug into the mic jack.

You may actually use the wind to create special “booming” audio effects.

If you need a wind sound and there is none, try blowing into the microphone.


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Two aspects of available light will affect the look of your video:

The amount of light.

The color of that light.


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Too much light and the subject is washed out.

Too much light behind the subject and you have a silhouette.

Too little light and, well, you know.


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Correct the color of light by holding a white card in front of the lens in existing light and pushing the “white balance” button.


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Daylight is “cooler” (more blue) than incandescent light which is warmer (more red).

Light on a cloudy day or at morning or dusk will be warmer than light at noon on a clear day.

Fluorescent lighting is blue or green, depending on the type of tube.


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One of the most important times to add light is to make people look more natural.

If shooting outside on a sunny day, consider using a reflector (white poster board or aluminum foil) to fill shadows.

If shooting under a fluorescent light, add some incandescent lighting to compensate.


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The small light mounted on most camcorders will provide 10-30 watts.

Watch for reflective surfaces that could cause reflections or hot spots.

If not automatic, white balance your cam with each change of location.


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Low light recording can be desirable in some situations.

Low light levels can give a grainy look, however.

To minimize grain, stay with the darker areas; then, stop recording before recording brighter areas of the scene.


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Colors can create moods or special effects.

There are many ways to introduce colors, but the easiest is via editing software using video effects.


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Auto focus can be a help, but it can change during a shot with certain types of movement.

Before switching to manual focus, if desired, first use the auto focus; then, when the subject is focused, switch to manual focus.


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To operate manual focus, follow these three steps:

Zoom in to the maximum closeup setting.

Rotate the lens focus ring until the picture is in sharp focus.

Zoom out to your desired framing.


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Shots that are typically difficult to focus using auto focus:

Shots with both distant and close objects. Shots that may be too distant. Objects behind glass. Multiple moving objects (e.g., people) at

a relatively equal distance from the cam.


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Nonreflective surfaces, such as water or black curtains, and objects in a haze, such as snow or rain.

Objects with competing backgrounds. Shots that have continuous changes

from far to near, such as a long row of pictures on a gallery wall.


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Macro focusing—allows focus on very, very close objects.

In macro mode, use a tripod, as even the slightest movement will be amplified.


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Many camcorders have the ability to adjust shutter speed: 1/60 second (normal), 1/120, 1/250, 1/1,000, 1/2,000, 1/10,000.

The higher the shutter speed, the more light will be needed.

Higher speeds will make cleaner freeze frames.


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Fluorescent and mercury vapor lights will cause a flickering at normal shutter speeds.

Minimize flickering with a 1/100 second setting rather than 1/60 second.

The 1/60 second shutter speed is recommended for indoor and most normal recording.


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Slow zoom in on an object approaching from a distance for a great effect—should be done in auto focus using the manual zoom control.

Pop zoom is a rapid zoom in or out. Put the cam into manual focus, then zoom as rapidly as you can by moving the manual zoom. Use a pop zoom for either an outgoing or incoming shot, but not both … too dizzying.


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The rack focus is going into or out of focus—done via manual focus.

To make someone disappear, record a focused shot and rack focus. Take the person out of the shot. Record a second shot, starting out of focus going to focused. The person has disappeared.


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Follow zoom is a combination cam/lens move. It can be a pan or truck combined with a zoom in/out.

Lens flare is when a light source shines onto the front element of the lens, causing a streak across the picture.


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A lens mask is a pattern you put in front of a lens, such as binoculars, etc.

Using a gobo—a piece of glass with a restaurant name on it, e.g. You shoot the first shot through the glass, making it appear as though the subjects are at this restaurant.


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The cookie is a pattern used to make shadows, e.g., the shadow of jail bars on a subject’s cell.

You can change the effect created by a cookie by changing the lighting.


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Used to compress very slow-moving action into a shorter period of time that is interesting and watchable.

Some cams have time-lapse settings.

If done manually, the camera must not move; use remote control, if available.


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You can also animate inanimate objects using the time-lapse method.

Experiment with how much movement will be involved and how long you will record each shot to produce the smoothest motion.


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Using nonlinear editing, it is quite simple to add video that has been shot at some other time.

If you record regularly, you may even consider creating a video file library for future projects.


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Still photos can add excitement to a video if they are unique.

Don’t shoot a “still” of a photograph; use movement to make it come alive.

Try: push/pull, pan, tilt, and focus on parts, not necessarily the entire photo.


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Use dulling spray on a glossy photo to eliminate flares.

Flat light a photo for the best quality. Never stay on a photo shot so long that

it becomes boring. Try putting the photo in an album and

panning a row of photos, then cut to shots of each, zooming and tilting.


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A simple method of recording slides and movies is to record the image projected onto a white, smooth, perfectly flat, dull-finished surface; paper works well.

The best projection size is two to three feet diagonally.

Mirror-reflected transfer devices are also available.


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A simple but exciting effect is to tilt the camera slightly. You can even turn it 360 degrees while you’re recording.

Some cams allow you to change the picture from a positive to a negative (for special effect)

Some cams also provide slow-down or speed-up options … so does Movie Maker.


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… Not to be overused, the jump cut can make someone appear or disappear, or magically move to another area of the screen.

The cam must not move during the staging of a jump cut.


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Miniatures can be anything from cars to food to spaceships.

By varying the size of objects in a miniature scene, you force the viewer’s perspective. Viewers assume the trees they see are the same size as the ones they see each day,e.g.


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To add credibility to miniature shots, try to make part of the miniature functional.

Also, cut to shots of real people or things, seemingly in the miniature’s location.

Use the time-lapse feature to animate a miniature.

Use slides or photos for backgrounds.


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To simulate a low-lying fog, e.g., use dry ice—solidified carbon dioxide, which changes into a gas when immersed in hot water.

To make the smoke/fog move, use a fan.

Add low lighting to create a haze.

… Fog machines do exist.


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If you need to make a mad-scientist foaming drink, here ya go (but don’t drink it!):

Dry ice in hot water.

Or, cream of tartar, baking soda & water.


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To keep the fog going, add more hot water to the dry ice. Don’t let the water cool.

Always use gloves when handling dry ice as it will burn bare skin.

Lighting is critical with special effects. Pay close attention.


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Fake blood: 1 cup light corn syrup, 1 teaspoon red food coloring, ½ teaspoon yellow food coloring. Can be eaten!

To add gore, add equal parts of blood mixture, chocolate syrup, catsup and loose tobacco.


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Fake flesh (that will peel easily from the skin): mix one envelope unflavored gelatin and one tbs. boiling water. Allow to cool. Place small amount of petroleum jelly on skin. Use a paint brush to spread the mixture.


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Adding age: First, paint the skin with spirit gum. While still tacky, press cotton balls over it, leaving small bits of cotton. Now paint the skin over the bits of cotton with a mixture of one env. unflavored gelatin & one tbs. water.


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For a more wrinkled effect, pull the skin tight when you paint it and hold it tight until the gelatin dries.

For a furrowed brow, paint four or five coatings of the gelatin mixture on the brow; allow each to dry before applying the next. Use the back of a spoon to sculpt lines.

To add definition, use eyebrow pencil.


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To turn hair gray, brush cornstarch through it.

To make teeth appear discolored or cracked, rub mustache wax or an eyebrow pencil over them.


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Hopefully, this will be enough gore to get you started!


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Video tips