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| Overview | Pre-Production | Production | Post-Production | Glossary|Credits|

Pre-Production

The first time Professor Monkey created a video he had no idea what he was getting into. Being smarter than the average monkey, he thought he could jump right in and make it up as he went along. Brains were not enough to help the Monkey overcome his lack of experience. Refusing to give up and learning from his mistakes, he went on to create many award winning videos.

Now, for the first time, Professor Monkey shares his wealth of knowledge and experience gained over years of trial and tribulation. Professor Monkey would like to first tell you what he has learned about pre-production.

Professor Monkey knows how tempting it is to start shooting right away, but a little planing now will save you hours of frustration later on. It's a good idea to sit down and lay out your ideas with paper and pencil. This will help you formulate a clear idea of what your video is trying to communicate. To begin formulating these ideas continue on to Storyboard.

Storyboard
This is where it all begins. The first step is to understand what you are trying to communicate and what your intended message is. If you don't understand your message, no one will. Creating a script or storyboard will help ensure that you and your audience understands your intent.

Think of your video as a story. All good stories contain certain elements. When creating your story keep in mind the 5 W's; Who, What, When, Where, and Why. This will help you fill in the main body of your story. Additionally, there are some general terms that you should be familiar with; protagonist, antagonist, plot, setting, turning point, dialog, introduction, conclusion, narration, and points of view. There are two main styles for laying out your story - a storyboard or a script. They each have their pros and cons. Continue on to find which one best suits your needs.

Storyboard
As seen in the accompanying picture, a storyboard contains a rough sketch representation of the video. A storyboard is essentially a timeline going from top to bottom, with the top occurring first. Using a storyboard allows you to see what the scene will look like. This is one of the major advantages a storyboard has over a script. The storyboard method is also generally thought to provide a better overview than the scripting method. Click here to view a blank storyboard form that can be printed for your use.

Script
The script style is similar to reading a book. It is very useful for dialog intense pieces. If you do have a piece with a considerable amount of dialog, use the video side to indicate who is speaking, or what reaction the character should have. This is more in line with a traditional play script. Often your talent will benefit more from this method than the

storyboard, as they are more interested in their lines than creating a story. Click here to view a blank script which can be printed out for your use.

The storyboard and script methods should be used in conjunction with one another. Creating a storyboard allows you to refine and examine the overall story-line. Once completed turn the storyboard in to a script. The final script will provide the detail required for the actual shooting. It will also allow the talent to view and rehearse their lines.

The Plan
Now that you know how you are going to lay your story out (script or storyboard), you need to plan ahead to decide what production elements your video should include, to help you better communicate your message.

Taking your script or storyboard and turning it into a video will require some planing. Video incorporates many different elements such as zooms, dissolves, crossfades, music, and titles. When used properly these elements can aid in telling your story. Putting them together however requires some planning. Before you can effectively use these production elements you must first understand them. Click any of the highlighted terms for a more through description.

Production Elements Titles Graphics Video Audio

names, credits, copyright page opening, closing chroma key, dissolves, framing, zooms, fades, wipes, close-up, long shot dialog, sound effects, music, microphone techniques, voice-over

Now that you understand the production elements, you might take a moment to review your script to see how these elements can aid in the telling of your story.

Checklist
Now that you created your script or storyboard and you know what elements you're going to include, you are well on your way towards fame and fortune in the world of video. But before you actually start the production phase, there are still a couple of things you need to check on to ensure that the rest of your production goes smoothly.

Sam has made the following checklist to help you as you prepare for production.

Get props and costumes Get all equipment Choose talent, rehearse Does all equipment work Choose a videotape format

Get tape log sheets Scout out sites Book studio time Charge batteries Purchase video tapes

By following through this checklist you've completed the Pre-Production Phase.

With your storyboard and equipment prepared, you're well on your way to creating a quality video. You now know what you want. This next section will guide you through the Production phase, help to show you how to get your ideas from paper to video tape. To begin the Production phase start with Camera.

Camera
Good camera-work will allow your audience to see things from your perspective. From close-ups for detail and emotion, to long shots for perspective, camera angles, movement, and composition, will keep your project flowing. Poorly executed camera work can make the best

scripts confusing and uninteresting. So, plan your shots and practice those camera moves.

Focusing
When focusing remember this rule. Zoom all the way in and focus on an area high in detail, such as the eyes. Then zoom out to your desired shot. Don't use the auto-focus if you can avoid using it. The auto-focus tends to focus on something other than your subject. You may also notice that it will change focus during a pan or zoom. Anytime the distance between you and your subject change readjust your focus. Some lens have a "macro" setting. This setting is very useful when focusing on very small or very close objects. Shooting slightly out of focus can provide mysterious effects, but should be avoided as a general rule. To see an example of an out of focus blurry shot click here.

Keep your camera steady

Shaky camera work is a sure sign of an amateur production. Using a tripod is the key to creating steady shots. If you are unable to use a tripod, try using a tripod substitute like a desk, chair, or the top of a car. If you are going to hold the camera yourself, try bracing yourself against a wall or sitting to minimize body movement. If you're using a viewfinder avoid any contact between it and your eye. This will keep any head movement from shaking your camera. The more you zoom in, the more any camera movements or shakes will become apparent. Getting closer to your subject will allow you to zoom less, creating steadier shots. If your camera has image stabilization, turn it on. This option will help take some of the shake out of your camera work. For moving shots keep your knees bent and move slowly and smoothly.

What format tape to use

It depends on the level of quality you need and can afford. VHS is considered low quality. Its' picture does not have as much resolution as other videotape formats such as SVHS or Hi8. However VHS is very convenient, the tapes can be played back in a standard VCR. These tapes also cost about 1/3 as much as SVHS or Hi8. Newer formats such as DV (Digital Video) offer an even higher quality of recording that was until recently only available to the professionals.

White balance
White balancing is the setting that instructs the camera to analyze the proper color temperature of the light and set itself for the most pleasing results. Most cameras have what is called "auto-white balance" which instructs the camcorder to analyze the color temperature of the light and set itself for the most pleasing results. Auto white balance may work in two ways. Most consumer cameras white balance by simply choosing between preset outdoor and indoor white balance setting. Professional cameras auto-white balance continuously. The camera fine-tunes itself to compensate for color temperature changes. Failure to properly white balance can result in improper or unnatural colors. To see an example of picture that was not properly white balanced click here. To better understand how lighting can effect white balance continue on to the Lighting section.

Monkey tip: Keep the auto focus, auto-iris off, and the image stabilization on if
possible.

Lighting
Lighting, when used properly, is an expressive and powerful tool. It can convey emotion, make a character appear evil, show contrast, or create a general mood. When used improperly, lighting can make it difficult for an audience to view or understand your intent. Understanding the concepts below will help you to use lighting properly and creatively.

Don't mix different kinds of light.

Cameras are very similar to our eyes. One big exception is that cameras are much better at seeing different color temperatures than the human eye. If you're shooting in an area that has incandescent (indoor) light and natural sunlight, the resulting picture will have colors that look unnatural. The problem is that your camera can only white balance to one temperature or type of light (indoor or outdoor) at a time. So, if your camera white balances to the incandescent indoor lights anything illuminated by the hotter outdoor light will appear as a 'funny' or wrong color. To avoid this, close shades or shoot with your back towards the window. If there is too much sunlight coming through the window, close shades or move to a new, more hospitable location. It's best to stay away from windows altogether especially on a sunny day.

Three point lighting

If you have a portable light kit or are in a studio, take advantage of three point lighting. By using three different points of light (key, fill, and back) you can create pleasing results. The key light provides the main lighting on your subject. It is typically placed above and slightly to the side of your subject. The fill light will generally be a smaller light placed adjacent to the key light, and slightly below the subject. The back light is used on the background or area behind the subject. Using a back light helps create a sense of space and depth.

Watch out for shadows

If you are using a single light, be careful, it can create very hard shadows. Using more than one light source can help diffuse the light making it easier to avoid those hard shadows. Try to keep the light source (lamp) out of your shot. If you get the direct light in your shot it can be so bright as to cause the rest of your picture to look dark. The rule is the same whether the light is incandescent (indoor) or natural (outdoor). A bright or reflective

background (such as white) can also cause your subject to become dark or create unwanted shadows.

Monkey tip: If your camera doesn't have an accurate color viewfinder, try to bring
a video monitor when you shoot. It is always better to find any color or light problems while you're shooting.

Audio
Audio is often overlooked by beginning videographers. As a result, amateur projects often have lots of ambience, noise, poor mic techniques, wide variations in levels, hiss and other annoying sound problems. One of the best ways to look like a pro is to sound like a pro.

Camera microphones
Most camcorders come with built in microphones. These camera mics are generally not the highest quality and have a tendency to pick up a lot of unwanted noise. They are, however, very convenient and easy to use. The camera mic is adequate in certain cases, but more pleasing results can be obtained using different microphones. The general rule is get the mic as close to the source as possible. The location where you are shooting is bound to have lots of unwanted noise (air-conditioner, traffic, street noise, noise from other people, planes.) Placing the microphone close to your subject will help decrease the amount of ambient noise that gets recorded. There are several types of microphones, each one has certain characteristics which make it appropriate for specific applications. Continue reading to determine which microphone is most appropriate for your particular needs.

PICTURE

MICTYPE CHARACTERISICS Shot Gun

HOW & WHEN TO USE

unidirectional, with a Works well if you are hyper cardioid pickup shooting alone -

pattern, high output. Generally requires phantom power.

generally mounted on camera - picks up what it's aimed at - be careful where you aimvery good at rejecting ambient noises. Typically used for news or ENG work hold close to the audio source for best results. Small mic usually clipped on clothing talent doesn't have to hold the mic - it can easily be hidden from the camera. Effective way to record many people using a single mic - picks up all noises so try to limit unwanted sounds usually placed on a flat reflective surface (floor, table).

unidirectional, cardioid pickup Handheld pattern. For best results, keep the mic close to your source Omnidirectional or unidirectional. Lavalier Generally requires phantom power.

PZM

Pressure Zone Microphone. Omnidirectional. Generally requires phantom power.

Using the right mic is only part of what is involved in creating good audio. Continue reading for some additional tips for producing quality audio.

Roll-off
If your microphone has a roll-off filter, use it. The filter rolls off or cuts very low frequencies 80Hz and below. It is beneficial to cut those frequencies as they mainly contain low end rumble, wind noise, or noise from machinery. The human voice is not within this frequency range so you are not compromising the dialog but instead decreasing the noise that would cover your dialog. The pop filter or windscreen is an easy way to use a low end cut even if your mic doesn't have a low end roll off switch. A pop filter is simply a piece of foam that is placed over the mic. This foam helps cut down on low end noise as well as helping to control transient sounds produced when certain letters such as "B", "P", and "K", which generate more wind than others when spoken. These sound are sometimes referred to as plosives. Plosives are sometimes caused by placing the mic to close to the source.

VU Meters/ Headphones

If your camera has audio meters, take advantage of them. Meters can provide a good indication of whether you need to turn the gain up or down. While meters provide a general indication of audio levels let your ears be the final judge. Most cameras provide a headphone jack. Monitoring with headphones and watching the audio meters will let you know exactly what is going to tape.

Phase
When using multiple microphones you must be aware of phase relationships. If two mics are picking up the same source from two different location (at two slightly different times) the two signals can become out of phase, resulting in a loss of level and sound quality.

Monkey Tip: In a pinch Professor Monkey will use a sock or a nylon stocking as
a pop/wind filter.

Techniques
Professor monkey has gotten tangled up quite a few times. Often it's the little things that can get you off course. Whether trying to set up and connect equipment, charging batteries, knowing what videotape format to use, or simply understanding those numbers that keep turning while you record, this section will help steer you back on course.

Video production requires the use of many different types of equipment. All this equipment must somehow connect together. The following list should help you better understand some of the connectors your likely to encounter, and how to use them.

PICTURE TYPE

USE

Audio: 3 pin connector, generally used to XLR connect microphones carrying a balanced audio signal. Phone Audio: 2 conductor mono (as shown) for mic inputs on some cameras, or the 3 conductor 1/4" stereo version used for headphones generally. Mini Audio: Same as 1/4" only smaller, mostly used in connecting mics to a camera or for smaller

Phone 1/8"

walkman style headphones.

Phono Audio/Video: Most commonly used as dub cables (A/V in/out) for consumer cameras and RCA VCRs. Carries baseband signals. Video: Most commonly used on professional video equipment to carry baseband video. It BNC provides a solid twist and lock styled connection.

Tape practices
Video tape contains millions of tiny magnetic particles. Recording on a video tape causes these particles to move into a position. Upon playback these particles are read back by the VCR producing the video signal you see. The key here, is that these particles are magnetic. If they are placed on or near a magnet, those tiny particles are likely to be rearranged, thereby destroying the previously recorded material. The video tape itself is somewhat sensitive and over time, the binding materials that hold those magnetic particles will begin to decay. Every time you play the tape, a certain amount of friction (from the video heads, rollers, audio heads, etc.) will cause the binding materials and magnetic particles to rub off. Excessive moisture should also be avoided, as it can cause residue, or, in extreme cases, mold to form on the tape. All video tape is not created equal. Always purchase the highest quality tape possible (usually the most expensive). This is money well spent, as the higher quality tape provides more of those tiny magnetic particles and better binding materials. The increased number of magnetic particles provides more picture information resulting in better resolution. The superior binding materials help retain the magnetic particles resulting in a longer more stable tape life. Many camcorders provide several choices for recording and playback speeds. VHS camcorders will often provide choices such as SP (Standard Play) LP (Long Play) and EP (Extended Play). The main difference between these modes, is the rate or speed at which the tape passes over the video heads. SP records the fastest while EP records the slowest. The rule to remember is: increased tape speed causes the video heads to read more magnetic particles, resulting in more picture information and better video. Slow tape speed will not produce the same high level of quality but will provide more recording time. This means that a 120 minute tape is capable of recording 8 hours of video when set for EP speed. The EP video quality will be lower than that of a 120 minute video set for SP speed.

Monkey Tip: Avoid placing video tape on TV monitors, speakers, near magnets,
in humid or extremely cold or warm areas - avoid pausing for long periods of time, always buy the best tape, and record at the highest speed possible.

Recording Practices
Start recording and wait several seconds before starting the scene. Many camcorder take a few seconds before they begin recording smoothly. It takes a certain amount of time for the tape to start and the record heads to engage. Beginning a scene before your camera is properly recording has its obvious problems. Even if your camcorder has flying erase heads and can begin recording quickly (often from pause) waiting can be beneficial. For example, VTRs will require several seconds to synch up before they can take and edit (usually a minimum of 5 seconds). So, be sure to record at least 5 seconds before you start your scene. Record multiple takes. Even if you think it was a perfect take you can benefit from doing a few more. Often what first appears to be a perfect take will upon review show some kind of flaw. So, give yourself some more options in the editing room by shooting several takes of each scene - it will pay off during post production. Keep track of what you've shot and what you need to shoot. It can get confusing, especially if you are shooting several scenes. Keeping notes during production can also pay off during post-production.

Batteries
Exercise your Batteries. Most consumer and pro gear use rechargeable NiCad batteries. These NiCad batteries are susceptible to what is called memory condition. If you partially drain (use 70% of the battery) and then partially charge your batteries, the battery will in effect forget what its full charged capability is. The result is that a battery that used to last an hour, might only provide power for half that time. Running your batteries until they are dead and charging them fully will mitigate these memory problems. However, over charging can be just as detrimental, and in extreme cases can cause the battery to leak or even explode. So consult your manuals and stay within the recommended charging time. Cold can negatively affect the performance of your batteries. Recording in the cold will put an extra strain on your batteries, causing them to drain faster. If you plan to record in the cold, bring extra batteries. You can increase the amount of time your batteries will perform by deselecting auto-features. Features such as auto-zoom, auto-iris, and autofocus, require power to operate. Performing these functions manually will decrease the drain on you battery increasing its' time of operation.

Monkey Tip: To increase your batteries' life, fully charge and drain your
batteries.

Now that you have your basic footage, you're ready to put it together in the post-production phase. This is where you will make the crucial decisions as to what stays and what goes. Also, you can add graphics which will give your video a polished and professional appearance. Begin the post-production phase by continuing on to tape logging.

Tape Logging
Professor Monkey knows just how tedious Tape Logging and creating an Edit Decision List (EDL) can be. He has tried to take some of the drudgery out of this process by supplying you with the proper forms. To better understand this process, continue reading about tape logging below.

Tape Logging
You're done shooting. Now you need to go back and log your footage. This is called tape logging. The more footage you shoot, the more critical this becomes. As you are reviewing the tape, write notes in the log. Notes can include; the scene name, time code or control track numbers, and comments (is the footage useful, sound problems, bad take, etc.) To start logging your tapes, print out a blank tape log found here. After logging the tape, you will be able to review the footage. This leads us to our next step, creating and Edit Decision List.

Edit Decision List (EDL)

After you have completed your tape log, review it and select the shots that will be used. Then write these selected shots in your Edit Decision List. When you are finished, you will have created an EDL similar to the one on the right. This EDL is a paper representation of what the final edited video will look like. Using the EDL will enable you to make the appropriate edits, such as: Cuts, Dissolve, Wipe, which tapes to use, the in and out for each edit, and what kind of edit to take: Video, Audio, Both. A blank Edit Decision List can be viewed and printed here.

Editing
When making an edit, avoid using similar shots. Editing shots that have similar content, framing, or angles often looks unnatural or jarring to the viewer. This is commonly referred to as a jump cut. An example of a jump cut can be seen here. To avoid creating jump cuts vary your shots. The general rule is: the more contrast between the two shots, the less you have to worry about creating a jump cut. Depending on the type of piece you're putting together, your EDL will flow differently. For example, if you are trying to get the high energy feel of a rock video, you could include lots of edits to keep your shots changing to create a sense of excitement. A variety of video effects such as wipes, chroma key, and dissolves, can also help generate a feeling of excitement. Click one of the below links to view a rock video starring your tutor, Professor Monkey, that incorporate both quick edits and multiple video effects. After completing your EDL you can begin creating, titles and graphics.

File Type

Size

View

Real Player 419KB Here

Graphics
Graphics can allow you to accomplish several different objectives. Use graphics to break up your video and provide detailed information. They are also useful in demonstrating difficult concepts.

Big Graphics
When creating graphics, make them large enough to be viewed on smaller size monitors, or televisions. Keep in mind that the audience might also be viewing from far away from the screen.

Limit Information
Too much information on the screen can confuse your viewers. If you have a lot of information, break it up into several screens. Keep the info up long enough for your audience to digest, but not so long as to bore them.

The Safety Zone

Stay out of the safety zone at the edge of a shot. If you place graphics too close to the edge of the screen, you run the risk of having them cut off when viewed on different monitors.

Use safe colors

When creating graphics, be sure to use colors that are TV safe. High concentrations of chroma can result in colors bleeding into one another. Professor Monkey has noticed that reds can be particularly dangerous when highly saturated.

Sweetening
Before you finish, make sure your audio sounds as good as your video looks. Audio sweetening is the process of adding music, sound effects, dialog, and cleaning up any level, noise, or equalization problems.

Music
Adding music to a scene is a great way to help set the tone or provide non-verbal cues. When adding dialog and music in the same scene, keep the music at bed level, don't let the music over power the dialog. If you are having trouble hearing the dialog, this is a clear indication that the music is too loud. Keep in mind that you already know the dialog since you have written it and heard it played back several times. Close your eyes and try to listen with objective ears to make sure the first time listener will understand your script.

Sound Effects
Sound effects can provide a sense of realism for your project. If you have a scene with a gun shot, the addition of a loud bang when the gun is fired will make it much more realistic. Sound effects can also be used to make the setting more believable. If your video takes place in the woods at night, adding owls, crickets, and other night time sounds will make the scene more realistic. This realism will create a greater impact on your audience. If you doubt this, just try watching any movie without the audio.

Final adjustments
Before you finish, listen to the overall levels. Listen to make sure the levels are uniform throughout your piece. Your audience should not be expected to adjust the volume during the video. It is your job to make sure they don't have to. Listen for any noises, clicks, hum, or buzz that should be taken out. Most of the time, if you have hum or buzz on the tape, it is because you recorded poorly. If these noises are very apparent, think about rerecording. However, equalization often times can minimize bothersome noise (frequencies.) The general rule when equalizing is to try to decrease the offending frequencies first, then, if necessary, increase certain frequencies to provide intelligibility.

Sound creates expectations

Sound plays a strong role in setting the tone and expectation of the viewer. The following two videos provide examples of this. The video portion of these two pieces are identical up to the last edit. The music and sound effects however, are very different from each other. When viewing the following videos, pay particular attention to the audio. The audio can change your expectations, and it will affect Professor Monkey in strange ways.

File Type

Size

View

Real Player 506KB Here

File Type

Size

View

Real Player 527KB Here

Congratulations!
You are well on your way to creating many more quality videos. Hopefully this tutorial has given you some new ideas and a better understanding of video production.

Written, Designed & Created

Bryan Sotherden
Monkey Props & Costume

J L Barnes
Professor Monkey's Agent

Peter Klien
Support from LearnLicks.com a great video educational site for guitar, bass, keyboards, and drums. MusicianFeed.com an RSS feeds for musicians on music gear

Feel free to link to this site or to re-use the content on this site for educational purposes. Please credit this site.

| Overview | Pre-Production | Production | Post-Production | Glossary | Credits |