So, either you’re directing, shooting and editing your own projects - or you want to work in the industry as an editor. But you are likely going to run up against projects where knowing how to use your editing software is just not enough.
Sure, Final Cut, Premier, Avid or any of the other hundred or so editing packages out there will perform many tasks over and above the straight cuts, transitional effects and multiple audio track mixing tasks. But what will you do when a client asks for something that your editing package just can’t accomplish?
You might actually have to farm out part of your job to a company or individual that specializes in what you need but haven’t the expertise or software to accomplish. That’s OK if you have it in the budget to do so.
However, the purpose of this blog is to encourage you to continue to learn and gear up with all of the potentially useful software that you can afford - outside of your main editing package.
Here’s a few examples:
Recently I had occasion to make a video that was an introduction to astrology. Because that kind of thing can be a long, boring “talking head” I really had to beef it up with graphics and animations.
I used a program called Kinemac to create and animate the sun, planets and moons of our solar system. When speaking about Jupiter, for example, an animated visual of Jupiter and its moons would appear on-screen.
Kinemac is a great program that works in real time as you design the animation. I was able to map 3D spheres with actual planet maps that I downloaded from the NASA web site. Fortunately all of their images are copyright free (you have to be careful about what you use that you’ve downloaded from the internet as much of it is, of course, under copyright).
I couldn’t figure out how to make the sun shine like the ball of burning gas that it is, so I used Pixel Toy, a small, free application from Lairware.com. I then composited the Kinemac sun with the Pixel Toy burning effect in Final Cut. It looked great.
For the astrological signs I found a font called Astro Gadget which I used with Kinemac to create some great 3D, shiny, metallic looking symbols. Sometimes they were animated and sometimes just used as part of a still illustration.
For my last video on a new type of swimming pool cover the client had supplied one very nice animation done on a CAD system of his solid tile pool cover sinking to become the bottom of the pool and rising to create a floating cover. Great idea, but that one animation could not tell the whole story - and I had to make an exciting marketing video with no actual covers yet in existence.
Photoshop and Daz3D came to my rescue in creating some stunning stills using existing pool photos, a 3D backyard pool model and my own limited modeling skills. I was even able to throw in a house, some pool-side furniture and a 4 person family using Daz models. This made the pool model look very real.
I created the tiled pool cover for this pool using primitives in Daz3D and animated it rising from the bottom of the pool to the surface with an overturned chair on it. One of the features of this cover is that you can use it to retrieve things that sink to the bottom of the pool.
This last example goes way beyond what an editor is usually asked to do, but because I work alone and hate to have to farm things out I found a way of doing it myself using software that I have purchased and “played with” enough to know how to use it.
Being an editor isn’t just about knowing how to cut and add transitions and basic titles. It’s about being creative and if you are a creative person you’ll find that there’s a universe of fun programs that you can use to expand your capabilities in the editing field.
There are more great editing tips in my video production textbook at:
http://www.mikesdvp.com
Friday, October 29, 2010
Wednesday, October 6, 2010
How to do Your Own Voice-Overs
Voice-overs (or narration tracks) are something that most aspiring film makers don’t consider until there’s a need for it. They’re also not common to all genres of video programs. However, they may be needed if you’re making a training video, a TV commercial, a documentary or even for dramatic productions if there’s a “storyteller” as part of the sound track.
I’ve done a lot of voice-over work in film and television production and I’ve taught it in the various film and television school programs with which I’ve been associated throughout my career. I’ve also done radio and promotional voice-overs for television when I worked in that industry years ago.
I don’t not have the deep, mellow James Earl Jones / Morgan Freeman type of voice. My voice is very ordinary, but I’ve learned how to use it well. Voice-over work is 50% acting.
There are people who make voice work their entire career. There’s good money in it.
So, here is my list of things you must know to do this well:
1. Imagine you are speaking to a distant audience. Don’t speak to the microphone that is only 4 inches from your mouth, but to an imaginary audience about 10 feet away. When you do this your voice will naturally become clearer and more commanding.
2. Speak clearly and distinctly. Be particularly careful to voice each word and phrase clearly and distinctly - don’t slur your words together. Make sure you speak each word separately.
3. Pronounce each word accurately. Be sure you know the proper pronunciation of each word and can say each word clearly without undue pausing.
4. Use proper microphone techniques:
6. Rehearse. Always rehearse your script as many times as it takes to be comfortable with it. Do this out loud as if you’re being recorded. It’ll help you get the rhythm and tonal qualities of your voice working properly before you record and reduce the number of takes.
7. Make sure you understand what you’re reading. Never read anything out loud that you can’t understand. The audience will be aware of your confusion. It’ll show up in your delivery.
8. Speak with emotion. If the script is about something positive and happy try smiling a bit as you talk. This will also come across to the audience. You gotta do this even if you feel sick, hung over and depressed. It’s an acting gig. The show must go on!
You don’t have to have the most mellow voice in the city to do a good voice-over. You just have to sound confident, speak clearly and don’t rattle it off too quickly.
Want to learn more about digital video production? Go to:
http://www.mikesdvp.com
Voice-overs (or narration tracks) are something that most aspiring film makers don’t consider until there’s a need for it. They’re also not common to all genres of video programs. However, they may be needed if you’re making a training video, a TV commercial, a documentary or even for dramatic productions if there’s a “storyteller” as part of the sound track.
I’ve done a lot of voice-over work in film and television production and I’ve taught it in the various film and television school programs with which I’ve been associated throughout my career. I’ve also done radio and promotional voice-overs for television when I worked in that industry years ago.
I don’t not have the deep, mellow James Earl Jones / Morgan Freeman type of voice. My voice is very ordinary, but I’ve learned how to use it well. Voice-over work is 50% acting.
There are people who make voice work their entire career. There’s good money in it.
So, here is my list of things you must know to do this well:
1. Imagine you are speaking to a distant audience. Don’t speak to the microphone that is only 4 inches from your mouth, but to an imaginary audience about 10 feet away. When you do this your voice will naturally become clearer and more commanding.
2. Speak clearly and distinctly. Be particularly careful to voice each word and phrase clearly and distinctly - don’t slur your words together. Make sure you speak each word separately.
3. Pronounce each word accurately. Be sure you know the proper pronunciation of each word and can say each word clearly without undue pausing.
4. Use proper microphone techniques:
- Don't "pop"the mic. by speaking letters that cause an explosive sound, especially the letter “p”.
- Always stay about 4 - 6 inches from the microphone. Don’t look around or rock back and forth.
- Keep your voice at an even volume and pitch (unless the script calls for a departure from your normal voice).
6. Rehearse. Always rehearse your script as many times as it takes to be comfortable with it. Do this out loud as if you’re being recorded. It’ll help you get the rhythm and tonal qualities of your voice working properly before you record and reduce the number of takes.
7. Make sure you understand what you’re reading. Never read anything out loud that you can’t understand. The audience will be aware of your confusion. It’ll show up in your delivery.
8. Speak with emotion. If the script is about something positive and happy try smiling a bit as you talk. This will also come across to the audience. You gotta do this even if you feel sick, hung over and depressed. It’s an acting gig. The show must go on!
You don’t have to have the most mellow voice in the city to do a good voice-over. You just have to sound confident, speak clearly and don’t rattle it off too quickly.
Want to learn more about digital video production? Go to:
http://www.mikesdvp.com
Thursday, September 16, 2010
Quick Tips for Video #5
This Quick Tip for Video concentrates on boom mic techniques
More great tips in Mike's Textbook of Digital Video Production at:
http://www.mikesdvp.com
More great tips in Mike's Textbook of Digital Video Production at:
http://www.mikesdvp.com
5 Fields of View
Over the years I’ve spent in film production, television production and teaching in filmmaking school I’ve found that many television directors, crew members and instructors have different interpretations of the concept “field of view”.
The field of view is simply how much of your subject is shown in the frame. In other words, is the shot very close and only showing a part of the subject or is your camera seemingly far away, enabling your audience to see the whole subject and then some?
When I was a television cameraman a director once told me to get a “big shot”. I had no idea what he meant. I thought a “big shot” was the owner of the television station. Turns out what the director wanted was a close up.
One of my colleagues in film and television school once left a list of shot types in my classroom. There were about 10 fields of view written out but there were no diagrams. It was difficult to determine the small differences from one from the other.
When I teach at film and television school, which I’ve done for over 30 years, I list and demonstrate only five fields of view:
1. Extreme Long Shot (abbreviated ELS). This shot is set up so wide that much more than the main subject is seen in the viewfinder. If it is a man standing in a park you would see the whole person, quite small in the frame, with a lot of scenery around him.
2. Long Shot (abbreviated LS). In this shot the subject comfortably fills the frame. For the man standing in a park, you would zoom in so that, while his feet are still visible, there is only a thin strip of land between his feet and the bottom of the frame. Also, head room is just adequate. Most people are not as wide as they are tall (unless they’re very oddly built), so there will be more room at the sides.
3. Medium or Mid Shot (abbreviated MS). Approximately half of the subject is seen in the frame. The bottom frame is just below or just above the waist (it’s not good to cut a person off at a natural joint like the ankles, knees, waist or neck).
4. Close Up (abbreviated CU). Approximately one quarter of the subject is seen - your basic “head and shoulders” shot.
5. Extreme Close Up (abbreviated ECU). Much less that one quarter of the subject is seen. In the example of the man in the park, an ECU might be the very dramatic shot of just his eyes.
Admittedly, although framing is rather subjective, in my professional opinion, to break this list down into more defined shot descriptions would be pointless. When you’re thinking about how to make videos, these five fields of view are all you need to convey your intentions to your audience.
My digital video production textbook is packed with this and much more information on how to make videos. Check it out at:
http://www.mikesdvp.com
The field of view is simply how much of your subject is shown in the frame. In other words, is the shot very close and only showing a part of the subject or is your camera seemingly far away, enabling your audience to see the whole subject and then some?
When I was a television cameraman a director once told me to get a “big shot”. I had no idea what he meant. I thought a “big shot” was the owner of the television station. Turns out what the director wanted was a close up.
One of my colleagues in film and television school once left a list of shot types in my classroom. There were about 10 fields of view written out but there were no diagrams. It was difficult to determine the small differences from one from the other.
When I teach at film and television school, which I’ve done for over 30 years, I list and demonstrate only five fields of view:
1. Extreme Long Shot (abbreviated ELS). This shot is set up so wide that much more than the main subject is seen in the viewfinder. If it is a man standing in a park you would see the whole person, quite small in the frame, with a lot of scenery around him.
2. Long Shot (abbreviated LS). In this shot the subject comfortably fills the frame. For the man standing in a park, you would zoom in so that, while his feet are still visible, there is only a thin strip of land between his feet and the bottom of the frame. Also, head room is just adequate. Most people are not as wide as they are tall (unless they’re very oddly built), so there will be more room at the sides.
3. Medium or Mid Shot (abbreviated MS). Approximately half of the subject is seen in the frame. The bottom frame is just below or just above the waist (it’s not good to cut a person off at a natural joint like the ankles, knees, waist or neck).
4. Close Up (abbreviated CU). Approximately one quarter of the subject is seen - your basic “head and shoulders” shot.
5. Extreme Close Up (abbreviated ECU). Much less that one quarter of the subject is seen. In the example of the man in the park, an ECU might be the very dramatic shot of just his eyes.
Admittedly, although framing is rather subjective, in my professional opinion, to break this list down into more defined shot descriptions would be pointless. When you’re thinking about how to make videos, these five fields of view are all you need to convey your intentions to your audience.
My digital video production textbook is packed with this and much more information on how to make videos. Check it out at:
http://www.mikesdvp.com
Monday, August 23, 2010
5 Rules of Composition
I don’t know about you, but when I’m watching TV or a movie, I react negatively if I see a shot with elements in the frame arranged in a way that looks odd. That’s called composition.
So I’d like to share my 5 “rules of composition” that I use in film production and television production when I set up a shot and adjust as the shot progresses. I say “rules” because you should consider the old saying, “Rules are meant to be broken”. I’d like to add, “. . . if there’s a good reason to”. When learning how to make videos, I’ve noticed that my students in filmmaking school seem to want to break the rules because it is convenient or because they want to make their mark as non-conformists. Not good enough! There has to be a reasonable technical or artistic reason for straying from the proven path or you’re likely going to make your audience uncomfortable with poorly composed shots.
Now, I’ll get off my soap box and lay out my 5 rules:
1. Position the Main Subject. Always consider putting the main subject in the middle of the frame. If there is a definite left, right, front or back to the subject it might be shifted to the right or left, but if, for example, it’s a round flower vase (no right or left) perhaps it should be in the center of the frame if it is to be the only thing in the shot. As soon as you put it to one side you draw attention away from the vase and into the empty space on the other side of the frame. If nothing will ever be introduced in that space, then your audience is left wondering what was supposed to be there when the shot ends. Admittedly, there could be many reasons for ignoring this advice, but make sure you have a definite reason.
2. Set the Headroom. The term headroom refers to the distance between the top of your subject (like a person’s head) and the top of the frame. When it is a human head, it’s disturbing if the top of the head is “cut off” by the top of the frame. As you tighten the shot from a medium shot to a close up to an extreme close, up you will eventually have to sacrifice the top of the head, but in a very close shot that’s acceptable. It’s better composition to keep the chin and loose the top of the head. A good way to think about this is to always have the person’s eyes on the (imaginary) line that defines the top third of the frame. Which leads me to …
3. Use the Rule of Thirds. In your imagination as you view your shot in the viewfinder, divide it into thirds both vertically and horizontally. The most interesting or powerful areas in the frame are where the vertical and horizontal lines intersect. So, for example, if you’re taking a shot of a small wooden church on a distant hill out in the country, you might want to place the church on one of the two intersection points in the top third of the frame. It’ll be a more interesting shot than just centering the church, especially if you see the church in profile (that gives it a sense of back and front).
4. Set the Lead Room. Lead room refers to the space you should put in front of a subject that is looking or moving left to right - or right to left. This can be a person standing still in profile speaking to someone who is off camera, or a car that’s moving as you pan or track with it. It’s common to put more lead room in front of the subject, but not so much that the subject’s back is against the frame behind it. The space in front is more important to the viewer than the space behind.
5. Check the Periphery. The periphery is the part of the shot that is right against the boundaries of the frame. After you’ve framed your shot, but before you roll, you should quickly check the frame all the way around. After your eye has traveled 360 degrees, you should search within the frame as well. It’s sometimes amazing what you find. Often it’ll be things that should not be there during your shot (electrical cords from your lighting, a shadow of the boom mic. or maybe even a person who you don’t want in the shot). A periphery check is very important.
Just as a driver should be constantly aware of other traffic, signs and pedestrians, as a camera operator you should constantly think about the nuances of composition. The results in your digital video production will be worth it!
For more information, check out my digital video production textbook
So I’d like to share my 5 “rules of composition” that I use in film production and television production when I set up a shot and adjust as the shot progresses. I say “rules” because you should consider the old saying, “Rules are meant to be broken”. I’d like to add, “. . . if there’s a good reason to”. When learning how to make videos, I’ve noticed that my students in filmmaking school seem to want to break the rules because it is convenient or because they want to make their mark as non-conformists. Not good enough! There has to be a reasonable technical or artistic reason for straying from the proven path or you’re likely going to make your audience uncomfortable with poorly composed shots.
Now, I’ll get off my soap box and lay out my 5 rules:
1. Position the Main Subject. Always consider putting the main subject in the middle of the frame. If there is a definite left, right, front or back to the subject it might be shifted to the right or left, but if, for example, it’s a round flower vase (no right or left) perhaps it should be in the center of the frame if it is to be the only thing in the shot. As soon as you put it to one side you draw attention away from the vase and into the empty space on the other side of the frame. If nothing will ever be introduced in that space, then your audience is left wondering what was supposed to be there when the shot ends. Admittedly, there could be many reasons for ignoring this advice, but make sure you have a definite reason.
2. Set the Headroom. The term headroom refers to the distance between the top of your subject (like a person’s head) and the top of the frame. When it is a human head, it’s disturbing if the top of the head is “cut off” by the top of the frame. As you tighten the shot from a medium shot to a close up to an extreme close, up you will eventually have to sacrifice the top of the head, but in a very close shot that’s acceptable. It’s better composition to keep the chin and loose the top of the head. A good way to think about this is to always have the person’s eyes on the (imaginary) line that defines the top third of the frame. Which leads me to …
3. Use the Rule of Thirds. In your imagination as you view your shot in the viewfinder, divide it into thirds both vertically and horizontally. The most interesting or powerful areas in the frame are where the vertical and horizontal lines intersect. So, for example, if you’re taking a shot of a small wooden church on a distant hill out in the country, you might want to place the church on one of the two intersection points in the top third of the frame. It’ll be a more interesting shot than just centering the church, especially if you see the church in profile (that gives it a sense of back and front).
4. Set the Lead Room. Lead room refers to the space you should put in front of a subject that is looking or moving left to right - or right to left. This can be a person standing still in profile speaking to someone who is off camera, or a car that’s moving as you pan or track with it. It’s common to put more lead room in front of the subject, but not so much that the subject’s back is against the frame behind it. The space in front is more important to the viewer than the space behind.
5. Check the Periphery. The periphery is the part of the shot that is right against the boundaries of the frame. After you’ve framed your shot, but before you roll, you should quickly check the frame all the way around. After your eye has traveled 360 degrees, you should search within the frame as well. It’s sometimes amazing what you find. Often it’ll be things that should not be there during your shot (electrical cords from your lighting, a shadow of the boom mic. or maybe even a person who you don’t want in the shot). A periphery check is very important.
Just as a driver should be constantly aware of other traffic, signs and pedestrians, as a camera operator you should constantly think about the nuances of composition. The results in your digital video production will be worth it!
For more information, check out my digital video production textbook
Thursday, August 12, 2010
What's in Your Sound Kit?
If you’re shooting a digital video production or a television production that has a very tight script you’ll likely have planned your equipment needs right down to the last cable, adapter and microphone clip for every day of shooting.
If, however, you are shooting documentaries (where you often have no idea what situations you’ll be faced with) or corporate training videos (if your script is less specific) you’ll want to have a good all-around set of equipment in your sound kit. This also applies to your camera kit and your lighting gear, but let’s just concentrate on audio.
Here’s the most important things to have for most shooting situations:
1. A Selection of Microphones. A selection of microphones is nice if you can afford them. It’s a good idea to carry one wireless and two wired lavs. Also, a hand mic. for street interviews and a shotgun - which can also be used as a hand mic. Wind socks for these microphones are also good to have.
2. Shotgun Mic Equipment. If you have a shotgun, you should also pack a pistol grip shock mount for it and a boom pole (often called a fish pole).
3. A Small, Battery Operated Mixer. A small, battery operated mixer will allow you to plug several mics into one input on your camera. A good one that should be sufficient for most situations is a mixer that accepts four sound sources (either microphones or line inputs from playback devices) about the size of a standard, red construction brick (although a lot lighter).
4. A Supply Of Mic. Cables. Of course, if your microphones are not wireless you’ll need a supply of mic. cables. Always take one or two more than you’ll need. You never know when they’ll break down and fixing them is time consuming. One more tip - if all your cables are black, you can identify them by sticking a different color of electrician’s tape on the end of each cable so you’ll know which end goes to which mic.
5. Be Prepared to Fix a Cable. OK - I just suggested that you shouldn’t take time to fix a cable if you can avoid it, but sometimes you have to. Make sure your sound kit includes a small tool kit that has wire strippers, a small soldering iron, solder, electrician’s tape, pliers and a small screw driver set.
6. Bring Spare Batteries. If any of your microphones or mixers use batteries, take several spares of the proper kinds with you.
7. Tying Material. Some sash cord or velcro strips for tying up mic. cables are also good to have.
Try to think of what else you might add to this list, especially if you are going it alone and figuring out how to make videos by yourself.
You can read more about digital video production in my ebook!
If, however, you are shooting documentaries (where you often have no idea what situations you’ll be faced with) or corporate training videos (if your script is less specific) you’ll want to have a good all-around set of equipment in your sound kit. This also applies to your camera kit and your lighting gear, but let’s just concentrate on audio.
Here’s the most important things to have for most shooting situations:
1. A Selection of Microphones. A selection of microphones is nice if you can afford them. It’s a good idea to carry one wireless and two wired lavs. Also, a hand mic. for street interviews and a shotgun - which can also be used as a hand mic. Wind socks for these microphones are also good to have.
2. Shotgun Mic Equipment. If you have a shotgun, you should also pack a pistol grip shock mount for it and a boom pole (often called a fish pole).
3. A Small, Battery Operated Mixer. A small, battery operated mixer will allow you to plug several mics into one input on your camera. A good one that should be sufficient for most situations is a mixer that accepts four sound sources (either microphones or line inputs from playback devices) about the size of a standard, red construction brick (although a lot lighter).
4. A Supply Of Mic. Cables. Of course, if your microphones are not wireless you’ll need a supply of mic. cables. Always take one or two more than you’ll need. You never know when they’ll break down and fixing them is time consuming. One more tip - if all your cables are black, you can identify them by sticking a different color of electrician’s tape on the end of each cable so you’ll know which end goes to which mic.
5. Be Prepared to Fix a Cable. OK - I just suggested that you shouldn’t take time to fix a cable if you can avoid it, but sometimes you have to. Make sure your sound kit includes a small tool kit that has wire strippers, a small soldering iron, solder, electrician’s tape, pliers and a small screw driver set.
6. Bring Spare Batteries. If any of your microphones or mixers use batteries, take several spares of the proper kinds with you.
7. Tying Material. Some sash cord or velcro strips for tying up mic. cables are also good to have.
Try to think of what else you might add to this list, especially if you are going it alone and figuring out how to make videos by yourself.
You can read more about digital video production in my ebook!
Friday, August 6, 2010
6 Tips for Setting Up to Shoot
Shooting is of course the main activity of the production stage of digital video production. In a large film production where you are the camera operator and you have a director, after you’ve mounted the camera on the tripod you’re ready when the director calls for you to roll. Right? Well, not really. There are a few preparations you should be making while the director is still fussing with the talent.
In fact, even if you are thinking about how to make videos by yourself, here’s a list of things you shouldn’t forget to do:
1. Level the Tripod. If your tripod has a built in spirit level, use it. If not, sight the tripod from 2 angles at 45° to each other. For example - from the back of the camera and from one side. Make sure it’s not leaning in any direction.
2. Do a Manual Color Balance. In the lighting conditions under which you’ll be shooting, do a manual color balance for the camera off of a white piece of paper or a proper white card. Automatic color balance is OK sometimes, but to get the best results, you must color balance manually.
3. Check the Sound Level. This should be done with headphones on while watching the VU meters on the camera’s display. If a subject is mic’d up and will be speaking on camera, ask the person to help you set the sound level by speaking at the volume they’ll use when the camera rolls.
4. Check Your Focus. With the camera set to manual focus, zoom in, focus the lens then zoom out. If the focal distance between camera and subject does not change during the shot, doing this will ensure that the focus will always be crisp even as you zoom in or out.
5. Do an Early Slate. When you’re shooting video you don’t have to slate the shot when it is being made. You can do it earlier. So, hold the slate in the lit area, zoom in to a tight shot of it and record for about 5 seconds. Then stop the camera.
6. Frame the Shot. If you know what field of view the director will want for the shot you will be taking, frame it now. If you don’t know what the director will call for, choose a pleasing field of view - frame it up and wait for the director to tell you what is required. Better to have some kind of shot ready rather than wasting time later. It’s more efficient.
Be prepared. You and your director will appreciate it.
Learn more about how to make videos by reading my digital video production textbook.
In fact, even if you are thinking about how to make videos by yourself, here’s a list of things you shouldn’t forget to do:
1. Level the Tripod. If your tripod has a built in spirit level, use it. If not, sight the tripod from 2 angles at 45° to each other. For example - from the back of the camera and from one side. Make sure it’s not leaning in any direction.
2. Do a Manual Color Balance. In the lighting conditions under which you’ll be shooting, do a manual color balance for the camera off of a white piece of paper or a proper white card. Automatic color balance is OK sometimes, but to get the best results, you must color balance manually.
3. Check the Sound Level. This should be done with headphones on while watching the VU meters on the camera’s display. If a subject is mic’d up and will be speaking on camera, ask the person to help you set the sound level by speaking at the volume they’ll use when the camera rolls.
4. Check Your Focus. With the camera set to manual focus, zoom in, focus the lens then zoom out. If the focal distance between camera and subject does not change during the shot, doing this will ensure that the focus will always be crisp even as you zoom in or out.
5. Do an Early Slate. When you’re shooting video you don’t have to slate the shot when it is being made. You can do it earlier. So, hold the slate in the lit area, zoom in to a tight shot of it and record for about 5 seconds. Then stop the camera.
6. Frame the Shot. If you know what field of view the director will want for the shot you will be taking, frame it now. If you don’t know what the director will call for, choose a pleasing field of view - frame it up and wait for the director to tell you what is required. Better to have some kind of shot ready rather than wasting time later. It’s more efficient.
Be prepared. You and your director will appreciate it.
Learn more about how to make videos by reading my digital video production textbook.
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