It seems a good idea to have a recap on what may appear obvious to many. So please excuse me for that! When a member gave a demonstration recently, he had prepared a small number of shots that could be put together in the best possible order, but leaving out some of the shots. So we formed groups and each group produced a different order. It was interesting to see the differences and a good lesson in editing.

On looking back at previous issues of BORDER POST, I see that it was as long ago as February 1993 that I listed camera operation rules: there were fourteen of them. When Ron showed examples of bad camera work, editing and techniques that bore no resemblance to what we are all used to seeing in films and TV, his words were: “There is no excuse!”

It is most likely that many people take good movie for granted; the fact that it is the work of a skilful crew is not thought of. That is of course how it should be. But there is no reason why some amateur productions should be so technically bad that the skill (or lack of it) of the crew is very obvious with the consequences positively SHOUTING AT YOU!

NOW FOR LONG-FACED ADVICE

First there comes (we hope) THE STORY. Then that is turned into a SHOOTING SCRIPT, a STORY BOARD perhaps as well. The DIRECTOR, as you know, more often than not with amateur productions is also the CAMERAMAN. Use of a sturdy tripod is especially important with telephoto shots and to get nice smooth pans. Never pan too fast! Though hand held whiz pans are useful and permissible during recording a conversation. Tricky and you have to wait for a suitable gap in

1. I never need to use a tripod.

2. 1 like the freedom of hand-held telephoto shots.

3. I think zooming in and out is great fun. YIPPEE!

4. I guess the correct focus setting and I don’t mind fuzzy pictures.

5. I think that starting the shot in the middle of a pan with no leeway at the beginning and end is an editing challenge.

6. My subjects should be able to work out for themselves that - their noses are cut off at the edge of the frame and move back a bit without prompting.

7. I like a speaker to be dead central with his chin resting on the bottom of the frame and bags of empty space over his head.

8. I never move my subjects and frequently shoot two people talking from opposite edges of the frame, which makes them shout to each other and gives very small faces in the picture.

9. I always shoot interesting subjects in medium shot. Who needs big close-ups and cutaways?

10. I think that reflectors are much too much trouble. Anyway, they make faces show up too clearly. Silhouettes are fun!
the conversation then whiz to the next person. The whiz is cut out at the editing

stage and can be very effective.

Composition is very important. Some people find it easier than others to get a well balanced picture.

STUDY THE PROFESSIONALS! I find this most helpful.

As a general rule, when photographing one person, whether in close up or very big close-up, the eyes should be near the centre of the frame from top to bottom, and a little above centre. Heads should be as close to the top as possible. With BIG CLOSE-UPS and the eyes just above centre, the top of the head should cut into the top of the frame. And there is of course the golden rule that subjects three quarter or-side on should be looking into the frame with the back of the head closer to the edge of the frame than at the front. Two people should not in general be far apart, unless one is approaching the other. Follow the action, so that if one or more people are walking into space in the frame in front of them, not where they have just come from!

If two cameras are being used at the same time, it is important to slate the take with a clapper board at the start and keep both cameras rolling as you move to the predetermined camera shots, which might be for instance one concentrating on close-ups and the other camera on wider shots ready for when the director shouts ACTION! If the shot is not marked, it makes lip sync difficult, especially if the sound is from only one source camera, and you need to cut on action.!

John Woolmer