Being an active filmmaking club we are always keen to exchange ideas and improve. Workshops and training sessions are arranged several times a year in all aspects of making new movies, films and videos. Sessions are free and are arranged at times and places to suit the club members. Subjects have included choosing a camcorder, the different types of microphone, simple linear editing, non linear editing, lighting workshops, interview techniques and more as seen below. Any member looking for help or training in any matter should contact the training officer Fred Hawkins by email at

Forthcoming training sessions

1. Editing - A request for help in starting the process has been received. Please let Dixie know if you are also interested
2. Voice training - One session has already taken place but there is a strong request for a further session which is under negotiation. If you would like to be added to the list then contact Dixie.
3. What would you like? Make your request to Dixie.

Recent training sessions

Recording Sound on Location - course by David Jackson - report by Josephine Jones

Thirteen of us, including two new members, gathered at Dixie's house for an extensive training session on sound recording with David Jackson. For anyone who missed this very worthwhile presentation I suggest reading his important tips and recommendations which follow. 

Firstly David stressed the need to plan ahead and overcome the usual tendency just to point and record. The best solution is to have one person focused only on sound and have two mikes - one for background sound and one for the speaker which can be turned up or down as required. We learnt that most of what we hear on a Hollywood movie is not recorded on location but later, and it was recommended that to make sound in our room appear like that on location we need to record thirty seconds or reasonable length of what is happening naturally to fill the gaps in the movie. This of course requires post-filming skills. 

Other recommendations were the use of headphones to listen out for and eliminate possible noises such as cables rattling and hum that one might not otherwise hear while filming. He warned us also to use battery when filming instead of mains electricity and that even a mobile phone in a pocket can cause problems. Another tip is to use a fluffy muff enclosure easily made oneself, to isolate the mike from wind noise.

As far as microphones are concerned we learned that most are mono whereas the camera is stereo so it is worth spending a couple of pounds on a stereo splitter to pass the mono signal to both left and right channels. He warned that when doing this to make sure the phase of the signal to the left and right was the same otherwise if inverted the sound can appear soft as the signals cancel out.

To remove unwanted inputs the key factor is to make sure that the sound you get is the sound you want and sometimes it is necessary to separate the camera from the mike. David gave the example when filming a wedding to hide the mike in some flowers. 

We were given an overview of some of microphones we can use. In fact we watched a very interesting DVD which David and Paul Holden made in which they test various mikes at different angles. One is the directional microphone, useful in crowded rooms, best used on a boom held high but pointing down. Noises bounce off walls, especially if the room is bright, but the reflections can be removed by dressing the room with blankets. Equalisation can always be put back in post-processing.

It is important to choose the right microphone for the job and position it in the right place. A tie-clip microphone is useful so long as it is not placed near the stomach or on clothes that rustle. If we were to buy a stereo version of this mike it would prevent the compatibility problem.

A boundary microphone is good when filming drama, such as a dinner party or an interview but will pick up noises such as glasses of water on the table.

Other useful equipment to purchase is a stereo rifle microphone, a right-angled plug which is hard to find; transparent pencil cases in which to keep small mikes, plugs and cables; and a mini disc-recorder Gordon Sutton agreed was useful to record concerts or weddings.

For post-production we need suitable software such as Sound Forge which has been taken over by Sony and costs several hundred pounds. Goldwave was demonstrated and recommended for audio editing ($40 from Canada) as was Premiere Elements 2.

Voice Training session held in October

On the 27^th October 12 members of Surrey Borders attended a very enjoyable and constructive evening on the subject of Voice Training, hosted by Mike Sanders and brilliantly led by Amanda Francis, the narrator in a recent club community film Keep On Keeping Mobile . This was the 2^nd in a series of 5 training sessions organised by our then Training Officer, Bruce Frazer, on a range of topics, which are currently being held to improve members’ film making skills.

Adding a voiceover to accompany a movie is an important aspect to many films made by members, but getting it right is a considerable challenge. What questions do we need to ask ourselves about the film we are making and what type of voice would best suit our needs? These were among the questions posed. We listened to a number of voice clips, in an attempt to characterise the various voices and then considered which film situation they would best fit. In the handouts, we were presented with a short passage of narrative without punctuation that we were required to add and then read. The variation in emphasis was enlightening and brought home the importance of correctly marking up your script with some sort of convention to prompt for pace, pause, tone etc. To relieve tension prior to delivery Amanda took us through a number of physical upper body exercises. We were also advised on what not to eat and drink prior to recording. Much was covered during the evening and in the course of ensuing and often lively discussion, the methods adopted by those present in producing a narrative were obviously wide ranging and stimulated much food for thought.

Well done Amanda and thanks also to Derek Watts for your advanced input in structuring the content of the evening. We look forward to proposed follow ups

CAMERA TECHNIQUES - teach in by Dick Hibberd - report by Josephine Jones

On a lovely July afternoon a happy group of men and women sipped tea and ate homemade flapjack by the river. Believe it or not, this was the finale to a Surrey Border Film & Video Makers training session at Dick and Jean Hibberd’s delightful and unusual home.

Dick’s enthusiasm, from being a professional TV cameraman, was evident as he taught us about camera techniques and shared with us some of his experiences in the business. With volunteers, a camera and TV, Dick guided us through the best camera angles for filming people sitting down or interview shots. A profile looks better than a straight on shot which is boring’. I would never have understood what a difference the position of the camera made without his demonstrations which were possible in his marvelus studio on the top floor. He suggested that not only should we be imaginative with placing of cameras, but change the angle from eye level to high or low angle. Above all we should practice shots time and again just as a musician does. He came up with some ingenious ways of getting the best out of our camera shots and how we could even improvise with a skateboard for moving shots.

I took copious notes only to find that Dick had very kindly typed an 8 page report (in big bold print I might add for us nearing old age) of everything he had taught us, complete with hand-drawn illustrations. So if I forget about triangulation, camera shake minimised by using the wider angle of the zoom, differential focus, tripods and panning I can refresh myself.

I speak for everybody who had the fortune to take your course, when I thank you for your time and professional presentation. I am afraid I am far from a competent camera operator and so I feel enlightened by Dick’s training session. Thanks too to Jean for tea and also my sympathy for having to watch TV and films with Dick when the camera ‘crosses the line’! And should the reader be curious as to what this means I can only say how sorry I am that you had the misfortune to miss out on such a great afternoon and hope that there is another opportunity for you.

Getting It Together - a letter written by Ron Gwynn

I would like to express my appreciation to Bruce and his team of Tutors for the excellent teaching sessions that have been run over the past few months.

The Club is fortunate in having members with considerable knowledge of their subject matter and the ability to present it in a professional and easy to understand manner.

I have gained much from attending the sessions in not one, but two ways.

The Club by reason, of its major annual event Film in an Evening, has seemed to me to be a collection of sub groups and the natural tendency is for their members to gravitate to each other on Club nights.

I am not suggesting this creates an unfriendly Club, far from it. It does however make it harder to get to know people better.

The teaching sessions have brought people from all groups together and given the opportunity for widening contacts and friendships.

I look forward to more such opportunities of Getting it Together.