Make A Video Efficiently Like A Professional

By Roberta Barrow

Nowadays, almost everyone can access cameras and video recording devices. This, then, provides users an opportunity to create their own videos. However, if you want to make a video as if you were an expert, you must learn of ways on how to do this capably.

Always Have A Plan

Regardless of what event you are videotaping, it is important that you follow a plan. Memorize or list down shots you want to incorporate in the video. Suppose it is a birthday party, you might want to shoot on the cake decoration, arrival of guests, cake presentation, candle blowing, cake cutting, opening of gifts, etc. If there is a prepared program to be followed for the event, use it as your guide as to which shots you need to make.

Use Your Tripod

At first, you probably think that it is troublesome to set up the tripod. Nonetheless, shooting with a tripod can create a whole lot of differences in the quality of video you can make. If you do not need to move around, just place your camera on the tripod for shooting cleanly and steadily; and pan your shots in order to record more smoothly.

Create Establishing Shot

Establishing shot is the term used to refer to the opening shot in almost all movies and videos. You need to first film the location of the event. Pan your shot on the setting of a party or event.

Use Different Shots

Ideally, you need to videotape your subject as up close as possible. When filming, make sure that the subject fills the majority of your recorder's monitor as more distractions in the background will render your shots uninteresting. However, depending on the circumstances, other types of shots can also be used such as wide and medium shots. You may also want to use combinations of shots. Suppose the birthday celebrant is opening a gift. Start with a medium shot showing the celebrant getting a gift from the pile on a table. Afterward, make your close up shots by focusing on the hands as the gift is being opened.

Include Cutaway Shots

Cutaway shots also help make the video more appealing. Cutaway shots are those that are in relation to a major action. For example, if you are shooting a wedding event, particularly the groom and bride kissing. The kissing couple is your main action, the cutaway shots could be that of the guests cheering and clapping.

Shoot With Different Positions And Angles

This is to avoid the viewers from realizing that your video is boring. You do not necessarily need to change position for each shot you need to make, just make sure that you do not remain in a single position until the filming ends.

Perform In-Camera Editing

Your film may or may not be edited after the filming. Yet, you might want to implement an in-camera editing technique. Your camcorder might have an automatic fading in and out feature. Use this feature accordingly. This feature will allow you to begin and conclude a shot with automatic fading in and fading out to create more appealing and cleaner shots.

Time Your Shots

Before you begin filming, it might be helpful to establish the duration of your video production. A birthday party event will ideally have 15-30-minute video even though the actual party may last up to more than two hours. Thus, planning is again crucial in making sure that all your shots are purposeful. Make use of your camera's timer to monitor each shot's length.

Easy Web Video can help convert your videos so they can be readily be uploaded and watched over the internet. VideoWebWizard is another recommended tool in converting videos to web-accepted formats.

Article Source: http://EzineArticles.com/?expert=Roberta_Barrow

Top Ten Biggest Actor Demo Reel Mistakes

By Shaun M Wood

A great demo reel alone can get an actor cast for a role, and a poor demo reel can do the exact opposite. With the increasing availability to consumers of editing technology, many novices have taken it upon themselves to edit demo reels, including actors attempting to create their own marketing materials. These actors leave themselves vulnerable to making many "rookie" mistakes based on personal biases or a lack of strategic knowledge. This may result in getting left out of an audition based solely on their reel's editing, and not because of his or her acting.

1. Montages - Opening montages at the head of a demo reel are a nuisance and a waste of time for casting directors. Most montages do not highlight acting skills, which is what the casting director needs to see. Montages are nothing more than a fast-paced video scrapbook, showing off a variety of brief moments from various projects. Actors feel that this shows that they have worked a great deal, a detail that the paper resume should highlight. Montages also give the editor a chance to bring his creativity to the forefront of your reel, showing off his skills, not yours - not to mention the fees accrued for editing the montage. If you still want a montage, put it at the end of the demo reel. Start your reel off with a powerful performance clip. That is what the casting director wants to see.

2. A Poor Opening Scene - The opening scene in a demo reel, your "establishing shot," needs to illustrate strong acting skills, a compelling character, and perhaps a condensed emotional arc. A powerful opening performance can cast a light of brilliance across the rest of the demo reel, keeping the casting director engaged and eager to see the next clip.

3. Not updating - It is both vital and very advantageous that actors keep their demo reel up to date with their most current and compelling projects. Just like a paper resume, actors want to highlight their most recent accomplishments. Like the headshot, an actor's reel should reflect one's current on-camera appearance. There is nothing more annoying to a casting director than outdated and inaccurate headshots, and the same applies to reels.

Einstein once said, "Insanity is doing the same thing over and over and expecting different results." If your reel is not working for you, try rearranging the clip order; adding, and even removing scenes you currently have represented.

4. No Head Shots! - It is against industry standards to put a headshot in an acting reel. The inserted headshot takes precious seconds away from the casting director's attention span. By the time a casting director watches a reel, they have already seen the actors headshot(s) and likely reviewed the resume. Casting directors start with headshots then move to demo reels as they narrow their search.

5. Stars by Association - Casting directors are looking to hire an individual based on their talent, not who they have shared screen time with. An actor's demo reel moments should be his or her own, and not highlight a famous co-star's performance. A star's presence can help to elevate you. However, the right scene for utilizing star power must have a matching performance that showcases the actor whose demo reel it is. If during a scene with a star an actor does not have any lines, or their face is not visible, or they are off-screen most of the time, then it is not the right scene for a demo reel. A skilled editor can usually recut a scene to bring focus off a co-star and onto the actor, who's reel is ideally showcasing.

6. Multiple clips of the Same Character - Returning to a character previously seen in the same demo is not ideal, but can be effective in some circumstances such as when a character has two distinct emotions in the film, but perhaps does not arc within a single clip. Time is of the utmost importance in a demo reel and demonstrating versatility as an actor is key. It must be considered that a given character may not be what the casting director is looking for; therefore repeating more of the character portrayal would only reinforce a negative image.

7. Staying in a scene for too long - Most scenes should definitely be edited for performance to under 30 seconds, however there are scenes that can warrant more than the allotted time. The ideal scene will show versatility, range, and the ability to show an emotional arc of a character in less than 30 seconds. The moment a scene feels repetitive it is time to edit the scene down or move on to the next clip in a demo reel.

8. Bad Acting - Too often people try to put as many scenes as possible in their reel in an attempt to show experience. Putting a piece of bad acting in a reel, no matter how pretty or handsome you look, can truly hurt your ability to get an audition. It is far better to have one strong and compelling scene than three mediocre ones. When it comes to demo reels, less is more.

9. Too Long or too Short - The industry standard on length has shortened along with attention span, and is presently three minutes or less, with some exceptions ranging up to four minutes. A reel's length will vary based on the number and quality of scenes an actor has at their disposal. If it's longer than that, it is typically for a higher profile actor, whose demo reel goes straight to the producer/director often bypassing the casting director all together.

10. Poor Editing - Every actor must have a demo reel, just as they must have a headshot. Yes, some actors can shoot their own headshots, but most know they cannot. However, actors do often choose to attempt to edit their own demo reels on consumer software. Make the investment in your career by having it cut professionally. A professional demo reel editor can take a scene that is focused on another character and transform it into a scene highlighting YOUR character and performance, to help emphasize the actor whose demo it is and underplaying or minimizing the other actors present in a scene. A skilled editor can do this seamlessly, so that it looks and sounds like the original cut of the film. With so many actors doing the editing themselves, it has become an opportunity for those who do use a professional demo reel editor to outshine those who do not.

Demo Reel Specialist/Editor: Shaun Wood
ContrarianMind.com
Los Angeles, CA

Article Source: http://EzineArticles.com/?expert=Shaun_M_Wood

The Benefits of Using a DSLR Rig

By Devin R Nunns

The first benefit of a DSLR rig is an obvious one. It will improve the ergonomics of your camera. Digital single lens reflex cameras are still designed, primarily, with the stills photographer in mind. For someone shooting video, handles and increased points of contact are essential to provide a comfortable shooting position and increased stabilization - especially when filming for long periods of time. Adding a DSLR rig to your camera will provide you with multiple handles and grips allowing you to hold the camera in different positions comfortably. Some DSLR Rigs come with a shoulder mount which will further increase stabilization.

The second benefit of a rig is that it will provide a level of protection for you camera. As a videographer your camera is your main source of income. It is the most important piece of your kit. Protecting it should be a priority. A high quality rig will provide a decent level of protection, were your camera accidentally to be knocked over. This is because most DSLR rigs are made from aluminum or high density plastics that extend far beyond the dimensions of the camera. Like a roll cage in a racing car protects the driver in a collision so too does a rig when your camera takes an unexpected knock.

The third benefit of making use of a DSLR rig is that it provides you with a platform for adding industry standard accessories. Like in all industries, there are always standards that help to simplify the trade. In the film industry the standard has always been a simple device consisting of two rods 15mm in diameter, 60mm apart. This provides you with a base to which you can add accessories, transforming your camera from a consumer luxury into a film making workhorse.

Fourthly, a DSLR rig will allow you to obtain shots never before possible. When the DSLR film making boom first started, most rigs were limited to rod supports, camera cages and perhaps a few handles. These days, the number of new accessories hitting the market every month is endless - and they are not just limited to ergonomic accessories. In recent years the market has been flooded with pieces of equipment focused more on dynamic image acquisition than just stabilization and comfort. Camera sliders, jibs, remote pan tilt heads and hand-held camera stabilizers are just a few of the rigs designed to provide unique and aesthetically pleasing camera movement to your shots. Never before have ordinary hobbyist and small business videographers been able to achieve such amazing footage on such a small budget as today.

Finally, a DSLR rig will give your company or studio a more professional image. Unfortunately the videography industry is an industry of perceptions. Your clients will arrive with certain perceptions of what you and your equipment should look like. If you or your gear don't meet those perceptions, it could result in them doubting your ability and expertise, or worst case scenario, choosing a different service provider. A DSLR rig will give your camera a more professional appearance. In the competitive industry that videography has become first impressions carry more weight than ever before. Looking the part has become almost as important as fulfilling the part. A good, high quality rig will definitely increase your appeal amongst your clients.

I hope this article has clarified the benefits of adding a DSLR rig to your current camera setup. Whether you are just a hobbyist, shooting short clips of family and friends or a professional, filming high budget corporate videos and adverts, a DSLR rig is for you. By adding one to your kit you can improve your ability, protect your most valuable asset and increase your visual appeal amongst potential clients. Head over tohttp://www.kamerarigs.co.za for high quality and affordable camera rig solutions.

Article Source: http://EzineArticles.com/?expert=Devin_R_Nunns

DSLR Video: More Fun Than Filming

By Devin R Nunns

I remember growing up with cameras. My friends and I were always trying to make movies with our parents camcorders. We had lots fun whilst doing it but often we faced frustration because weren't able to get the shots we wanted or the look we desired, thanks to the limitations of that generation of video cameras. In my late teens I worked on a film set and got into a conversation with one of the special effects guys. We started talking about shallow depth of field and how it makes footage look more cinematic. I remember both of saying how our ideal camera would be a digital SLR that could shoot video.

Who would have known that several years later out "ideal camera" would become a reality. With the Canon 5D mark 2 it was like all the chains holding film makers back had finally been broken. The ability to change lenses, a massive sensor, excellent low light performance and shallow depth of field were all features we had been longing for for so many years. When I finally got my hands on one it seemed as though life made sense for the first time ever. Finally making movies was more fun than frustration, the footage actually looked the way we wanted it to and there was an excitement that we had never experienced before.

However, the excitement caused a massive distraction. With the image finally looking the way we wanted it to we now desired the handling of a video camera and the physical motion that one so often sees in the movies. So we started adding accessories and equipment. First a rod support so we could add more accessories, then a follow focus, simply for ergonomics. But we didn't stop there, a matte box to block out flare and make our kit look more impressive. Then, handles, shoulder, mount, camera slider, a small jib. Years were going buy and thousands of dollars were being spent and the only filming we were doing was just two minute videos of cats and squirrels. We spent all our time fiddling and configuring our rigs and equipment trying to get things just perfect that we neglected actually making films.

Time went by and we realized that more effort was going into the equipment than the actual films. Which comes to the reason why I am writing this article. Film making can be fun! Now more than ever thanks to DSLR video cameras and buying all the gear is also lots of fun - Jumping up at every knock at the door hoping that it will be my new film making gadget that I ordered online. All the types of shots that we are now able to achieve make it so exciting and it's great. But lets not fall into configuration contemplation, where all we think about is the next piece of gear. Lets get out there and put all our enthusiasm into our films. Lets share our excitement with people in the form of exciting videos and films! Lets enjoy both the equipment and the process and restore the balance between equipment and process.

Why not participate in the fun and head over to http://www.kamerarigs.co.za to start configuring your very own DSLR rig. It might even add some fun back into your filming.

Article Source: http://EzineArticles.com/?expert=Devin_R_Nunns

5 Tips For Shooting A School Video

By Gary Tan HW

Hi there! If you need to shoot a school video production (e.g. a school concert or dance), you'll know that it is both fun and stressful.

Stressful because school videos are notoriously difficult to film. There are kids running around, anxious parents and very often, things don't go as you planned. I went to film a couple of school film videos before and very often I'd fail to capture the essential highlights of the occasion - which is very frustrating.

So in this article, I'd like to share with you some tips for shooting school video productions - read on and find out more.

1. Planning The Shoot

The first thing I'd do in any school video production is to plan the shoot. As with all video productions, the planning phase is absolutely critical. Make sure you get a copy of programme as soon as possible. Understand when the important events are (e.g. start of the show, prize giving and so forth). Be ready with your camera when those moments come on.

If the school performance is very long, you may want to film either an earlier or later segment. If you have enough media and time, I'd recommend shooting both to get as much footage as possible. This way, you have more footage to play around with during post-production.

You should also aim to get as many wide and close shots of the audience as possible. One trick I like to use is to zoom in on the audience before the event starts. Capture their emotions - boredom, anxiety, cheerfulness, etc.

2. Your Camera

If you only have one camera for filming the production, I suggest you film wider shots. If you zoom in too tightly, you'll run the risk of having too little shots of the full event.

I prefer to use two cameras - one for wide shots and one for upfront, closer shots and movement. You can then mix in the shots with a vision mixer or edit them together using a video editing software.

Some folks I know use three cameras - this is expensive but provides a lot of options for shooting different angles and perspectives of the event.

3. Shooting The Video

When you're shooting the school video, always use a tripod. Also, try not to zoom in too much and remember to activate those manual controls.

I find that auto-focus does not work very well in a school production situation. You need to react quickly to changing light conditions, especially on stage. Flip to manual so you can adjust quickly.

Oh, and remember what the audience wants to see. In a school production, what do you think the audience (i.e. parents) want to see? Their kids, of course! So remember to film the children and don't focus too much on other areas.

One tip I find useful is to get someone to warn me before the show starts. This way, I have time to get the camera rolling before someone gets on stage.

4. Audio

Now, audio in a school video can be very tricky. You have kids all over the place, perhaps a baby or two crying, and noises from the folks preparing stuff onstage.

One good thing to do is to invest in a directional microphone and mount it tall. Have it point on the stage so that you can shut out ambient noise.

Another thing you can do is to get a feed from the production sound system. This, however can be risky because you need to be sure it is the only audio source you want in the video. If you want to film something off stage, then you can't do it.

Also, watch out for parents with babies - they usually situate themselves usually near exits or the back of the room. Those babies can interrupt your audio if they start bawling!

5. Editing The School Video

I find that editing a school video may not be essential. School videos are unlike interviews or documentaries which need succinct and clean presentation. They're more fun and you can afford to leave footage unedited.

However, I usually do some form of editing to strip out unwanted, bad scenes. You can bring in some cuts to split up segments of the production. But don't go overboard with flashy transitions.

Sometimes I also like to do up a DVD of the production. One good idea is to pack the DVD with bonus extras, e.g. an interview with the director, a scan of programme and some behind the scenes footage.

Wrapping Up...

Well, I hope the above tips will help you out the next time you're filming a school video. Shooting a school video should largely be fun, so focus on getting the technicalities right and enjoy yourself.

As always, the rules of planning, carefully shooting and editing your video still apply. You should also read more about the overall video production process and how you can shoot better videos. With time and practice, you'll get better and better.

So until next time, have fun shooting those school videos!

Gary Tan runs a website about digital video. Visit his website at Video-Boot-Camp.com to learn more about shooting, editing and sharing great videos.

Article Source: http://EzineArticles.com/?expert=Gary_Tan_HW

Why Make Movies in Toronto?

By Valeria Stephens

Toronto, with its cold Canadian climate may not seem like a first choice for filming. However, producers and film planners will find a multitude of advantages in Canada's giant municipality, from a talent pool trained in first class film schools in Canada and around the world, to excellent tax incentives.

Toronto's varied architecture allows for backdrops for settings of all kinds, from Victorian period pieces to science fiction spy stories. For the American market, Toronto can pass as many different cities, and audiences are not as familiar with local landmarks, promoting suspension of disbelief, though clever shooting allows all Canadians but local residents the same lee way, thus allowing the city to serve as everything from New York to Tehran. There's also over a million square feet of studio, and all the filming equipment you could want ready for lease, rental or purchase. And though Toronto can't promise the year round summer weather shooting of world film capitals like Hollywood, it's a great place for winter or temperate climate settings, with a reliable quantity of snow, removing the necessity of costly artificial versions.

Education subsidies, just as available to film schools in Canada as any other program, create students less burdened by debt and ready to take creative risks, fueling innovation. Canada also has a world class educational system and access to the best technical innovations to most of its citizens, a product of a high standard of living, reliably meaning an educated work force with familiarity with the software used in modern special effects and animations, as well as post-processing. Relatively liberal laws regulating content protect producers from censorship, while government funded art grants mean that new graduates come with experience. Meanwhile Toronto offers generous tax credits, including potentially more than 50% on labour, if the production makes use of animation and computer aided special effects, but also a plethora of Ontario specific tax credits on various film related expenses, often around a 25 to 20%.

The hiring options in Toronto are vast. Not only can one easily find graduates from a film school in Toronto, but there's also a 25,000 person labour pool of technicians, with excellent training and stable availability. Whether you are looking for a sound engineer or a lighting expert, movie producers can rely they're getting the best that an electrical, industrial apprenticeship or audio school has to offer.

Finally, the Ontario government and Toronto municipal authorities have an active interest in supporting a film industry that's fueled inside and outside of the province. As well as the tax credits, and subsidies for people who study in film schools in Canada, they make the effort to make shooting permits easy to achieve and cut down the time to receive the benefits of the tax credits, with promises to make the entire process straight forward and the Ontario Media Development Corporation (OMDC) is dedicated to helping film producers find all the resources they need.

Visit Trebas Institute for more information on a film school in Toronto.

Valeria Stephens is a Copywriter at Higher Education Marketing, a leading Web marketing firm specializing in Google Analytics, Education Lead Generation, Search Engine Optimization (SEO), Mobile SMS Alerts, Social Media Marketing and Pay Per Click Marketing, among other web marketing services and tools.

Article Source: http://EzineArticles.com/?expert=Valeria_Stephens

The Sony HDR-PJ260V Handycam Video Camcorder: Eleven Reasons Why It Is The Most Amazing Camcorder!

By Edward P. Gelb

For those who use video cameras, you will enjoy the video experience that the Sony HDR-PJ260V Camcorder offers. After you have tried the Sony HDR-PJ260V, you will not want to go back to anything else. It would be like trading in your new Cadillac SUV for the seventies version of the Dodge Dart.

The Sony HDR-PJ260V has outstanding features that make it a joy to use. Sony offers this camcorder at a price that is more than fair for all of the incredible features it provides. You would expect a video camera like this with all of its functional features to be in the high $800 range. However, it only costs between the high $400's and low $500's and worth every cent when you buy it from the right place.

First, you will get the unbelievable HD clarity and crisp pictures with its 8 Megapixels, giving you professional looking videos.

The 1920 x 1080 High Definition Resolution and the 30x optical zoom gives you vivid, lifelike video creating full mastery with every shot. The Sony HDR-PJ260V has a patented optical feature called "StableShot," which "eerily" automatically stabilizes every shot you take. It has an electronic roll stabilizer which is a 3-way shake canceling mechanism. For the non-technical people, what really only matters is that it works! You can actually run with the video camera in your hand and the picture remains almost completely in focus.

Sony's highly engineered Wide Angle "G Lens" gives a bigger area of video picture. Every shot delivers brilliant clarity and professional quality. When you combine the "G Lens" with the 30x optical zoom, you get the real professional quality of excellent video. Furthermore, there is a 55x zoom that increases the "zoom power" of the 30x zoom. The ability to get in close for a great shot is an incredible feature. There was even a YouTube Video made showing the amazing power of the Sony HDR-PJ260V zoom. It shows the intricate details of a Navy boat from far away with its Navy officers on board. Whereas, by your own eye, you could only see the ship from afar.

The 3" digital control panel is a complete snap to use but the best feature is the ease in viewing your video. The built-in projector works really well and you can view your video anytime and anywhere. Whether you are using the Sony HDR-PJ260V for personal or business, you can view your video on any wall regardless of where you may be; hotel, office or home. The image is projected onto the wall with an image of 100" in diameter for clear viewing. In addition, the Clear Phase duel stereo speakers draws on Sony's high-end audio expertise and provides high-quality true to life sound. The sound comes out so clear because a 5.1 channel microphone is used which captures the sound along with its Noise Reduction feature.

Sony has goes gone the extra mile by attaching a USB cable to the handle for easy file transfers or recharging. Watching your videos on any TV in HD is a great video experience when you have such clarity and quality video to show.

In summary, The Eleven Reasons That The Sony HDR-PJ260V is An Amazing Camcorder are:

1. The 8 Megapxels give the picture its high resolution and thus, professional quality.
2. The 3" digital panel makes it simple to control the camera.
3. The 1920 x 1080 High Resolution and 30x Optical Zoom creates a crytal clear picture with an intense zoom feature.
4. The Extended 55x zoom gives additional zoom power on top of the 30x zoom.
5. The Noise Reduction feature cancels out unwanted excessive noise.
6. The Clear Phase Duel Stereo Speakers play with Sony's expertise in sound.
7. The Wide Angle "G" Lens captures more of the picture you want.
8. The Built-In Projector is one of the best features allowing you to view your video quickly and virtually anywhere (on any wall).
9. "StableShot" is a focusing feature that reduces blur dramatically.
10. The Clear Phase Duel Stereo system provides Sony's expertise in audio and gives a clear crisp lifelike sound to your video.
11. The 5.1 Channel microphone picks up sound perfectly and professionally.

Overall, the Sony HDR-PJ260V comes with a surprisingly low price for the amount of features and its amazing quality. The Sony HDR-PJ260V Handycam Camcorder completely gives you a great video experience that can be enjoyed for many years to come.

The Sony HDR-PJ260V is my favorite Video Camcorder and I have a big reason to love it. I take a lot of video for pleasure and for business and I am considered a "techie" all those that know me! I know what is really good in the world of technology. The Sony HDR-PJ260V website gives you all of the information you need and the Sony HDR-PJ260V Features page gives you the full run down on how awesome the Sony HDR-PJ260V really is.

Article Source: http://EzineArticles.com/?expert=Edward_P._Gelb