baywork baywork

HOW TO PRODUCE VIDEO

STANDARD OPERATING
PROCEDURES

MAY 2012
baywork

Contents
Introduction.............................................................................. 2
How to use this guide.............................................................................. 3

Phase 1: Pre-Production........................................................ 4
Step 1: Pre-production Meeting............................................................... 4
Step 2: Create an Audio/Video (A/V) Script (or Storyboard)...................... 5
Step 3: Determine the Logistics of the Shoot............................................ 7
Step 4: Perform Site Surveys.................................................................. 8
Step 5: Create a Shot Selection Sheet (or Shot List)................................. 9

Phase 2: Acquisition............................................................10
Lighting................................................................................................... 10
Shooting In Mixed Lighting...................................................................... 13
Neutral Density........................................................................................ 14
Audio.......................................................................................................... 15
Audio Equipment..................................................................................... 15
Setting the Audio Levels.......................................................................... 16
The Camera................................................................................................ 17
Which Camera should be Purchased?..................................................... 17
White Balancing...................................................................................... 19
Setting the Iris and Turning on Zebras...................................................... 20
Shooting..................................................................................................... 22
Close-ups............................................................................................... 24

Phase 3: Post-Production...................................................... 25
Editing........................................................................................................ 25
Step 1. The Edit Decision List.................................................................. 25
Step 2. Logging, Log & Capture, Log and Transfer.................................... 26
Step 3. The Rough Cut............................................................................ 26
Step 4. Assembly.................................................................................... 26 baywork.org
Delivery = Compression............................................................................. 27 With the support of Gey-Newkirk Productions (GNP), Laney College, Knowledge Capture Services Inc.,
Other considerations when developing video SOPs...................................... 28 the San Francisco Public Utilities Commission, Zone 7 Water Agency, the City of San Jose,
and Union Sanitary District

How To Produce Video Standard Operating Procedures 293 30

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6. Voiceover or Field Sound? – Video based SOPs can be produced with or without scripted voiceovers,
each of which have advantages and disadvantages. A voiceover gives the product a more professional feel
Baywork Introduction
with studio recorded sound. A voiceover will require an additional effort to record the audio in a studio and Baywork, a collaborative of water and wastewater agencies working together to ensure workforce reliability,
then edit it together with the footage recorded in the field. Not using a voiceover and recording sound in the relies on four major strategies:
field will have the added advantage of the user hearing equipment sounds as they happen, thereby making
the SOP or training tool more realistic. 1. Develop qualified candidates for mission critical jobs
2. Provide staff with the information they need to do quality work
7. Turn off Phones and Radios – Participants should be reminded to turn off all phones and/or radios 3. Modify work processes to optimize use of available staff
during the shoot, as this is often an unexpected interruption or can cause electrical interference. 4. Maximize effectiveness of workforce reliability investments through collaboration

In all of these areas, BAYWORK has looked for ways to become more effective through increased use of
technology. Because of the importance of documentation, technical training, and knowledge management,
one of BAYWORK’s objectives has been to help staff in water and wastewater utilities learn to use video
technology to create video Standard Operating Procedures.

This field guide, with the

accompanying DVD, will help
you and your colleagues optimize
your use of video technology,
whether your plan is to “do it
yourself ” with in-house staff or
work with professionals with
specialized experience and skills.
In either case, you will profit by
understanding the factors that lead
to development of effective video
training materials.

After reviewing the DVD and this guide, you will be familiar with the three phases of production in the
table below. The pre-production planning phase will be key to your success, and you should expect to spend
about twice as much time in post-production as you do acquiring footage.

Phases to create a video SOP Approximate proportion of time

1. Pre-Production - planning 25%

2. Acquisition - shooting 25%
3. Post-Production - editing and delivering 50%

How To Produce Video Standard Operating Procedures 1 2

How to use this guide Other considerations when developing video SOPs
This field guide should be used as a companion to the DVD. The following are examples of 1. Subject Matter Experts (SME) – The content of the SOP will only be as good as the information
helpful callouts that can be seen throughout the guide. provided by knowledgeable staff. It is essential to identify a core team of the right SMEs to work with at the
start of the project. SMEs may be featured in the video itself and/or behind the scenes. It is important for
them to be engaged throughout and have an opportunity to review the A/V script/storyboard, shot list and
A. final product.

2. Video and Text – Consideration should be given to the right balance of text/audio to images/photos/
Call out boxes like these
footage. For example, for a Video SOP intended to capture the correct way to perform maintenance on a
provide more information piece of equipment, 90% video footage of a person doing the task with 10% supporting text (in a traditional
about a screen shot written SOP and reference to an O&M manual) may be the most effective. It is worth considering whether
or graphic. there is a more appropriate balance for this maintenance task, such as 50% video footage and 50% text. It is
important to remember that depending on the operator’s access to computer and video technology, he/she
may still rely on hard- copy written documentation in the field.

3. SOP and Training Tools – It is helpful to consider how the video SOP integrates with other existing
resources such as traditional paper-based SOPs, electronic SOPs, O&M manuals and training materials.
B. If the SOP can be developed as part of a wider strategy, it will be a much more effective tool for both
operations and training purposes. The SOP needs to be fit for purpose.

Boxes like these provide more information about 4. Scripts versus Outlines? – One question that arises when shooting a video is whether to script or simply
outline what is said on the video. When someone other than an SME is being videoed, then scripting
a certain topic.
is often helpful. However, remember that the danger of scripting is that listeners have a keen sense if
something is being read or said. So if scripting is used, be sure the person speaking is familiar with, and
has rehearsed, what is going to be said, so that the video appears more fluid and natural. In the case of an

C.
SME, reading a script is often not the best method of video capture. The spontaneity, passion, and depth
of knowledge of an SME can be a significant benefit to the quality of the final product. It is important to
determine prior to the shooting (via an outline), what topics will be covered and in what order. And if the
Important! SME will be pointing out some feature in the field, be sure the videographer knows precisely where that
feature is prior to shooting. It may take one or two takes in the field using this process, but the end product
Boxes like these help draw attention to often feels more authentic, more connected to the information being portrayed.
important information.
5. Shot List by Location or Following the Operating Process? – This field guide and DVD
suggest that if there are multiple venues to be featured in a video that all shots at one venue
be captured at one time. This is for efficiency of shooting and makes sense in many situations.
However, if the video is of an operational process, such as at a treatment plant, following the actual
sequence of the process can yield different and sometimes better results. This may be particularly
effective when the video is not completely scripted and the SME in front of the camera has more
flexibility in their words and actions. This can be an effective knowledge capture process. This
sequential approach may require walking back and forth to a single venue multiple times, but it
allows the SME to provide comprehensive information. Fragmenting the SME’s thought process by
asking him/her to describe a process sequence out of order to accommodate the videographer can
diminish the amount of information conveyed by the SME.

How To Produce Video Standard Operating Procedures 273 28

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Delivery = Compression Phase 1: Pre-Production
In the world of video, delivery equals compression. There are thousands of mobile devices on the market Pre-production is the initial planning phase for the video and is key to determining the success of
today all of which require their own special codec. This is where the IT department comes in. It is up to later stages.
them to determine which compressions are necessary for delivery. Export or deliver the video in whatever
compression or compressions are required.

Things to remember…
Step 1: Pre-production Meeting

Compression is useful because it helps reduce the consumption

of resources such as data space or transmission capacity.

Video compression uses modern coding techniques to reduce

redundancy in video data.

A video codec is a device or software that enables video

compression and/or decompression for digital video.

The first step is a pre-production meeting with everyone involved in the project. The following people
should attend:
Follow these important procedures to see the project
through to completion: - the person requesting the video
- the person that is going to shoot the video
- the supervisor of the process that the video SOP relates to
- the subject matter experts who are familiar with the subject operation (or any other person whose

Script knowledge is to be preserved)

- the safety officer of the water/wastewater utility (if you will be filming a process where applicable OSHA

Shot Selection Sheet

standards need to be observed)
- the employees with the most experience producing, shooting, directing, and editing
(staff should be assigned and available for these roles from inception to finish)
Storyboard What is accomplished during the pre-production meeting?

Site Survey - Brainstorming ideas are collected.

Edit Decision List

- An outline is created that lists the facts that should be presented in the video and the order in which they
should be discussed.
- Based on the outline, a clear and concise narrative is written.

How To Produce Video Standard Operating Procedures 3 44

 Step 2: Create an Audio/Video (A/V) Script (or Storyboard) Step 2. Logging, Log and Capture, Log and Transfer
The A/V script is a 2-sided template, also called a storyboard. When video is imported into the non-linear editing system, each scene should be numbered and labeled
according to what the script calls for. This will save valuable time and allow the assembly to go smoothly.

When footage is captured in the editing software, be sure to label each and every clip with a custom name,
the scene number, and take number.
Agency: Garry Newkirk Production Writer: Garry Newkirk
Client: BAYWORKS Producer: Gey, Davis

Step 3. The Rough Cut

Project: VSOP Director: Newkirk
Title: bayworks demo Art
(working title) Director: Don Grant
Subject: Medium:
Job #: Contact: Douglas Gey
510.282.3570 Once all material is imported, make a rough cut. The editing interface may look something like this:
Code #: Draft: Ruff outline

VIDEO AUDIO

LONG SHOT OF SPEAKER, GARRY : HI, I'M GARRY NEWKIRK. MY

NEWKIRK COMPANY ALONG WITH BAYWORKS
AND LANEY COLLEGE HAVE BEEN
ASKED TO DEMONSTRATE WHAT IT
The left side is for a TAKES TO MAKE AN EFFECTIVE
description or drawing TRAINING VIDEO
of what the camera The right side is where
is to see during the the narrative or audio
narration. is placed.

The two sides should

coincide and be
numbered as each Step 4. Assembly
:
scene changes.
1. Lay Rough-Cut
To assemble the video:

- Take the numbered scenes and lay them

2. Add B-Roll
onto the timeline
- Record the dialogue
3. Add Transitions
4. Add Graphics
Storyboards do not need to be polished. The point is to be clear on both sides of the page.
- Lay in the B-roll
- Add transitions, but only if they are
meaningful
- Add music and sound effects
5. Add Music

How To Produce Video Standard Operating Procedures 253 26

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Phase 3: Post-Production
The following storyboard works just as well as the previous example.
Editing
As mentioned in the introduction, expect to spend 50 percent of the video production time on this phase.
There are a number of non-linear editing systems available. The most common platforms are Apple The scene number
and PC. Make sure to purchase editing software and a computer platform that are compatible.
There are video standard operating procedures for whichever platform is chosen.

The narrative that

accompanies the shot

What the camera

should show

Step 1. The Edit Decision List

Before using editing software, log the footage and determine which takes will be used for which scenes.
This is called an Edit Decision List (EDL).

The EDL should include: Storyboarding should be done before going out on location, so it is clear what is to be shot ahead of time.
These are not decisions to be made in the field.
- A custom name
- The scene number By reviewing the scene descriptions on the storyboard, site selection for each scene can be completed easily
- The take number and logically. Develop a list showing the location and address of each site.

How To Produce Video Standard Operating Procedures 53 64

Step 3: Determine the logistics of the shoot Close-ups
The producer and site supervisor must determine the following, after which the producer can arrange Close-ups are a useful and essential tool in educational videos, and are called “B-roll” or cutaways. B-roll is
a schedule: used to bring the viewer closer to the action as the narrator explains the procedure. It is important that the
close- up shows the exact action that is being shown in the wide or medium shots. The video will fit much
- The actual location better during editing if this rule is followed, otherwise it may look awkward.
- Best time of day to shoot
- Personnel needed to shoot (both behind the scenes and in front of the camera) Zooming can be used. However, it should not be done too slowly, too quickly, or too frequently.

It is good practice to take still photos in any given location to augment what is captured via video.
Many video cameras can take high resolution photos.

Medium Shot

Close-up
Don’t Forget: The producer must obtain media/
photo release forms from all personnel who will
appear on camera. This is a very important step
in avoiding future litigation.

Always use close-ups to show

the action.

How To Produce Video Standard Operating Procedures 233 24

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9. The director then calls for the slate. The slate is an important part of the acquisition process. It later allows Step 4: Perform site surveys
the editor to find the scenes and the takes that the director decides to use in post-production. A slate can be
purchased at any professional video outlet or the internet. Alternatively, a tablet, small whiteboard, or pre- Following site selection and logistics, the producer and site manager should survey the site prior to the day
printed sheets could be used. of the shoot. This is essential for every shooting location in order to determine the following:

- The light quality of each site

- The acoustics of each site
- The power availability

As part of the acoustics check, it is important to verify that there is no electrical interference with wireless
The slate should contain: microphones at each site. If there is interference (e.g., from other equipment at the site), you may need to
- the title Only the director gives commands while on set. Period! switch the wireless set to a different channel.
- the date
- the location
- the director’s name
- the scene Always know the power capacities of the site
- the take number Make sure equipment doesn’t draw more power than
is available
10. The director can now call the all- important phrase: “Action!”
11. After the scene has been recorded, the director (and only the director) calls, “Cut!”

How To Produce Video Standard Operating Procedures 73 84

Step 5: Create a Shot Selection Sheet (or Shot List) Shooting
All the scenes shot on a given site, and the dialogue associated with these scenes, should be grouped Now, finally, it is time to shoot! Keep to the following sequence before recording to ensure clarity and
together on the shot list. consistency.

A shot list helps organize the shots by location so that all the scenes to be shot at a single location are done 1. Director 2. Actor 3. Director
so while there.

Scenes in the finished video may jump from location to location in the middle of a sentence but it is most
efficient if all scenes at a single site can be completed at one time (i.e., the video is not necessarily shot in the
sequence that is reflected in the final video).

Tip: Prepare the script on a computer, then cut and paste from the script to the shot sheet. This streamlines
the process and saves valuable time. “Actor ready?” “Ready.” “Audio ready?”

4. Audio operator 5. Director 6. Camera Operator

“Ready.” “Camera ready?” “Ready.”

List all scenes that will take
place in the boardroom

7. When everything is set and everyone involved is ready, the director should state in a loud voice: “Quiet
on the set!” After there is quiet on the set, the director says “Roll camera!”

8. When the recording indicator on the viewfinder stops blinking and holds steady, the camera operator
says, “Speed.”

Wait for the ‘REC’ to stop

blinking and hold the
camera steady.

Start with the script

Site selection and the shot sheet are both
extrapolated from the script.

How To Produce Video Standard Operating Procedures 213 22

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 In optics, the f-number (sometimes called focal ratio, f-ratio,
Phase 2: Acquisition
f-stop, or relative aperture) of an optical system expresses the
diameter of the entrance pupil in terms of the focal length of the Lighting
lens; in simpler terms, the f-number is the focal length divided by
the “effective” aperture diameter. There are several different types of lighting instruments. The cost of lighting instruments and kits can range
from hundreds to thousands of dollars. Regardless of which lighting kit is chosen, it is important to be able
to obtain the standard 3-point lighting scheme necessary to make a good video.

Composition
When composing a shot, videographers divide the screen up into nine segments and apply the “Rule of
Thirds.” This is an imaginary graphic applied to the screen by the camera operator. The Rule of Thirds
prevents poorly framed shots from being recorded.

Key light – This is the primary light used to illuminate the subject and is the most powerful light in the kit.

The top horizontal line

is at the level of the
subject’s eyes.

Lower third graphics, such

as the subject’s name,
should be placed at the
lower horizontal line.
Fill light – This is a little weaker than the key light, which is accomplished either by using a neutral density
gel or using a less powerful instrument.

If the subject is focusing his or her attention to the

left of the screen, then the right vertical line should
be placed at the back of the subject’s head while the
subject looks “off camera”, to the left. This opposite is
true if the subject is looking off camera to the right.

How To Produce Video Standard Operating Procedures 93 10

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Back light – This light, also a little weaker than the key light, is used to make the subject more dynamic and
to pull the subject away from the background. In photography and image processing, color balance is the global
adjustment of the intensities of the colors (typically red, green,
and blue primary colors). An important goal of this adjustment is
back light to render specific colors – particularly neutral colors – correctly;
hence, the general method is sometimes called gray balance,
neutral balance, or white balance.

Search online to purchase a “broadcast white” card.

key light fill light

Setting the Iris and Turning on
Zebras
The net result of 3-point lighting.
The iris is inside the lens; it acts to set the
aperture of the camera. The aperture is the size of
the opening that the light travels in through the
lens to the CCD.

The amount of light that the aperture controls is

measured in f-stops. The f-stop range is from f-1.5 to f-22. The maximum aperture or opening is f-1.5 and
the minimum aperture (smallest opening) is f-22. The higher the f-stop number the less light is allowed
through the lens and vice versa.

This is where the zebras come in. When setting the iris it is essential to turn on the zebras. The zebras
represent either 80% or 100% of the maximum amount of light that should be seen in the video. The value
of the zebras can be set in the menu. When setting the iris, make sure that the zebras are where one would
expect to see bright light.

Using equally powerful lighting for key

light and fill light creates a flat, unrealistic
effect on the subject.

Learn more about lighting kits

and gels by doing an internet If zebras flood a scene, the video will be Normal zebra levels should look much more
search for “lighting for video.” unusable. like this.

How To Produce Video Standard Operating Procedures 193 20

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White Balancing
Always white balance the camera Color temperature is the characteristic of visible light that is measured in degrees of Kelvin
with each change of light using the Note that the lower temperatures are referred to as warm colors and the higher temperatures are referred
manual white balance button. to as cool colors. The chart shows that the color changes from warm reds to cool blues until they reach a
state of blue white as the Kelvin temperature increases.
This is necessary every time a
shoot is started AND every time
the lighting changes because
different lighting has different color
temperatures. It is particularly
important in mixed lighting.

Unlike the human brain, the camera cannot adjust to multiple color temperatures simultaneously. So it is
necessary to show the camera exactly what we consider to be the color white.

Beware! All white is not equal. A white shirt, or even a plain piece of white paper, will not do; their use for
white balancing may result in a slight blue shift.

The only way to be certain that the camera is seeing true

white is to purchase a broadcast white card. Broadcast white
cards can be purchased at any professional video store or on-
line. Simply search the internet for “broadcast white cards”.
Always use broadcast white cards!
es
r tur
era
mp Warm reds
ing Te
White Balancing in Four Easy Steps eas
Incr
Step 1: Set lighting on target.
Step 2: Place white card in front of subject’s face.
Step 3: Zoom into the white card and defocus slightly Cool blues
Step 4: Press the WB button until the “OK” graphic appears in
the viewfinder.

Not yet... Ready to go!

How To Produce Video Standard Operating Procedures 113 12

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Shooting In Mixed Lighting
Secure Digital (SD) is a non-volatile memory card format developed by the SD Card Association
Under mixed lighting conditions, many color temperatures will be encountered in one space. There (SDA) for use in portable devices.
may be one dark corner lit by artificial fluorescent lights and one bright corner lit by sunlight coming
through a window. SD comprises several families of cards: the original, Standard-Capacity (SDSC) card, a High-Capacity
(SDHC) card family, an extended-Capacity (SDXC) card family, and the SDIO family with input/output
The ambient lighting is between 3200 and 3800 degrees Kelvin. Sunlight is 5600 Kelvin and is the most functions rather than just data storage.
powerful light found on earth, it is essential to adapt to it.
The Secure Digital High Capacity (SDHC) format, defined in Version 2.0 of the SD specification, supports
The most efficient way to shoot in mixed lighting is to: cards with capacities up to 32 GB. The SDHC trademark is licensed to ensure compatibility.
- Light the scene with several lighting instruments rated at a minimum of 500 watts
- Place a blue 5600 Kelvin converter gel in front of it. This will effectively change the overall light
temperature to 5600 Kelvin
- Set the iris to accommodate the brightness of the light and white balance the subject

Do’s and Don’ts with a Camera

• No dirty lenses!
Shooting in Mixed Lighting - • Always white balance the camera on each change of light
White balancing must be repeated every (see side bar)
15 minutes because the sun continues • Turn on zebras when setting the iris
to move throughout the day, changing
the light temperature. See the section on
“White Balancing.”

Avoid shooting shaky video. Handheld video Choose a camera that…

made with a small camera will produce shaky • Can be operated manually
video that distracts from the message. Many • Displays ZEBRA
cameras now have image stabilization software • Accepts external audio
to smooth out any movement. This is helpful for
shooting areas that require walking. Monopods Cameras with these features are available to suit a
Following these procedures will prevent the video from having a blue or orange cast (a problem that is
are also available to help provide stability, yet wide range of budgets, from hundreds to thousands
difficult if not impossible to correct in the post-production stage).
allow more dynamic shooting. Alternatively, use of dollars.
a tripod. A good tripod system utilizes:

A fluid head A bubble level indicator Multi-level spreaders

How To Produce Video Standard Operating Procedures 173 18

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The Camera Neutral Density
Which camera should be purchased? Neutral density (ND) is the amount of light that is allowed through the lens into the camera’s chip. By
Today’s state of the art cameras use AVCHD compression (Advanced Video Coding High Definition), which using neutral density, it is possible to protect a video from the impact of the glare and reflections that are
work well for non-linear acquisition and editing. There are many cameras to choose from, but regardless of normally experienced on a sunny day.
the brand, those with 3 CCD sensors (charge-coupled device) produce a higher- quality product.
If a shooting location has water, it can be very reflective and distract from the video. This is where neutral
density is useful. When neutral density (ND) lights are displayed on the camera, it’s very important to apply
the neutral density filter. With neutral density, the glare and reflection of the sun are eliminated.
Advanced Video Coding High Definition (AVCHD) is a file-based format for the digital recording and
playback of high-definition video. AVCHD and its logo are trademarks of Panasonic and Sony.

Non-linear editing is a video editing method which enables direct access to any video frame in a digital
video clip, without needing to play or scrub/shuttle through adjacent footage to reach it, as was necessary
with older versions of video tape linear editing systems.

An image sensor is a device that converts an optical image into an electronic signal. It is used mostly in
digital cameras and other imaging devices. Early analog sensors were video camera tubes. The image
sensors most often used today are digital charge-coupled device (CCD) or complementary metal–oxide–
semiconductor (CMOS) active pixel sensors.

A charge-coupled device (CCD) is a device for the movement of electrical charge, usually from within the
device to an area where the charge can be manipulated, for example conversion into a digital value.

For the purposes of demonstration, the accompanying DVD features the Panasonic AG-HMC 150
AVCHD camcorder.

These cameras record on a small high capacity postage stamp sized chip called an SDHC media card (Secure
Digital High Capacity), which can be inserted into the camera and computer.

When shooting in bright sunshine with no cloud cover

you should...
pay attention to the ND filter light. When the ND filter light comes on,
it is imperative to implement the neutral density filter.

How To Produce Video Standard Operating Procedures 133 14

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Audio Setting the Audio Levels
Sound levels are measured in decibels. Practical aspects of audio and how they apply to filming are For analog equipment, levels are
addressed here. set to zero decibels (dB) to ensure
that the signal will not be clipped
Audio Equipment and rendered useless.
Lavaliere microphones with XLR connections are recommended.

For digital equipment the

equivalent is a negative
value. On a digital camera,
the levels should be set
to -12dB.
If the connections do not match (quite likely if a
moderately priced camera is being used), an adapter,
such as the Beachtek DXA-2T universal compact
camcorder audio adapter, can be used to match
connections. This universal compact camcorder
works with most camcorders.

Some cameras use proprietary adapters. Always

check the camera’s owner’s manual for reference
before ordering any adapter system.

This guide covers the practical side of acquiring audio to ensure you will
have clear sound. To learn more about the science of sound, do an internet
search for “audio for video.”
Never redline audio
Both analog and digital audio equipment have a “red zone” to indicate
when settings are incorrect.

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