Video Production and

Scriptwriting
Reynald Ramirez
Senior Producer, ABS-CBN News
Special Lecturer, College of Communication, PUP Manila
About Reynald
• Filipino multimedia journalist and producer.
• GMA News and Public Affairs: Investigative Documentaries, Bawal ang
Pasaway kay Mareng Winnie, Front Row, 24 Oras
• Currently the Senior Producer of NXT, ABS-CBN News’ digital video team. He
produces digital-first news explainer videos and online special reports
• MA Journalism, Ateneo de Manila University (supported by the
Konrad Adenauer Media Asia Programme)
• Special Lecturer, PUP Manila
• Introduction to Broadcasting, Film Appreciation, Media Laws and Ethics,
Research Planning and Design, Fundamentals of Human Inquiry, Audio Video
Technique
About Reynald
Learning Objectives
• Familiarize students with the video production
process
• Familiarize the students with video production tools
• Enable students to produce basic video projects
• Understand the basics of scriptwriting
• Understand the basics of storyboarding
Why video?
• Video displays nonverbal communication.
• Video engages audiences.
• Video comprises all other mediums.
• Video prompts shares.
• Video presents quick and rich content.
• Video incites action.
• Video enlarges the economy.
• Video enables convenient and accessible production.
• Video reaches the widest market.
Video is best suited for...
• Seeing, hearing directly
• Motion/action
• Audio & video complement one another & put you at the scene
• Experiential, emotional
• Present tense – immediate
• Not great for conveying information or process
• People out

Sources: Mindy McAdams, Cheat sheet for multimedia story decisions

Video Displays non-verbal communication
Video Engages Audience
Video incites action
Stories begin with planning
 Pre-production

• Brainstorming, Treatment, Script,

Coordination, Shotlist/Storyboard
VIDEO
Production
PRODUCTION
WORKFLOW • Shoot, fieldwork

Post-production

• Editing, Preview, Final output

 Camera

Battery

Basic video SD Card

equipment Microphone

Tripod

Light
BBC 5 shot method
• 1. A close up on the hands of a subject – show WHAT is happening
• 2. Close-up shot on the face/s of the main character/s- show WHO is
doing it
• 3. A wide shot – WHERE it is happening
• 4. Over-the-Shoulder shot (OTS) – linking together the previous three
concepts.
• 5. A random, but relevant shot, usually a wide shot or unusual or
side/low shot – provide story-specific content that goes into a
transition for a voice clip.
Mobile journalism/mobile videography
• Mobile journalism is a form of digital storytelling where the primary
device used for creating and editing images, audio and video is a
smartphone.
• Many mobile journalists build other portable devices like laptops and
DSLRs into their workflow, but smartphones are at the heart of
mobile journalism, and are increasingly used journalists for radio
news and podcasts, and video for TV news and documentaries as well
as videos for social platforms.
• A widely accepted definition today is: “A new workflow for media
storytelling where reporters are trained and equipped for being fully
mobile and fully autonomous”.
A mobile journalism mindset

• Perhaps more than any other device, smartphones encourage cross-

platform creativity and digital innovation.
• Photos, videos, audio and graphics can be created and edited on the phone
and uploaded to newsroom servers, online and social platforms direct from
the device. You can also respond to audience queries and contacts via chat
apps, social messaging and email.
• Because journalists typically own a smartphone, they can develop skills like
video journalism, radio journalism, podcasting, photography without the
expense of traditional high-cost equipment. In a fully ‘mojo’ newsroom,
this can break down silos between different departments such as the social
media desk and the video production desk.
Examples of mobile journalism/videography
Examples of mobile journalism
Example of mobile journalism
Benefits of going ‘mojo’

• Affordable: You can achieve TV-quality video by combining a good

quality smartphone with an external microphone, a tripod and tripod
mount, and by using a professional video recording app. This set-up is
significantly cheaper than a traditional broadcast camera. It means
entire newsrooms – like NDTV in India – can put cameras in the hands
of more journalists.
Benefits of going mojo

• Portable: Most mobile journalists can fit their equipment in a

backpack. The phone plus a lightweight tripod, clip-microphones and
an external light can weigh under 3kg, making it easy to produce high
quality stories anywhere, anytime, as Syrian film-maker Waad al-
Kateab did when making her 2019 documentary about life in war-torn
Aleppo, or as BBC journalist Dougal Shaw did for most of the stories
he covered in 2019.
Benefits of going mojo

• Discreet: The fact that smartphones are so commonplace make them

a valuable tool for journalists who need to operate discreetly – as
Nick Garnett did when covering the Manchester riots for the BBC in
2011. Smartphones are also widely used by citizen journalists and
activists, like @HongKongHermit, who produced this thread of
photos, videos and live-streams during the September 2019 protests
with a smartphone.
Benefits of mojo

• Approachable: The small size of smartphones, and the fact that they
are so commonplace, means they are less intimidating for
interviewees. A study in 2017 by the Reuters Institute found people
are more likely to agree to an interview and to open up in front of a
smartphone than they are in front of a TV camera.
Managing smartphone limitations

• Smartphone quality: Low-cost smartphones won’t capture video of

sufficient quality for television broadcast and high definition online
platforms. Your phone should be able to film in 1080p resolution as a
minimum, and it will need a good quality processor.
• Lens quality: The lens on some cheaper Android phones is not of
sufficient quality to capture high definition photographs and video.
iPhones and leading Android brands usually have lenses that capture
HD video and high-resolution images.
Managing smartphone limitations
• Steady shots: Shaky handheld footage makes video look
unprofessional. To reduce this problem, use a tripod – and if your
phone has built-in optical image stabilisation (OIS), turn it on. If your
phone doesn’t have OIS, you could use an app like Filmic Pro or Open
Camera, which provide in-app stabilisation.
• Audio: The on-board microphone on your phone will usually record
high quality audio, but the audio quality degrades the further away
your subject is from your phone. For interviews, use an external
microphone. You should also avoid windy environments. If you have
to film outdoors on a windy day, make sure your microphone has a
windshield.
Managing smartphone limitations
• Light: Smartphone lenses struggle in low light. The latest smartphone
cameras do perform better, but smartphones are still no match for
broadcast TV cameras in dark locations. Try to film in natural daylight if you
can, and if filming indoors, film near a window with the light on your
subject’s face.
• Frame-rate: Most smartphones record video at 30 frames per second. If
your video is going on social media or a website, then you needn’t worry
about this. But for TV journalists, frame-rate needs to be taken into
consideration. Countries on the NTSC television delivery system use 30fps,
while in PAL countries, frame-rates are 25fps. If you work in a PAL country,
you’ll need to record and edit video using third-party apps that have 25fps
as an option.
What equipment do you need?

• Protection
• Protective case: A case will help protect the delicate
glass screen of your phone if you drop it.
• Screen protector: A heavy-duty screen protector will
reduce the risk of cracks and scratches on your screen
and lens.
Cleaning cloth: The soft cloths used to clean eye glasses
are great for removing dust and fingerprints. Clean the
lens before taking photos or shooting video. every time
you use your phone to shoot videos or take photos.
What equipment do you need?
What equipment do you need?
• External power: There’s nothing worse than arriving at an interview or
filming location to discover you’re out of battery. Keep an external charger
or power bank in your mojo kit bag to stay full charged on the move.
• Tripod: Using a tripod will give you stable video footage and sharper
photos. Many mojos use a robust tripod like the Manfrotto BeFree, but
because you don’t need to support a heavy TV camera or DSLR, an
inexpensive lightweight tripod will also give great results.
• Monopods and selfie sticks: A monopod is a good alternative to a tripod,
especially one of the models with spreadable feet. A high quality option is
the Manfrotto 560B1. A selfie stick can be used for pieces to camera – as
Sky News Australia began doing in 2015 – but do keep in mind the front-
facing lens on many smartphones isn’t as good as the rear-facing lens.
What equipment do you need?
What equipment do you need?
• Clip microphones – also known as lapel or lavalier microphones – are ideal for
recording interviews in noisy or windy areas. The microphone attaches to your
interviewee’s clothing, and the other end plugs into your phone.
• Widely used microphones include the Rode Smartlav and the Boya BY-M1. These
microphones have a 3.5mm jack, so if your phone doesn’t have a 3.5mm port,
you will need an adaptor. You can also buy clip microphones with lightning jacks
for iPhone 7 and above – like the Sennheiser Clip Mic.
• Smartphone headsets: If you find yourself in the field without an external
microphone, the microphone on your mobile phone headset can also record
good quality audio.
• Clip microphone dual adaptor: If you want to record more than one person – for
a two-person interview, for example – you will need two clip microphones. These
can be plugged into a dual adaptor like the Rode SC6. If you are on an iPhone,
the Rode SC6-L adaptor does away with the need to use a lighting-to-3.5mm
adaptor.
What equipment do you need?
What equipment do you need?
Lighting
• Natural light: Filming or taking photographs outdoors give excellent results
without external lights. When filming, lock exposure to prevent automatic
changes to the exposure if, for example, a cloud covers the sun, as this is
distracting for the viewer. If you are filming indoors, try to film near a
window that allows in plenty of natural light.
• Artificial lights: Popular smartphone light brands include Lume
Cube, Manfrotto, Godox and Genaray. Some – like Manfrotto and Godox
lights – come with a cold-shoe so you can add them to a tripod mount. A
higher-end light like Rotolight will allow you to angle the beam to bounce it
off other surfaces. And you can always use free-standing lights or soft-
boxes to light an interviewee, as you would with a television camera.
Preparing for shoot
At the office
• Free up space: Get into the habit of downloading all your photos and videos before going
out to film, so you have plenty of spare memory.
• Charge up: Make sure you’ve fully charged your phone, and take a charger with you.
Portable battery packs are also useful.
• Prepare your kit bag: Put your equipment into your pack and double-check you have
everything you need, such as a tripod, tripod mount, microphones, headphones and
battery pack.
• Check the weather forecast: Sunny days mean lots of shadows. Partially cloudy days
mean the light outside will change constantly. Under these conditions consider filming
indoors and pack an external light.
• Scout the location: Visit the filming location before the shoot, if you can. If you can’t, ask
your interviewee about the best places for an interview, and about objects or locations
you could capture for b-roll.
Preparing for shoot
On location
• Deal with external noise: Close your eyes and listen for any noise that
might be disruptive or confusing to the listener. Switch off electrical
appliances that cause a hum or hiss, like fans, air-conditioners and
refrigerators.
• Avoid incoming calls: Switch your phone to airplane mode, and ask
your interviewee to do the same.
Preparing for shoot
Getting ready to film
• Where is the light? The main source of light – whether it’s the sun or an indoor light –
should be in front of your interviewee’s face. Any bright source of light behind your
interviewee will cause their face to be in shadow, or even silhouette – and this will make
the interview unusable.
• Attach the phone to a tripod with a tripod mount, and set the phone up with the lens at
the top facing away from you. If you don’t have access to a tripod, place the phone on a
solid surface like a wall or fence, or lean your body against a solid surface as you film.
• Connect a microphone: If you are using a clip microphone, attach it to your interviewee’s
clothing now. If you need your interviewee to stand further away than the clip
microphone cable allows, connect an extension cord to the microphone and plug that
into your phone.
• Clean the lens: Use a soft cloth to clean your phone’s lens to remove any dust or
fingerprints.
Preparing for shoot
• Frame your interviewee: Make sure the phone camera is level with the
interviewee’s eyes, so that you aren’t accidentally filming them from above or
below. Decide whether it’s best for the story to have the interviewee looking
slightly off camera or directly into the lens.
• For landscape video, frame your interview to the left or right of the frame. For
square video that is going on social media, frame them closer to the centre.
• Check the background: Make sure nothing in the frame looks odd. Avoid
including any signs or other text in the background, as this will distract the viewer.
• Do a test recording: Ask your interviewee a simple question, like what they had
for breakfast, or where they went on their last holiday, so you can check that the
phone is working properly and that the audio sounds good. Press ‘stop’ and listen
to your test recording on headphones.
Lighting
Framing: Extreme wide
Wide
Cowboy
Medium
Medium close-up
Close-up
Extreme close-up
Interview shots: 2 shots
Over the shoulder
Reverse over the shoulder
Framing
ACTIVITY
• TRY SHOOTING DIFFERENT FRAMING/ANGLE
The 5 shot sequence
The 5 shot sequence
ACTIVITY
• Try the 5-shot sequence
• Think of any activity that you want to document and use the 5 shot sequence
technique
Interviews
Activity
• Interview your partners
• Ask these questions:
• What is your name?
• What was your dream when you’re a child?
• Who is your favorite superhero? Why?
Aspect ratio
Aspect ratio
Frame rates
• 30 frames per second (TV)
• 60 frames per second
Final Output
• Divide the class into two. Group A and Group B

• Group A: produce a 2-minute video campaign (with interview)

• Group B: produce a 2-minute drama sequence (with dialogue)