As I wrap up my journey through The Bare Bones Camera Course for Film and Video by Tom Schroeppel, I find myself reflecting not only on the valuable lessons this book has offered but also on how my perspective and skills have evolved. It’s fascinating to consider where I started, what I’ve learned, and how this experience shapes my approach moving forward.
When I first picked up this book, I was somewhere between amateur and semi-professional in my film and video production skills. My corporate background had given me a solid foundation in editing, particularly in post-production workflows, but my hands-on experience with cameras and capturing footage was limited. My focus had always leaned more heavily on perfecting the final product rather than mastering the art of getting the shot in the first place. Reading this book has shifted my understanding, helping me bridge the gap between those two worlds.
After completing this course, I’ve not only honed my technical skills but also learned to think more like a filmmaker. Digging into the material, studying examples, researching techniques, breaking down films, and working on my own projects has made a noticeable difference in my abilities. I’d say I’m firmly in the semi-professional zone now, with one foot edging toward professional. What’s even more exciting is the confidence I’ve gained in becoming a visual storyteller—thinking not just about the technical side of filming but also how every shot, angle, and movement works to tell a story that resonates. This shift has made me more intentional and creative in my approach, opening up new possibilities for how I can bring narratives to life.
One of the most useful things I learned was the importance of foundational concepts like camera shots, composition, good audio, and effective lighting. Beyond the basics, though, understanding the 180-degree rule and how to approach multi-camera setups stood out as particularly valuable. These principles aren’t just technical—they’re integral to creating a seamless viewing experience that communicates effectively with an audience.
However, the most challenging part of this learning process was the nature of the book itself. While it’s thorough and informative, translating the theory into practice was tricky. Retaining the information and applying it in real-world situations was especially tough since this was my first official time working with many of these concepts. It’s a steep learning curve when you’re moving from reading to action.
Looking forward, I’d like to deepen my knowledge in the art of interviews, particularly their setup and execution. As editing plays a crucial role in my job, mastering professional tips for handling interviews would enhance both my own work and my team’s overall output.
I plan to practice as much as possible to hone my skills further. Additionally, I’ll share what I’ve learned with my peers in the Development team. By doing so, we can collectively help our Business Stakeholders improve the quality of their video and audio interviews, especially in scenarios where they aren’t relying on our Media Creation Services team. This not only raises our team’s impact but ensures that our stakeholders can present themselves professionally in their content.
This journey has been a valuable step forward, and I’m excited to see how these skills will influence my work moving ahead.
RESEARCH TO INFORM
Home Alone – Wet Bandit Scene (with health bars)
J Cut: Preemptive Sound Effects
A perfect J cut example happens at 2:28. Kevin, the mischievous mastermind, shouts, “Come and get me!” before we actually see him on screen. At this moment, we’re still with the bumbling burglars, Harry and Marv, who are obliviously about to walk into Kevin’s chaos.
Why does it work? Because that audio lead-in gives the audience a little nudge: Kevin’s got something up his sleeve, and these two knuckleheads are walking straight into it. It builds anticipation and amps up the comedy, making us laugh before the disaster even strikes.
L Cut: Lingering Reactions
A solid L cut kicks in after a trap goes off—like when Marv takes a tumble or Harry steps on something painful. You hear their exaggerated screams and grunts carrying over into the next shot, where we see Kevin either grinning smugly or setting up the next prank.
For example, when Marv gets smacked by the paint can, his groaning continues as the camera shifts to Kevin prepping for the next move. Why does this work? Because it lets us savor the burglars’ over-the-top misery while seamlessly transitioning to Kevin’s perspective. The audio sticks around, keeping the humor alive while pushing the story forward.
These clever cuts aren’t just editing tricks; they’re comedic gold that make the scene as memorable as the traps themselves. It’s like the filmmakers knew exactly when to let sound take the lead or linger to keep us giggling.
Castaway – Fire and Birth of Wilson Scene
J Cuts: “Fire Foreshadowing”
When Chuck is finally about to make fire, you hear that glorious crackle of flames just before you see the fire ignite. It’s like the sound is saying, “Get ready for this big moment!” before the visuals catch up. Why does this work? Because it pulls you into Chuck’s triumph a second early, so when the fire bursts into life, you’re already cheering along with him (or at least saying, “You go, Chuck!”).
L Cuts: “The Birth of Wilson”
After Chuck slices his hand and furiously throws the volleyball, you can still hear his frustrated grunts and groans even as the camera focuses on that bloody smear on the ball. This audio lingering over the shot is like the movie whispering, “Wait for it… something big is about to happen.” And bam! Wilson is born. Why does it work? Because it perfectly transitions from Chuck’s rage to his accidental discovery of a companion. It’s a reminder that even on a deserted island, sometimes good things come from bad days.
These cuts aren’t just fancy editing—they’re part of what makes this scene so human and relatable. Whether it’s celebrating a “caveman moment” with fire or bonding with a volleyball, the J and L cuts let the emotions simmer just right. It’s storytelling magic that keeps us rooting for Chuck every step of the way.
CREATE
My mini-documentary took me down a path of discovering the extraordinary path forged by my good friend and corporate helicopter pilot, Barry Roche. You see his path started in Ireland and through a unique opportunity, came to America to pursue his dream of flying.
As I explained in the previous post, I let the story come to light and had a genuine conversation about Barry’s past leading him to where he is now. That conversation yielded me 50 minutes of main footage! At first, I thought I wasn’t going to get below 12-15 minutes of final footage. However, after reviewing it again (and again) I was able to parse it down to just under 9 minutes. As I was editing the story together, I found like my conversation, the story took it’s own path and I allowed it to do so. But this meant, most of the B-roll I had now didn’t fit the story and I found myself foraging for stock video and photos to weave the story together.
In order to make editing easier, I worked in segments (e.g., Intro, Where in Ireland, Opportunity, etc.). These segments were nested sequences to keep everything on the main timeline neat and organized. Plus it allowed me to easily adjust (add/subtract) a piece of media that didn’t fit or was missing. I also made use of the bin systems and creating color mattes for some backgrounds where my photos were vertical and didn’t take up the space. Overall, I’m pleased with the final product. Now, I just have to see if my interviewee likes it too! It’s no Ken Burns and won’t be seen on PBS or History Channel any time soon, but I’m glad I could give him something to pass on to his family. Enjoy the video below!
Chapter Summaries: Seven (Lighting) and Nine (Doing It)
As we approach the final few chapters of The Bare Bones Camera Course for Film and Video, these two chapters about lighting and doing it, complement each other beautifully, showing that while technical skills like lighting are crucial, the ability to execute your vision through teamwork and adaptability is just as vital.
Chapter Seven: Lighting dives into the art and science of lighting in film and video production. Lighting plays a massive role in shaping how a scene looks and feels, directly influencing the audience’s perception. One of the core techniques introduced is the three-point lighting system, which uses a combination of key light, fill light, and backlight to create depth and dimension. This setup allows filmmakers to highlight their subjects while maintaining balance and minimizing harsh shadows. Another standout concept from this chapter is the importance of color temperature. By understanding the Kelvin scale and how various light sources—like daylight or tungsten—affect the color of a scene, filmmakers can ensure consistency and mood alignment.
The chapter also touches on practical tools like reflectors, diffusers, and gels, which help control light and create specific effects. Lighting isn’t just about making things visible; it’s a storytelling tool that can subtly guide emotions or enhance the visual narrative. The key takeaway here is that mastering lighting techniques takes observation and practice, but it’s essential for creating professional-quality visuals.
Chapter Nine: Doing It shifts gears to focus on the execution phase of filmmaking. This chapter emphasizes that preparation is everything. From creating detailed shot lists and storyboards to breaking down scripts for logistical planning, the pre-production phase is where most of the heavy lifting happens. One particularly striking point was the importance of capturing sufficient coverage. Shooting from multiple angles or taking alternate takes gives editors the flexibility to make better decisions in post-production. Another critical lesson was problem-solving on set. No shoot goes perfectly, and adaptability is key. Whether it’s handling unexpected weather, adjusting for technical issues, or making creative compromises, staying flexible can save the day.
This chapter also highlights the importance of collaboration. Filmmaking is a team effort, and maintaining good communication with the crew ensures everyone is working toward the same creative vision. Overall, this section drives home the idea that the real magic happens when careful preparation meets on-the-fly creativity and problem-solving.
RESEARCH TO INFORM
Roosevelt and The Grand Canyon – A Ken Burns Film
Ken Burns is the quintessential storyteller. Through research he brings the past to life and covers a plethora of topics. Human interests stories of well known figures such as Benjamin Franklin, Hemingway, and Jackie Robinson to lesser known stories of the Native American. Other topics include historical moments, including the first cross country road trip in an automobile, or the plight of the American Buffalo, or even Country Music. Additionally, Ken Burns has covered famous landmarks such as the Statue of Liberty, Brooklyn Bridge, and the National Parks. The one I chose below is from the National Park series and covered The Grand Canyon. This is done well because the story describes how President Roosevelt’s part in making the Grand Canyon a national monument and what was going on at that time in the early 1900s. In the clip below his use of archival video and images overlayed with actors portrayals of key figures in history bring the story to life. The entire clip we get to see various views of the Grand Canyon then and now, along with an interview about why this was so important to Roosevelt. Of course, I’m partial to everything Ken Burns. Check out his site for all his documentaries.
momondo – The DNA Journey
The short video, The DNA Journey by Momondo, is an absolute gem of storytelling because it connects so powerfully on an emotional level. It uses music perfectly to set the tone and draw you in, while the close-ups let you see every raw, emotional reaction from the participants as they discover surprising truths about their heritage. Add in the multi-camera cuts that keep the pacing dynamic, and you’re completely engaged from start to finish. You don’t just watch their stories—you feel them. It’s a masterclass in using visuals and sound to connect with the audience.
“Cillian Murphy: The 60 Minutes Interview”
This March 2024 interview explores Murphy’s role in Oppenheimer and his craft as an actor, with some great moments of reflection. Around the 8:00 mark, though, the visuals feel a bit flat. While Murphy is engaging, there’s no b-roll to accompany his references to iconic scenes from his films, and the lighting doesn’t do him any favors. Without a proper hair light, there’s not enough separation between him and the background, making the shot feel less polished.
Fix: First, integrate b-roll clips or even stills from the movies Murphy is discussing. This would make the storytelling more immersive and visually interesting. Second, add a subtle hair light to give him that professional “pop” on screen. These small adjustments would elevate the piece, making it as compelling visually as it is narratively.
CREATE
Cork to the Clouds: A Pilot’s Story
Setting the Scene
A buddy of mine has had one of those lives you don’t just casually chat about over coffee—it’s more of a full-on popcorn-and-soda storytelling session. He’s now a corporate pilot, jetting off to far-flung destinations, but the road to those clouds? Oh, it’s paved with some seriously good stories, a few potholes, and one tale so intriguing it’s begging to be teased (which I’ll do—stay tuned for the documentary premiere).
Naturally, I had to ask for his blessing to spill the beans. His reaction? Pure delight. I mean, we’re talking “tickled pink” levels of enthusiasm. With his “yes” secured, my mission was clear: schedule an interview, gather all the nostalgic photos, and create something that does his story justice. The only hiccup? Timing. We squeezed the interview in right before Thanksgiving—because why not add one more thing to the holiday chaos?
Loading Viewer…
The Space Debacle
When the big day arrived, I lugged my gear to his house, full of excitement and grand visions of the perfect setup. The dream? A bright, airy office with French doors and natural light pouring in like a Hallmark movie. The reality? His basement office. Cue the record scratch.
The space was 8-by-12 feet of dark walls, massive furniture, and a gallery of glass-framed photos reflecting every ounce of light I didn’t have. My immediate reaction: “Oh NO.” But being the pro I am, I reframed the situation (and the room) like a champ. With some rearranging, decluttering, and a touch of gentle persuasion (“Let’s move this here, buddy, trust me”), we transformed his cozy cave into a passable studio. Bonus: His wife was thrilled he finally tidied up.
Lights, Camera, Wait…Technical Glitches
Lighting a small, dark room is about as fun as assembling IKEA furniture without instructions. After battling the shadows for what felt like an eternity, I finally got the 3-point lighting to behave. Then came the cameras.
For the main setup, I used the iPhone 16 Pro paired with Rode Wireless Pro lavaliers running through the Blackmagic Camera app. Pretty slick, right? For a secondary angle, I set up my trusty Canon EOS Rebel T5. And that’s where things got dicey. Pro tip: The Rebel T5 has a lovely feature where it stops recording after 12 minutes. Naturally, I discovered this after filming a 50-minute interview. So, my profile shots? Let’s just say they’re limited edition.
Still, the interview itself went great! Once we got rolling, it turned into a lively back-and-forth. He’d share a story, and I’d dig deeper, veering off-script to uncover new gems. Listening while managing the tech wasn’t easy, but hey, multitasking is basically a filmmaker’s rite of passage.
Progress Report
Filming? Done. Old photos? Collected (well, most of them). Now I’m in the editing trenches. I’ve knocked out a rough cut of the opening 30 seconds, and the final project will clock in at under 10 minutes. Down the line, I’ll expand it into a full Ken Burns-style documentary, complete with slow pans, nostalgic narration, and all the feels.
What’s next? Color grading, scripting for narration, and chasing down additional photos of his childhood home in County Cork. Because no documentary about a pilot’s journey is complete without a glimpse into where it all began.
And for now? I’m keeping my eyes on the horizon—and my cameras rolling.
This week I read Chapters three and four of Tom Schroeppel’s The Bare Bones Camera Course for Film and Video. Since I would be tackling a “How To” video understanding sequencing and screen direction were crucial to not disorienting my audience.
Chapter 3: Basic Sequence This chapter is all about putting together a scene that flows visually and keeps your audience hooked. Schroeppel introduces the idea of the “basic sequence,” which is just a fancy way of saying you need to combine wide shots, medium shots, and close-ups to tell your story effectively. For example, you start with a wide shot to show the setting (like a cityscape or a room), then move in closer with medium shots to focus on your characters or key actions, and finish with close-ups to highlight emotions or important details. One cool tip here is to overlap actions when filming. So, if someone is opening a door in a wide shot, shoot the same movement in a close-up. This makes editing seamless later. Another solid piece of advice? Always shoot a little extra. Thinking like an editor while you’re filming saves headaches when you’re cutting things together.
Chapter 4: Screen Direction Here, Schroeppel dives into screen direction, which is basically how to keep your shots from feeling disjointed or confusing. The big one to know is the 180-degree rule: imagine there’s an invisible line between two characters or along the direction of movement, and you keep the camera on one side of that line. This ensures everyone stays oriented and doesn’t magically flip sides of the screen. But here’s the twist—breaking the rule on purpose can be a creative choice, like when you want the audience to feel unsettled. Another gem from this chapter is eyeline matches. If a character looks offscreen to the right, the next shot needs to show what they’re looking at from that direction. This simple trick keeps the spatial logic intact and avoids confusion.
Both chapters boil down to one thing: clarity. Schroeppel does a great job breaking down these technical ideas into simple, actionable tips. Follow these, and your scenes will not only look polished but will also keep your audience immersed in your story.
RESEARCH TO INFORM
The Meaning of Life: Death Shows Up
Finishing out referencing Python films, I couldn’t forget about one of their films often forgot about. In the “Death Shows Up” scene from Monty Python’s The Meaning of Life, the filmmakers employ effective continuity techniques to maintain a seamless narrative flow. The scene begins with a wide shot establishing the dinner party setting, providing viewers with a clear understanding of the spatial arrangement and character positions. This aligns with the principle of using an establishing shot to set the scene’s context.
As the scene progresses, the camera cuts to medium shots and close-ups of individual characters, capturing their reactions and dialogues. These cuts adhere to the 45-degree rule, ensuring that each successive shot changes the camera angle by at least 45 degrees to avoid jarring jump cuts and maintain visual continuity.
The filmmakers also utilize match on action, cutting from one shot to another while maintaining the continuity of characters’ movements and actions. For instance, when Death points to a character, the cut to that character’s reaction is timed precisely, preserving the fluidity of the action. This technique helps to create a seamless visual narrative, keeping the audience engaged without noticeable disruptions.
You’ve Got Mail: Kathleen and Joe’s Coffee Shop Scene
In the coffee shop scene from You’ve Got Mail, the filmmakers employ smooth continuity to maintain a seamless flow between multiple angles as Kathleen and Joe share a tense yet pivotal conversation. The scene begins with a wide establishing shot of the coffee shop, providing a clear understanding of the setting and the characters’ positions. As their dialogue unfolds, the film transitions to a series of medium shots and close-ups, capturing their nuanced reactions and expressions.
The filmmakers adhere to the 180-degree rule, ensuring spatial consistency as the shot-reverse shot technique alternates between over-the-shoulder angles of Kathleen and Joe. This approach maintains the illusion of a continuous conversation while aligning with the rule of changing the angle by at least 45 degrees to avoid visual jarring. The use of match on action further enhances the scene’s fluidity, with precise cuts that maintain continuity as Joe gestures or Kathleen reacts. Eyeline matches are also carefully employed, allowing the audience to follow the characters’ gaze and maintain the emotional connection between them. These techniques work together to create a scene that feels cohesive and immersive, drawing viewers into the unfolding drama.
Top Gun: Watch the Birdie Scene
The “Watch the Birdie” scene in Top Gun showcases excellent continuity as Maverick’s daring maneuver above the enemy MiG is presented with smooth transitions between multiple angles. The sequence begins with a wide establishing shot of the F-14 Tomcat in flight, setting the stage and establishing the spatial relationship between Maverick’s jet and the MiG. As the action intensifies, the film cuts between medium shots of the aircraft and close-ups of the pilots, capturing their reactions and escalating tension.
To maintain spatial continuity, the scene follows the 180-degree rule, ensuring consistent screen direction as the jets interact. The filmmakers also employ match on action during Maverick’s iconic inversion maneuver, cutting seamlessly to show the aircraft flipping upside down and aligning above the MiG from different perspectives. Eyeline matches further enhance the sequence, as shots of Maverick looking down align perfectly with those showing the MiG pilot’s stunned reaction. These continuity techniques ensure that the fast-paced aerial action remains coherent and thrilling, pulling the audience into the heart of the spectacle.
CREATE
Crafting a How-To Video: A Conversational Breakdown
When it comes to “how-to” videos, I’m pretty comfortable in my zone—think simplified animations in Vyond. But this time, I wanted to step out of that comfort zone and get hands-on. My concept? A quick, easy, and festive tutorial on wrapping a present like a pro. Perfect timing with the holiday season around the corner, right?
Of course, no project comes together without a little planning. While we weren’t required to submit a pre-planning document, I jotted down the key points to keep my script tight and make sure I stayed within the 5-minute limit. Here’s how it all unfolded.
The Concept
The idea was simple: show the stark difference between a poorly wrapped gift (hello, wrinkly newspaper and patchy tape) and a professionally wrapped one that screams “holiday magic.” My hook? A playful intro like, “Want to go from drab to fab? Here’s how!”—complete with a side-by-side of a messy wrap job and a beautifully ribboned masterpiece.
The Tools (and People!)
Confession time: I’m not exactly a gift-wrapping guru. So, I enlisted the help of my wife as the hand model and gift-wrapping guru for this video. She’s got the skills, and I’ve got the cameras—teamwork at its finest.
Here’s the checklist of what we used:
A couple of boxes for wrapping.
Wrapping paper
festive and non-crinkled, of course.
non-festive and wrinkled (messy wrap job of course).
Tape, scissors, razor, and ribbon.
Optional: a cutting mat for precision and protecting cutting surface.
Filming space—our trusty kitchen island became the set.
Equipment Setup
To elevate this how-to video, I decided to experiment with a multi-camera setup. My goal was to keep it visually dynamic, showing off every detail of the wrapping process from different angles. Here’s what I worked with:
Three cameras: One iPhone 16 Pro, one iPhone 13, and a Canon EOS Rebel T5.
Lighting: Fill, Spot, and Hairline.
Video quality: Everything was shot in HD at 1920×1080 with a frame rate of 30fps for a smooth, clean look.
As you can see in my image below, things looked a bit crowded. Most of the lighting was rearranged and the background clutter removed to provide a more clean look (even if we were focused in on the task of wrapping a gift). Additional challenges included reflective surfaces (refrigerator and countertop). Since we didn’t have another spot to do the shoot the video, I did the best I could in the setup I had. See the finished video below.
Initial Setup
The Post-Production Process
Editing is where the magic happens, and this project was no different. I brought everything into Premiere Pro to polish it up. Here’s a glimpse of my process:
Narration: While I was about to narrate, on initial test run it was awkward. It felt weird seeing a woman showing you how to do something, with a male voice explaining what to do. I tried to recruit my wife, but she drew the line at being my hand model, that meant I had to recruit Selina (a Vyond AI voice).
Sound Effects: Scissors slicing through paper? Check. Tape being ripped? Double-check. Adding these little touches brought life to the visuals.
Music: A festive holiday tune played softly in the background to match the vibe of the season.
Onscreen Text and Shapes: I used Premiere Pro’s text and shape tools for on-screen instructions, like “Step 1: Measure your paper” or “Pro Tip: Crease those edges!” These added clarity for viewers who might need an extra nudge.
Final Thoughts
Shooting this how-to video was challenging, but I loved trying new techniques—especially the multi-camera setup. It’s amazing how a little creativity (and some borrowed wrapping skills from my wife) can turn a simple task into a polished video tutorial. Now the only question is: What’s my next how-to? Maybe I’ll take a crack at DIY holiday decorations…
If you’re looking to create your own how-to videos, my advice is simple: plan the key points, get creative with your shots, remember good sound quality, also don’t forget the 180-degree rule, and finally have fun experimenting!
Chapter 10 of The Bare Bones Camera Course for Film and Video boils editing down to its essentials, emphasizing that it’s not just about assembling clips—it’s about shaping a story. For new editors, three key lessons stand out. First, continuity is king; keeping visual and narrative flow seamless is crucial to maintaining the audience’s immersion. Paying attention to details during filming—like lighting, props, and actor positions—makes the editing process smoother and more cohesive. Second, timing is everything. Whether you’re creating suspense or maintaining a fast-paced action sequence, the rhythm of your cuts determines how your audience experiences the story.
Lastly, sound is often overlooked but essential. The chapter drives home that well-edited sound can elevate a good scene into something unforgettable. Dialogue, sound effects, and music aren’t just additions—they’re integral layers that deepen emotional impact. New editors should approach the craft with creativity and intention, knowing that their choices shape not just the story but how it resonates with the audience.
RESEARCH TO INFORM
Fast & Furious 8 – Dom’s Car Chase
In the explosive car chase scene from The Fate of the Furious, Dom Toretto races through the streets in a high-stakes pursuit. The pacing of this sequence is extremely fast, with most shots lasting only 1–2 seconds. Occasionally, key moments such as a dramatic drift or a crash are highlighted with slightly longer shots of about 3 seconds. This rapid editing style mirrors the intensity and adrenaline of high-speed action, immersing viewers in the chaos and energy of the chase. Quick cuts between vehicles, close-ups, and wide shots create a sense of constant motion, ensuring the audience feels the relentless momentum.
1917 – Crossing No Man’s Land
The “Crossing No Man’s Land” scene from 1917 is a masterclass in slow, immersive pacing. This sequence is designed to appear as a single, continuous shot, with no visible cuts interrupting the tension. Each “shot” lasts several minutes as the camera follows Schofield and Blake through a treacherous battlefield. The absence of frequent cuts creates a gripping sense of realism and immediacy, making the audience feel as though they are right there with the characters. This deliberate pacing heightens suspense, as every step and movement feels fraught with danger.
Monty Python’s Life of Brian – “What Have the Romans Ever Done for Us?
In the humorous “What Have the Romans Ever Done for Us?” scene from Monty Python’s Life of Brian, the pacing is more moderate, allowing the comedic dialogue to shine. Shots typically last 5–7 seconds, giving viewers enough time to absorb the humor and appreciate the characters’ interactions. Occasionally, shots linger slightly longer to capture a character’s expression or emphasize the punchline of a joke. The steady rhythm of the cuts ensures the absurdity of the conversation comes across naturally and effectively. The scene’s simplicity in pacing and editing keeps the focus squarely on the sharp, witty exchanges.
CREATE
Video Shoot Days
As mentioned in a previous post, pre-production planning and good scouting for location using composition shots is essential. Having completed the pre-production planning helped to iron some details out about my actual location shooting. While on location for the composition shots, I saw a few opportunities to get interesting perspective shots. Everyone at the ranch including the owners were cooperative and excited about the video shoot. My assistant (daughter) and I arrived on location each day about 2:30 pm. We only had until 4:44 pm before we lost sunlight.
Based on our camera shot days, and timing on those days, we pre-agreed to what we were shooting on which day. One of the first shots we wanted to get was the two drone shots. However, day one was not successful due to mechanical issues. We then moved to the actual tripod shots. Most of the shots on Day 1 were at the ranch and across the street in the field with the horses. At the end of Day 1, I went home looked up the error code I was getting and seemed to have fixed it.
Day 2 arrived and we knew we had less time because we needed to walk to the trail and the creek. Therefore, I elected to try the drone shots again on Day 3. Additionally, I was carrying new slider gear to hopefully get more interesting videos. The slider took extra time to setup but set it up I did (see below) and was able to get neat perspectives and pans. Next time I’ll try to video some vertical shots (this is where the camera travels diagonally up or down the slider). Walking and setting up the tripod and slider solo requires a lot of extra time which was against me. I didn’t have my daughter as she was riding the horse! I didn’t get all the shots I wanted but luckily we had taken a lot of B-roll in the field on Day 1 so I used those instead.
An image of me setting up my Neewer ER120 motorized camera slider
Day 3 came and I headed over to the ranch to get the drone shots and a couple more trail shots. I couldn’t go over until 3:30 because it was a Saturday and they were very busy. I arrived, set up the drone. I was thinking this is going to be awesome. Then it happened. The same error I received on Day 1. I fuddled with it (for more than I wanted to) but to no avail. The drone shots will have to be done another time. By then it was too late to get the additional trail shots as I lost my daylight. Had I done more planning, that is, requested to go more than 3 times that week and got the drone issue worked out, the video might have had a different flavor.
Editing
The last attempt for video shooting was Saturday at 3:30 pm. After the fiasco above, I came home and got to editing. I created and organized my clips, gathered my background music and any sound effects I thought I might use. The only thing missing was the clients logo. My daughter was able to get me a copy of the logo when she went into work. However, the logo was a jpeg with a large red square background. Before I could use it, I converted the jpeg to a vector in Illustrator using the Image Trace option and expanded the object so I could have a transparent background. Once this was done, I created 6 versions 2 red, 2 black, and 2 off white. Each version of the logo had both a flat and shadow so I had options. I will share all these files with the client for future use.
During the editing process, I also used the Ken Burns effect on some of my shots. For instance, the shot looking at the lesson ring was actually a video where I needed to remove the large pile of…yup you guessed it horse matter. Therefore, because there was no movement (bad camera shooting), I used a still, removed the matter and applied movement. Another thing I noticed was when I was looking at my script. The original script was very short. As I viewed the rough cut, there were extremely awkward silences and I wasn’t happy so I rewrote it to what you hear in the montage below. While I didn’t get all the shots I wanted, like the drone video, I’m still happy with the results. In fact, I shared the ALPHA version of the video (without the logo) with the owner and they loved it. Hopefully, having the logo in there they will now love it even more (if that’s possible).
Citation(s)
Schroeppel, T. (n.d.). After the Shoot – Editing. In The Bare Bones Camera Course for Film and Video. essay, All Worth Press.
Light, speed, sharp, or dull. Why do I mention this? It’s simple. In The Bare Bones Camera Course for Film and Video, Schorpell kicks things off by covering camera basics—aperture, shutter speed, and ISO. These are the fundamentals that control how much light hits your camera sensor, how sharp movement appears, and how to adjust focus to make backgrounds look softer or sharper. Once you get the hang of these settings, you’re set to start telling visual stories more intentionally.
Okay, so you figure out the basics of camera operation. What then? How do I take my picture to the next level? Well, this ones a little tricky. However, composition is the key. Schorpell addresses composition, by discussing several types. He talks about the rule of thirds, like picturing a grid over your viewfinder and placing your subject on one of those intersecting lines to make things look balanced and eye-catching. And he gets into tricks like using leading lines, use a road or railing that pulls the viewer’s eye toward the subject—little details that add a ton of depth to your shots. He also covers camera movement, explaining how things like a slow pan or tilt can add emotion, while a tracking shot can create energy or tension. And when he talks about montages, he shows how you can piece together short clips or stills to tell a story without dialogue. It’s like crafting a visual narrative with just the basics—no fancy gear required—just a smart use of what you have to make each shot count.
Storyboarding, Camera Shots, and Preproduction Checks
Storyboarding: Laying the Foundation
Think of storyboarding as laying the tracks before the train comes barreling through. Creately’s guide explains how storyboarding sets up each scene, making sure everyone knows what’s coming. Imagine planning a product promo: your storyboard would map out shots like close-ups of the product, wide shots for context, and any text overlays. With a clear visual guide, your team can make creative tweaks before filming—way easier (and cheaper) than during! Whether it’s a new product launch or a quirky explainer, having a storyboard gives everyone a clear direction and saves loads of time on set.
Camera Shots: Setting the Scene
NYFA’s rundown on camera shots shows how different angles totally change the vibe. Take the classic “close-up”: perfect for that intense, emotional moment—think actor zoomed in, every micro-expression visible. Now compare that with a wide shot, where your subject’s tiny in a big landscape—it screams isolation or vastness. So, if you’re shooting a dramatic testimonial, close-ups get you those heartfelt reactions, while wide shots work wonders for setting up context or mood. Knowing these shot types keeps your visuals engaging and gives your story the punch it deserves.
Pre-Production Planning: The Real MVP
One Market Media’s checklist covers everything that happens before the cameras roll—this is the stuff that makes or breaks a project. For example, setting a clear goal helps define the tone and target. Are you aiming to educate or entertain? Knowing this upfront shapes the whole video. And don’t skip the budget talk—knowing your limits keeps ideas realistic. Picture filming in a busy downtown; securing permits and scheduling talent right means less chaos on shoot day. All these little details make sure you’re not just “winging it” and that every dollar and minute is working toward a smooth, on-point production.
RESEARCH TO INFORM
Ant-Man and the Wasp: Quantamania – Scott’s Opening
The scene immediately following the movie opening introduces our hero Scott (aka Ant-Man). I chose this clip because the scene is an extreme close up (XCU) of what appears to be a city landscape. We also hear, for those of us old enough to remember, the theme song from Welcome Back Kotter and old 1970’s TV comedy starring a young John Travolta. I digress, anyway, the camera pans left to reveal it’s a sign setting the location San Francisco. We hear the sound of a bus and then it turns to the next shot. This is a wide shot (WS) of Scott walking toward the camera in the bustling neighborhood where we infer Scott lives.
Monty Python and The Holy Grail – The Killer Bunny scene
Besides being a cult classic and my favorite movie, I chose this scene because of the many different camera movements and compositions used. The opening of the scene is a close up (CU) of a skull in the lower right of the screen and a hill in the background showing the knights coming into the scene. The perspective is done from a lower angle to give the audience a perception that the knights are of a higher power or greater calling. However, the music indicates a sense of danger. At 1:41 when the knight not mentioned here in this film goes to take care of the rabbit, we get a wide shot (WS) of the area showing the carnage of bones laying about and just then the bunny attacks killing the knight! The parody on the King Author tale by Monty Python is whimsical and lighthearted.
Saving Private Ryan – D-Day Landing Omaha Beach
Saving Private Ryan was scene by those who survived that fateful day as the most realistic and accurate depiction of what they went through. I chose it because throughout the movie we see D-Day and the events that follow through the eyes of the camera man. A lot of the shots are like a first-person point of view. Immediately we have a close up (CU) shot looking up of a barricade on the beach and then it pans down to a close up of the ocean rushing past the barricade and revealing to the audience the date June 6, 1944. We then go to medium shot (MS) side view of the landing crafts with the camera shaking on purpose as if the camera man is with them. The shots then switch between extreme close ups (XCU) of hands shaking and holding a canteen of water. At 0:41 we see another CU of Tom Hanks character and then the camera pulls back to reveal the rest of the men on the craft with him. As the camera continues to pull back men are seen vomiting (0:54) due to the rough seas. This is all before they land on the beach. Just before landing we get even more CU of the men as they are being shelled from the enemy, showing the wincing and scared looks on some of their faces. Finally as they’re ready to land (1:52) we get a CU of hands turning the opening mechanism to lower the landing craft’s ramp. This is all in only the first two minutes of the film’s opening! Powerful!
CREATE
Pre-production is essential to help any film maker and keep them on track. Establishing your shot list, creating and working from a storyboard, and writing the script are all important to a good produced piece. Overall most of the process wasn’t too bad. I create storyboards and write scripts for my current position as a Learning Creation Developer. That was the easier part of the process. However, the composition shot list and shooting on location proved difficult for me. This was my first time taking photographs for a piece. Sure I’ve snapped photos on vacation or out and about, but having never done this before I was like the Titanic lost at sea and sinking. Luckily, my daughter, who’s a senior in high school, is taking a Digital Photography class and she was with me on the photo shoot. While her class is using slightly different terms, they are focused on composition, so this was like having a tutor with me. I had her with me for two reasons. One to keep me sane but two because she’s a manager at the ranch where I plan to shoot the montage video.
You see I’ve decided to do a one to two minute promo montage the ranch can put on their website and Instagram pages. Anyway, I was constrained with time. I had to take time off work during the day so I could get these shots. Plus I was limited on the days I could go. Weekends were out because they are extremely busy and I’d be in the way if I tried. During our shoot the horse at the creek shot took the longest because I needed to walk over a mile into the park as my daughter rode her horse. This ate up one and a half hours of the three hours of daylight we had to complete the photo session. This was stressful. However, I got what shots I could.
The thing I learned from this was about timing and perhaps what additional shots I would like to include in my montage. For instance, I have access to a drone and will get drone footage for part of the video. Just a few shots to provide a different perspective. The other thing I learned was that I will need to shoot the video over two or three days since I don’t have much daylight at the time I go. Because of this, I will need to be particular about what shots I plan to take on what day. Additionally, I plan to bring a second tripod and shoot additional footage (at a different angle) on my iPhone 16 Pro. While I know the composition shots were a challenge for me, I’ll walk away taking photographs differently and with more intent now. I plan to take a digital photography class so I can continue to hone the skill I lack.
Now that you’ve seen the composition shots, look below at the pre-production planning document below. This document takes the shots above and adds more depth and substance to the overall video shoot.
In this blog, Filippo Gaetani, discusses how to get professional, studio-quality sound for your vocals, even if you’re recording in your bedroom or garage. It’s like a guide to making your voice sound cleaner and clearer with just a few smart techniques—no need to spend a ton on fancy equipment. The blog goes into things like choosing the right spot in your room, setting up the microphone properly, and making sure background noise isn’t sneaking into your recording.
One tip is to put up a blanket or even pillows around your mic setup to absorb sound reflections. This prevents your voice from bouncing around the room and sounding echoey, which can make a recording sound less polished.
Another tip is to do several takes. This approach allows your vocals to warm up and also ensures you’re more comfortable delivering the content, whether it be narration or a song.
Yet another tip is to also be careful when editing your vocal track(s). Overediting can lead to unnatural sounding vocals and even weirder pitch issues which remove the “personality” of the content.
This blog discusses blending audio and video so they match up nicely—because even the best visuals can feel amateurish if the sound is off. They begin by discussing A- and B-roll similar to video. In this instance, A-roll is the narration or dialogue of your scene and B-roll is the supporting sounds like a stream trickling, or the song of the humming bird or buzzing bees, maybe its even traffic. Either way, just as you would in video, record a lot of B-roll audio. The article further breaks down the basics of syncing audio to video, getting rid of background noise, and balancing music with dialogue so nothing feels jarring or out of place. Essentially, they’re giving tips for editing sound so it enhances the visuals instead of distracting from them.
One helpful suggestion is using ducking, where background music volume is automatically lowered when someone is speaking or a sound effect (Sfx) is used. This way, the dialogue or Sfx isn’t drowned out by the music, which is especially useful if you’re editing an interview, dialogue scene or have an Sfx that enhances that moment of the story.
Another tip is to overlap the end of one track and the beginning of the next with subtle fade outs and fade ins. This will allow the track to transition smoothly and avoid jarring audio from one track to the next.
Another really important tip is once you think your done editing. Okay, you’ve completed your audio edits, now move onto the video edits, right? Wrong. Instead, take the time to close your eyes and listen through the entire video (end-to-end). This affords you the opportunity to listen for glitches, odd transitions, volume inconsistencies, etc.
The final tip mentioned is something used in Hollywood a lot. That is to export your entire audio file, apply some light compression and limit the equalization. According to the article, this will flatten the audio and add a professional sheen. Once that’s done, import the single audio file back into the video editor just below the original (editable) audio, mute the original, and BAM!, you have professional level audio.
Both blogs are packed with easy-to-follow advice, that will help even the most novice film and audio person!
RESEARCH TO INFORM
Sounds in Gaming
When I think of audio being used to elevate a story or move the imagery forward, I can only think of Blizzard Entertainment’s Diablo series. Each volume in the series is more intense, more real, and quite frankly draws you in. For instance, this latest installment in the series is Diablo IV Vessel of Hatred. As you can see in the opening clip, we hear the water before we even see the person in the vessel, then we here the sound of flies and eerie sound of the jungle environment. Then at about 10 seconds in, we hear a single voice singing a familiar song Behind Blue Eyes from the Who. Anyway, as the trailer continues, the singer is accompanied by music, sound effects from evil are heard and seen as it begins to take hold on the neighboring lands as the vessel passes. Throughout the trailer, we hear and see various sound effects but all the music and sound effects don’t distract but add to the imagery of the trailer.
Sounds in Movies – Guardians of the Galaxy
Known for its lively soundtrack, this film uses dynamic ducking to balance music with dialogue seamlessly. In scenes where characters interact amid blaring ‘70s and ‘80s hits, the music is subtly pulled back to let conversations shine. For action-packed sequences, vocal clarity is maintained even as explosions and sound effects fill the scene, making it a prime example of smart audio layering.
Sound in Movies – Skyfall
In this Bond film, audio techniques are masterfully used to build suspense and showcase intense action. Scenes like the shootout in the Scottish Highlands use ducking to highlight dialogue and gunfire without either overpowering the other. EQ and noise control add a layer of crispness that ensures every sound is intentional and immersive.
CREATE
If you’ve been following along, last week I mentioned about producing a podcast on special effects (Sfx) masks. Below is the finished debut episode of the Forge & Foundry Chronicles: Episode 1 – Unmasking Specials Effects Creations. Go ahead, give a listen. This production used many tools and resources like Envato Elements for background music and Sfx, Audition for editing and producing, and a Rode Wireless Pro Lavalier mic for recording. My original Rode NT USB+ while it worked was located in a basement with mixed space (cinder block and plaster walls, concrete floor, and an open space).
