Need help with training my camera crew

[jumpymonkey]

I need some ideas with how give my camera crew an eye for good quality video work. I think I may have shot myself in the foot with the way I've directed them. Since we started our video ministry almost a year ago, I (or the other directors) will give directions to each camera person (we have 3). I've got a couple guys who will do their own thing, and make it look good, and when I see them doing something that looks good, I'll let them know I want to use that shot. Then I've got one or 2 that will do their own thing and it won't look good, and then there's the last few that will not do anything unless I tell them specifically to do it.

I need help training their eye so that they can see what looks good (good zoom speed, good framing, etc.) And, I need them to have the confidence to be able to operate their cameras without me giving them such precise directions (i.e. "start zooming in onto the soloist, keeping her on the left side of your frame" yadda yadda yadda). Eventually I hope to be doing some other graphics along with the live video, and I need to be free to think about that. So, any tips would be helpful, thanks everyone,

Lee

[tomtv]

Welcome to directing! seriously though, that is kind of what goes with directing in many ways. you can develop a good feel with people the more you work with them but you will still have to impart to your ops what you want especially if you are stacking shots, using multiple m/e, combo pushes and pulls etc. I always try to keep in mind they are only seeing one part of a multi camera shoot. You can start this process by just meeting a few minutes before service and showing each op 3 shots you want him to make sure he gets or is ready for quickly when you need it. just one example.

Hey it is just from my view though. That is the way I have worked and developed over time and have had the joy of directing as many as 12 live cameras. The more options you have the more layers of tasking your mind has do.

To answer your question more directly though, I would start with doing proper rehearsals including all the movement of the ops. If you can keep notes on what you like to see them do or what is going on in that particular part of the song or message so you can give them advanced notice, it will help. I have even given very short explanations on the coms to newer ops so they begin to understand why I am asking for the shot. When I am brought in for a production or show or whatever it always pays off to spend as much time with the show timeline and all my ops. The time before pays off big time in the show. Working with volunteers on quite a few of the things I hire out for actually a great time. I get to be more a part of things and help crews learn and grow. When a volunteer crew is doin their thing there is nothing better and more satisfying.

feel free to contact me if I can help or just to give you another perspective.

[tedanderson]

Get back to the basics:

First of all you need to make time to sit down and look at the videos that you shot and then look at the videos of some live concerts and study the angles. At first you and your crew won't be exactly sure what they are looking at or what they should be looking for but it will start a dialogue.

Secondly, everyone must learn shot composition and the industry term for each type of shot. They should know how to frame up a close-up shot, a medium shot, a ¾ shot and a full shot. When you call for a "medium" shot, the camera operator will know how much space to put above the subject's head and how much of their body should show. The camera operators should know shot composition so well that they can properly frame up someone in their sleep. Creative shots can come later but you need to get your crew into that mindframe of disiplined camera work.

Third, before service starts have a pre-production meeting and explain exactly what you want to see from each camera. And don't be afraid to overstate the obvious. Sometimes you have to tell your camera operator that the subject's face should be in the picture at all times and that cutting half of their face off or completely cutting them off at the neck is a bad thing.

[WORDpictures]

On a basic level, DJTV offers some good training videos such as this episode on shot framing:

http://www.digitaljuice.com/djtv/seg...searchid=68736

If the cam ops watch materials such as this that explain good shot composition principles, and then watch well-produced television/movies (or photography samples) mindful of these concepts - that should help develop a consciousness of what makes a shot look professional (in theory). But IMHO... a few people have a natural eye, some can be trained/coached, and even more will never acquire it (and need to run wide angle and more safe cam positions). This may be what you've already observed through what you've explained from your directing experience.

As someone with professional design/photography/video background prior to assisting with church video (both cam op & directing), I've also learned that when I'm shooting for another director - that individual may have very different preferences & interpretations from my own. So be very specific describing the shot set ups you would like to see from each camera position up front, use consistent terminology, and be certain everyone's on the same page with interpretations of close-up, mid-shot, your preference of head room, zoom speed...

[jumpymonkey]

You guys have been very helpful. This morning I was actually filling in on a camera for another guy, so I got some more experience from the other end of things.

I never really thought of teaching them the "close, medium, full" shots. I usually just say "give me a waste up shot of pastor" or whatever. Just having that terminology instilled in their minds will help alot. Heck, I'm still learning alot of the terminology myself. I've never had any formal training, so I'm just going on what I've read and picked up online or watching tv shows/movies.

Tomtv said "stacking shots, using multiple m/e" and I'm not too sure what you meant by that. By stacking shots, does that mean framing each camera up so that I can mix them to look right? And the multiple m/e doesn't ring a bell at all. But that's why I'm here, to learn everything I can.

[tomtv]

no problem and it is great to see a newer director out here asking. There are so many people out there that would be happy to help others when asked.

for me, stacking is a couple different things. first you are correct, composing shots for layering and for using other effects. secondly, I am always trying to think 3-5 shots down the road for what I want to broadcast or Imag, so I am stacking shots i may want to cut to or be the base of a layer for other effects.

M/E is just short for mix effect. Most churches have a single M/E meaning they can mix between 2 sources. some switchers allow for a dsk to be used to dissolve to a 3rd camera while other switchers have 2, 3, 4, or more M/E's that can really confuse most of us.

having a nice shot ref sheet for you so you know where instrument solos etc. are will make thinking down the line farther much easier.

btw, the digital juice resources are good to send your new people to. I have done it many times and it at least gets them thinking in the right direction.

keep learning, we all should.

[Esoteric]

Have them out there shadowing someone. That is what we do.

Mike

[tedanderson]

I usually just say "give me a waste up shot of pastor" or whatever. Just having that terminology instilled in their minds will help alot.

One thing that we also did was develop our own terminology for certain types of camera manuvers. We recently purchased a Jib Crane and we have given the shots specific names so that the director doesn't have to say "Go up, now go left, rotate, swing it around, etc." The names corrospond to a sequence of manuvers. e.g. a #1 shot is when we put end of the crane towards the back of the sanctuary and swing it around towards the stage while the camera stays aimed at the pastor the whole time giving the appearance of the viewer "flying" over the audience. Then we have what we call the "helicopter shot" where the camera points straight down and scans over the audience from above.

Also, we have some fundamental things that every camera operator should know- Like when you are zoomed all the way out and you want to zoom in on a subject, you have to gradually tilt the camera upward as you get closer. Likewise if you are tight and close to a subject, you need to gradually tilt down as you zoom out.

One mistake that many rookies make is that they just hit the zoom button without panning or tilting in order to maintain the composition of their shot. And then before you know it, they are shooting half of the ceiling without understanding how they made that happen. And with time, experience and practice, they will get better at holding the shot composition while zooming, panning and tilting.

[jumpymonkey]

Originally Posted by Esoteric

Have them out there shadowing someone. That is what we do.

Mike

We've tried that, but our setup makes it kinda tough. We have our 2 rear cameras (one in the center, and one on the right side) up on a box that is only wide enough for the tripod, and deep enough for the chair for the operator. So, there really isn't anywhere for the trainee to stand or sit to watch what's going on. I think I need to make sure to have all my camera guys back in the control room with me, so they can see what it looks like when I'm directing them, and what other shots are going on at the same time.

All this info is great. I'm gonna try to figure out a time when we can do some training. That's another tough thing, getting everyone there to train, but maybe I should do smaller groups, to make things easier.

[Esoteric]

Yeah, for those hard to get to positions we have people in the video room watching the preview monitor for the camera to get an idea what the person is doing.

Then we put them on a simple camera that we hardly take to in order for them to get the "feel" of the camera on the tripod, and then move them up as they show they can handle it.

Mike

[jumpymonkey]

Originally Posted by Esoteric

Yeah, for those hard to get to positions we have people in the video room watching the preview monitor for the camera to get an idea what the person is doing.

Then we put them on a simple camera that we hardly take to in order for them to get the "feel" of the camera on the tripod, and then move them up as they show they can handle it.

Mike

I wish we had a camera that we hardly use, but we only have 3, and we use them all pretty evenly. I've wanted to get a 4th, for just a far back wide shot in case no one has a good shot to cut to, but that's definitely not in the budget.

But that helps. Thanks

[tedanderson]

I wish we had a camera that we hardly use, but we only have 3, and we use them all pretty evenly. I've wanted to get a 4th, for just a far back wide shot in case no one has a good shot to cut to, but that's definitely not in the budget.

Pray that you find the means or the opportunity get one. It is a WONDERFUL thing to have. It gets us out of most "tight spots" and rough situations were nobody has a good shot. We have it on a wall mounted fixed stand high up in the corner so that we can view most of the santuary with it. In order to save a few bucks, we purchased a compact 2/3" camera head and strapped a broadcast lens to the front of it rather than buying a fully equipped camera.