HELP!

But it’s not really.

Video conversion is fairly easy if you have the right software.  This post will tell you about two different software packages that you can download for free over the internet.

WHAT IS VIDEO CONVERSION SOFTWARE?

There are thousands of different video file formats.  Incompatible files are indeed a royal pain in the wazoo.  It’s the reason why that Flash video won’t play on your iPad.  It’s also the reason that video disc burned by your friend won’t play on your DVD player.

Just like an 8-track audio tape won’t play in an audio cassette player, a .wmv video file won’t play on the DVD player designed for MPEG2 video files.

But lucky us, video conversion software will chew on that video file and pop out a brand new file in the format of your choice!

Although there are plenty of paid choices with video conversion software, there are also some good free ones and they might be all you need.

FREE!!!

One freebie that I use all the time is MPEG Streamclip by Squared 5.  It comes in versions for both Windows and Mac.  It functions with all formats that are Quick Time compatible.

By using any Quick-Time compatible codec, MPEG Streamclip can convert from:

• MOV, DV, MP4, AVI, DIVX, MPG, MPEG, VOB, PS, MOD, M2P, VRO, TS, DAT, M2T, MMV, REC, VID, AVR, M2V

to

• MOV, DV, MP4, AVI, DIVX

For full compatibility with MPEG2, (the format used in home DVD players and the main format of commercial DVDs) Mac users need to buy an MPEG playback component from Apple  and PC users need to install the Quick-Time Alternative.

SQUARED 5 is a small group out of Italy who are generous enough to keep MPEG Streamclip as a freebie!  I use it all the time.

OPEN SOURCE CONVERSION SOFTWARE

Another, even more versatile choice is HandBrake.  HandBrake is an open-source, GPL-licensed (General Public License), multi-platform, multi-threaded video transcoder, available for MacOS X, Linux and Windows.

Supported Sources for HandBrake:

• Most common multimedia files that libavformat and libavcodec support.  This is a huge list of formats.
• Any DVD or Bluray-like source which is NOT copy-protected. (removal of copy protection is not supported)

Outputs in HandBrake:

• File format: MP4(M4V) and MKV
• Video: MPEG-4(ffmpeg), H.264(x264), or Theora(libtheora)
• Audio: AAC, CoreAudio AAC (OS X Only), MP3, or Vorbis. AC-3 pass-through, DTS pass-thorugh (MKV only)

Between these two free choices, you can probably do just about all the video file converting  you’d ever need to!

Thanks for reading Video Production Tips!

Lorraine Grula

The Sony EMC-44B  is so common in certain circles of the professional video production world that you might get the impression that  it’s the only mic of its kind but of course it isn’t.  It’s popular because it does a fantastic job yet doesn’t break the bank. This is a lavalier microphone, which means it is a small mic that is clipped onto someone’s collar.  Lavalier mics are good for video making because they essentially disappear in your shot.

Phantom Power does not involve ghosts! 

One reason why the Sony ECM-44B is inexpensive is because it relies on one AA battery for power.  Keeping it battery powered and not turning it into a *phantom powered mic helps keep the cost down.  Using a AA is certainly not difficult or limiting in any way.   One AA will last a very long time inside ther ECM-44B so you do not have to worry about a huge battery budget.

*(A phantom powered mic is one that draws it’s power from the camera it is plugged into.)

The SONY EMC-44B mic is very durable and provides clean sound; I’ve used them for years.  Never had one break on me.  If your battery power is weak, your audio signal will be too so it is important to always have head phones so you can listen to your sound as it is being recorded. In my experience, with regular use, the AA needs to be changed about once a month.

This shows the duel XLR inuts on a camera.

The EMC44b mic has an XLR connection so using it requires either a camera with an XLR connection or an XLR to Stereo Plug adapter.  Please keep in mind that not all video cameras have inputs for microphones and the smaller ones that do have a stereo plug, not an XLR. If that is your situation, you can use an adapter cable that can be purchased at a store like Radio Shack or B&H Photo Supply.

An adapter cable like this can help you use an XLR microphone with a camera that just has a stero plug.

Here is a table with the Sony EMC-44B lavalier microphone specs.

Transducer	Electret Condenser
Polar Pattern	Omnidirectional
Frequency Response	40Hz – 15kHz
Dynamic Range (Typical)	90dB
Signal-to-Noise Ratio	62dB, (@ 1kHz)
Maximum Input Sound Level	122dB, (@ 1kHz, 1% THD)
Power Requirements	‘AA’ Battery (1.5v DC)battery power only, does not accept phantom power
Output Impedance	250 Ohms, (+/-20% (1kHz) Balanced)
Output Connectors	XLR-3M Type
Pad	None
Low Frequency Roll-Off	None
Applications	Radio, Television and Broadcast.
Dimensions	Microphone: 0.6 x 0.34″ (14.5 x 8.5mm) LxDiameter Power Supply: 5 x 0.82″ (126.5 x 20mm) LxW Cable: 10′ x 0.09″ (3m x 2.3mm) LxW
Weight	Microphone: 0.07 oz. (2.0 g) Power supply: 4.2 oz. (119 g)

The Sony HVR-HD1000U is an HDV camcorder specifically designed for videographers looking for an affordable shoulder-mounted camera. Ideal for event work and wedding videography, the camera is equipped with a ClearVid CMOS sensor, capable of recording 1080i high definition footage on a standard MiniDV tape. Additionally, the HVR-HD1000U comes fitted with a 10x Carl Zeiss Vario-Sonnar lens with Super SteadyShot^TM image stabilization, ensuring operators get the perfect shot every time. These features make the HVR-HD1000U a welcome addition to the already proven line of Sony professional HDV products.

Professional Shoulder-Mounted Design

To meet the widening demand of event videography such as weddings and concerts, the HVR-HD1000U comes in a shoulder-mounted design, without carrying the large price tag of traditional ENG cameras. The utilitarian benefit of this style camcorder is met equally by its professional appearance on the job.

Super SteadyShot Image Stabilization

The HVR-HD1000U comes fitted with a highly sophisticated optical stabilization system, making sure users get glass smooth shots even in less-than-ideal situations.

High Definition on MiniDV Tapes with HDV

The HDV format, used in the HVR-HD1000U allows high definition recording on standard MiniDV tapes. This is accomplished by using the very popular MPEG-2 compression technique used in many applications, including DVDs and satellite television.

ClearVID CMOS Technology

Sony’s ClearVID sensor is positioned at a 45° angle. Since each pixel is positioned at this angle the result is far clearer diagonal lines. Images will appear crisper, without the apparent “jaggies” that often plague video signals.

Signal System	HDV: 1080/60i DV: 480/60i (NTSC)
Image Device	1/2.9″ CMOS ClearVid Sensor
Lens	Carl Zeiss Vario-Sonnar T* Zoom Lens, 10x (Optical), 37mm Filter Diameter
Signal-to-Noise Ratio	Not Specified By Manufacturer
Horizontal Resolution	1080 Lines
Sensitivity	11 lux
Minimum Illumination	4 Lux f1.6 at 18 dB
Vertical Smear	Not Specified By Manufacturer
Built-in Filters	Not Specified By Manufacturer
LCD Monitor	Clear Photo LCD Plus, 2.7″, 16:9 Aspect Ratio
Viewfinder	132,000 Pixels, 16:9 Aspect Ratio
Scan Matching	Yes
Memory Card Slot	Memory Stick Duo (for Photo Capture)
Shutter Speed Range	1/2-1/10000
Gain Selection	No

VTR
Tape Format	HDV Record and Play DV Record and Play
Tape Speed	HDV: 18.8 mm/s DV SP Mode: 18.8 mm/s
Signal-to-Noise Ratio	Not Specified By Manufacturer
Maximum Recording Time	HDV: 63 min (with PHDVM-63DM Cassette) DV: 63 min (with PHDVM-63DM Cassette)

Audio
Audio Dynamic Range	Not Specified By Manufacturer
Audio Signal Format	HDV MPEG1 Audio Layer II DV 16-bit/48kHz 2 Channel Mode 12-bit/32kHz 4 Channel Mode
Audio Frequency Response	20Hz to 20kHz
Signal to Noise Ratio	Not Specified By Manufacturer

General
Input and Output Connectors	Component Video: RCAx3 (x1 Output) Composite Video: RCAx1 (x1 Output) S-Video: 4-Pin mini-DIN (x1 Output) HDMI (x1) HDV/DV Input/Output: i.LINK interface (IEEE 1394, 4-Pin Connector) Audio L/R Output: RCAx2 Audio Input: Stereo Mini-Jack Headphone: Stereo Mini-Jack LANC: Stereo Mini-Jack USB: Type-B Connector
Power Requirements	AC Adapter: 8.4 VDC Battery: 7.2 VDC
Power Consumption	HDV: 4.6W DV: 4.4W
Operating Temperature	32-104°F (0-40°C)
Dimensions (WxHxD)	12.9 x 13.1 x 19.7″ (32.8 x 33.3 x 50 cm)
Weight	6 lb (2.7 kg)

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http://www.bhphotovideo.com/c/product/589903-REG/Canon_1191B001_XH_A1_3CCD_HDV_Camcorder.html/BI/3242/KBID4250

Utilizing the highly efficient HDV compression format allows over an hour of high definition recording on a single miniDV tape! Featuring a 20x fluorite fixed lens, its superior optics gives professional level shooters ultimate image fidelity unmatched by the competition. Also included is the Instant AF auto-focus system, incorporating technology that helps reduce auto focus reaction time while increasing overall accuracy.

Updated Features

The XH-A1s improves upon on an already stellar camera. Some improvements include simultaneous use of XLR and built-in microphone, audio volume lock, a 6-Pin FireWire I/O, the ability to share scene files between XL-H1 series and XL-G1 series camcorders, an audio limiter, and more!

HD at Your Fingertips

The XH-A1 camcorder has three 1/3″ 16:9 interlaced CCDs that capture images at 1080i resolution. The camcorder features selectable frame rates of 60i, 30 Frame and 24 Frame to allow the user to adjust to the assignment at hand and can switch back to SD resolution if needed. At the 30 Frame rate, broadcasters can capture fast motion like sports with confidence that each frame is captured individually and completely. Filmmakers can utilize the 24 Frame rate when creating the look and feel of movie film. The 60i frame rate, meanwhile, delivers exceptional resolution for shooting environments like ENG or Reality TV.

High Quality Images

The XH-A1 HD camcorder includes Canon’s proprietary DIGIC DV II image processor. DIGIC DV II is an image processor that can process both HD and SD video signals as well as still photos. The highly effective chip ensures clean, noise-free footage with unmatched color fidelity.

Flip-Out LCD

The camera features a flip-out LCD capable of being viewed from both sides of the camera, a feature often overlooked on competitive cameras. The LCD provides ample resolution for more capable focus assistance. The display tucks cleanly under the handle when not in use, resulting in unfettered side controls.

Instant AF

Instant AF is an auto-focus assistant that dramatically increases both speed and accuracy when paired with HD technology. High Definition requires far more precision to get perfect focus than its standard definition counterpart. The increase in fidelity means the camera itself must work harder to find complete focus. If the auto-focus still doesn’t satisfy, Canon has included independent rings for not only focus and zoom, but iris as well; a feature usually only afforded to high-end ENG systems.

Customizable

The XH-A1 can be customized in a variety of different ways. The image itself can be tweaked to get an endless array of different styles. Additionally, all of these functions can be saved via a Secure Digital (SD) card, for future retrieval. This feature can also be used to transfer camera settings from one camera to another, which can save time during projects with multiple cameras.

Optical Stabilization Feature

Canon calls its image stabilizer Super-Range Optical Image Stabilization and it helps defeat camera shake from hand held shooting and even shake produced from a moving vehicle. Because it is an optical function, it can compensate for a greater degree of camera shake and avoids any loss in image quality unlike electronic or digital stabilizing methods.

Hard Disk Monitoring

When recording to a compatible DTE drive, the camera will display inside the EVF how much space is remaining.

Canon XH-A1s Specifications:

System Signal:

NTSC*
MiniDV
HDV: 1080i/60i, 1080i/30f, 1080i/24f

*Optional PAL/NTSC 50i/60i upgrade available via Canon’s Factory Service Center. 

Image sensor:

3 1/3″ Native 16:9 CCDs at 1440 x 1080 (Interlaced)

 

Lens:

4.5-90mm (32.5-650mm; 35mm photo equivalent)
72mm Front Lens Filter Thread

Inputs and Outputs:

Audio: XLR (x2 Input)
BNC Video
Component Video
Composite Video
FireWire 6-Pin
Microphone: 3.5mm
Headphones: 3.5mm
LANC Terminal

memory card slot:

Secure Digital High Capacity (SDHC)
Secure Digital (SD)
MultiMedia Card (MMC)

shutter speed variables:

60i/30f
1/4, 1/8, 1/15, 1/30, 1/60, 1/100, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000, 1/15000, CS (Clear Scan)24f
1/3, 1/6, 1/12, 1/24, 1/48, 1/60, 1/100, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000, 1/15000, CS (Clear Scan)

Gain selection:

^-3, ±0, 3, 6, 12, 18, 36dB (36dB, Camera Only)

Built in filters:  Two neutral density filters.  ND: 1/6, 1/32

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VIDEO TUTORIAL ON EDITING AT THE BOTTOM OF THIS POST.

From strictly a video production standpoint, this was a fairly easy one to make.  It’s made from still photos plus one royalty free video clip I got from Footage Firm. There is a continuous voice track I recorded myself at home with royalty free music under.  (Mozart for strings)  If I were talking strictly about “styles” of video this would mostly fall under the category of “slide show video.”

But IMHO, this is not just ANY ole slide show video! It has many attributes which make it enticing to watch.   Specifically that  would be fantastic visuals artfully put together with an emotionally laden voice track and powerful mood music.

Visual storytelling relies on each separate component of the video blending together into a cohesive whole.  Viewers should be enraptured by the blend, not even giving thought to the individual components or production methods.   As video producers on the other hand, it’s our job to create, gather and blend the individual elements so it takes much thought indeed.  As you go from being a viewer of video to a maker of video you will become more observant of the individual pieces and procedures it takes to obtain them.

Cute baby pictures are always well loved.

AWWWWWW, THE UNIVERSAL REACTION TO A SWEET BABY FACE

Video  is a visual medium.  Stripped down to it’s core, a video story can relay on visuals only, no sound, no effects. That’s how movie production evolved, with silent film as the first tool.    So obviously visuals always play the prominent role, even when you add all the other elements.

There’s an old cliche in show biz that you never want to follow children or animalss because babies and puppies pack a positive emotional automatically.  They do not have to do anything other than exist.  This video is packed with incredible baby pictures, up-close and personal sweet faces everyone will love.

Credit goes to Josh Bennett, a former high school video production student of mine.  We’ve kept in touch via Facebook so I’ve been able to see his growing professional portfolio.  Josh was always an amazing talent and if you doubt me, look at his work!  If you’re looking for a professional photographer in the Nashville, TN area, you can not do better than Josh Bennett.

Baby Photo By Josh Bennett, a former high school video production student of mine. He's now working as a professional video maker and still photographer in the Nashville, TN area. Hooray Josh!

Once I’d obtain permission from Josh to use his pictures, I imported the JPEGS into my video editing program, Final Cut Express, and manually cropped, matted and keyed them over a background of a rose close-up.  If you watch the screen capture video down at the bottom of this post, you can see me dissect the editing time line for this video to show exactly what and how I played with each shot to achieve the final effects.

Now probably if I’d been smart, I would have used the automated editing service Animoto to put my slide show video together.  Animoto is fast easy and incredibly affordable.  But I did it manually, which is slow and tedious!  The advantage to doing it this way is you have precise control over every tiny detail.  Since I look upon this sort of work as artistry, I enjoy it and am willing to spend the time.  Trust me, I was a real perfectionist on this one.  I fiddled and tweaked and altered until I had it as perfect as I could get it.  I do not always allow myself that much time, because it gets expensive but editing is a process and sometimes should not be rushed.   The final video is much better for my efforts.  It’s a bit like the difference between slow-cooked ribs and the plastic-tasting McRib you get cheap.

For more details on how I edited this video, watch this screen capture video where I analyze the time line within Final Cut.  I show how I matted and used keyframe animation on each shot.

In the days ahead, look for follow-up posts.  I’ve invited Josh Bennet to guest post plus they’ll be more from me about the scriptwriting aspect of this video.

A reader asked me the other day how to prep for an interview so I promised her a blog post on it. Here goes!

TIPS FOR INTERVIEWING PEOPLE ON VIDEO

First, and this sounds so dang obvious I almost hate to say it:  Know who you are interviewing.   I always found it best to already know the answer to every question I asked!  That’s not always possible of course, but that’s best.

Research who they are and why you are interviewing them.  It’s deadly to be caught in the middle of an interview without knowing this stuff!  The person whom you are interviewing will not be happy, I promise.

If they have written a book, read it.  Or at least read the Amazon reviews of it!

Watch other interviews they have done if that’s possible. Read their bio and any other pertinent info you can find on both the person and the subject matter.  If the person has a PR rep, they will hand you a bio packet.

Now, depending on the interview, one of those two things will be the most important:

• The person themselves
• The subject matter

In other words, are you interviewing Brad Pitt or a local doctor about colon cancer?  Spend most of your research time on the more important of the two.

Some interviewers purposely don’t research much because they say they want to truly be surprised, just like the audience will, at whatever the person says.

To a point, I can agree with that.  It’s always nice to find out something exciting and react spontaneously , but generally speaking, your interviews are going to be lackluster if you don’t research first.   You have to know where you are going with it all.  If you do not know this person’s story ahead of time, you might miss the best part or be led astray on a tangent.

DO A PRE-INTERVIEW

Talk to them on the phone or in-person before the scheduled interview.   Be informal and friendly but inquisitive.  This not only helps you get a feel for the person, but it will help them feel more comfortable.   Their comfort level is CRITICAL.

Having been a part of probably at least 20,000 video interviews, I’d say the comfort level of the interviewee is one of the most important ingredients.  Most people being interviewed want to know the questions ahead of time.  They want to be prepared and are scared of being caught off guard.

It’s your job to quell that fear.

If you speak with them on the phone first and conduct a mini interview when there are no cameras and lights glaring in their face, it will go a long way toward making them feel comfortable during the real deal.  In other words, this is like a rehearsal with absolutely no pressure.  In a sense, they are practicing for the interview and we all know the more practice the better.

Plus, the more they get to know you, the more comfortable they will feel with you.  If they feel you are out to get them or take advantage of them in any way, they’ll clam up.   The more friendly you can be and let them know that this interview will benefit them, the more comfortable, and talkative, they will be.

In many situations, you can assure your interviewee if something goes wrong, that part will be cut out.  Let them know you are on their side and you want them to look good.  You are there to protect them.   That’ll help their comfort level!

Of course you can not always do that.  A live interview is a live interview, bloopers and all.

I mostly worked in news where a cozy relationship isn’t really allowed.  You are not allowed to share questions with your interviewee ahead of time.  A phone chat ahead of time helped make up for that.  I’d tell them that I was just going to ask the same kind of questions I’d asked them on the phone.

If you can give them a list of questions ahead of time, do it.  Even if you stray during the actual interview, I promise your interviewee will appreciate knowing the questions ahead of time.

COMING UP WITH QUESTIONS

So what are you going to ask them?

For guidelines, always refer back to the basic tenants of journalism:

• Who?
• What?
• When?
• Where?
• Why?
• How?

Any question is going to be derived from one of those foundational questions.  Not all six of them are important in every situation, so pick the ones that are.  Then, these basic questions lead to all other questions.

As you’ve probably heard before, interview questions should be open ended.  In other words, you can not ask “yes” and “no” questions because the interview will be a snoozer.

You need to frame your questions to elicit a good, chatty response.  There’s nothing wrong with asking real simple questions such as, “Tell me all about it.” That’s as open ended as you can get!

Another trick to help you come up with questions is to think backwards.  What kind of responses you want?  What do you want the person to say?  Ask them whatever it takes to get them to say that.

THINK OF IT AS A CONVERSATION

I believe that for most situations, a good interview is very conversational in tone.  Granted, it’s largely a one-sided conversation, but a conversation  nonetheless. What I mean by that is to a certain extent, you need to go with the flow.

Some questions will arise during the interview because you are listening intently and responding directly to what they say.  Follow-up questions are going to happen spontaneously if you’re doing a good job.  That’s one reason why a prepared list of questions is never to be looked at as gospel.  It’s very irritating for a listener to have to suffer through the interviewer dropping the ball and letting a good point die because they want to rigidly follow their list of prepared questions!

A prepared list of questions should be thought of as guidelines, not a carved-in-stone mandate.

Think of your interview with this person as an inquisitive conversation where you let them do 90% of the talking.

NO PREP TIME, NO WORRIES!

What if you have no prep time?  No time to research this person.  No time to get a clue about what’s  happening.  As a TV news person, I found myself in that situation a lot.

Not to worry.

Start with something really broad.  “What’s up?” might even do if you are not in a formal situation.  If so, try something more like, “Tell me about your research.” Then listen to their answer and pepper them with questions any inquiring mind would want to know!

Listening intently is highly critical when interviewing people.  Many of your questions come by listening and letting your normal human curiosity take over.

Besides, if you’re not listening to them, how do you expect your audience to?

THINK VISUALLY

Quick!  What kind of work do the people in this picture do?

You can tell right away these folks are scientists because they are holding beakers and wearing white lab coats. They also happen to be my parents so I just happen to have that picture handy so I can make a point.

Since you’re doing a video interview, prep time also includes deciding where you want to shoot the interview.  Try to interview them in a location that is visually representative of who they are. If they are a carpenter, interview them in their shop with tools surrounding them.  You might even think about interviewing them while they are working.  Action interviews like that can really spice up a story.

Of course it can also hinder their ability to respond thoughtfully but most people are remarkably good at doing both.  I even interviewed surgeons during surgery.

Often, I actually think it helps people feel more comfortable during an interview because they are doing something they are familiar with and can better ignore the camera!

Now a little note to whomever took that picture of my folks some thirty years ago.  I love this pic but you could have done better!  An overexposed window behind them, really?  There were all kinds of cool looking gizmos and gadgets in their lab.  How about posing them in front of the electron microscope or the wall stocked full of chemicals in bottles?  THINK VISUALLY!

Everything a viewer can see in the interview shot will say something. To do the best job, make sure everything is relevant and lit well. If you can not get something 100% relevant like a science lab for microbiologists, then go for something general like, the homey look, the “classy” (rich) look, or a basic business envirnment.

I hope this information helps  you prepare for doing video interviews.  Here is a post that gives you instructions on lighting and so forth for shooting a talking head video. Interviews, of course, are the quintessential talking head video!

Thanks for reading Video Production Tips.

Lorraine Grula

Internet Video Gal

For video production, Location, Location! Location! translates into:

Where do you set up the camera?

Often, videographers are taping an event of some kind where they do not have much luxury to be mobile since they’re actually part of an audience.  In these situations, you will need to be stationary for the entire event so put some thought into picking a strategic location for getting both the best video image and best audio signal.

If you are taping a school play or anything else happening in a large room, the best location is usually the back of the room on a tripod. If you are in an auditorium with a balcony, get in the balcony. The high angle you get from the balcony is a great shot.  Plus, no one can get in your way and block your shot if you are in the balcony.

Whatever you are taping, find that location that is the equivalent of a seat on the 50-yard line of a football game.  Where can you see everything that’s going on?

Beyond what angel you’re getting of the action, another thing to consider when setting up your camera is where can you pick up the best sound?

Plug your audio into the event’s audio system if possible. You will get the cleanest, crispest sound that way with no audience noise.  Audio boards are often in balconies, which gives two stars for that location!

Plugging into an audio board usually takes an XLR cable plus an adapter to knock the decibel level down from a line level to a mic level.  This is about a 50 dB drop and it takes a small resistor to knock it down.  If you do not have this, the audio will sound distorted as most cameras can not handle a line level audio signal.  The really expensive kinds can.

It’s always a good idea to check the location out ahead of time to make sure you know exactly what it will take to plug into their audio system.  The audio board output might also need a different type of plug such as 1/4 inch stereo plug.

If the balcony or back of the room won’t work, it might be best to set up very close to the stage.  This, of course, depends on your specific location.

It also depends on whether you are taping it to present as an entire play or just to get highlights of a particular actor.  If you are taping a small event, getting close to the action will enable you to pick up decent sound with just an on-camera a shot gun microphone and you do not need to worry about plugging into the audio board.

You might think about setting up near a speaker if they have large loud speakers scattered about the auditorium.  Setting up near a speaker (or setting your mic near the speaker) is second best for getting good sound.  The best way is to plug into their audio board like I mentioned already.

If you do not have a good location for picking up sound, the on-board camera mic audio will be muffled and hard to hear.  People HATE having to strain to hear the audio.  They’ll put up with less-than-stellar video quality but if the sound is lousy, they’ll tune out.

So get close to the actual audio source with your mic or plug into the audio system.

To get good video, use a tripod no matter what kind of camera you use.  Steady video is critical.  Many amateur videographers never seem to get that simple fact! Shaky video that is constantly moving is the sure sign of an amateur.  Plus it will make the audience sea sick!  Really, it will.

Shooting off a tripod is even more important when you are zooming in, which you will no doubt do when videotaping an event.  The longer your lens setting, the more shaky the video looks.   A fully zoomed in shot will be shaky as heck unless you use a tripod.

I hope these tips help you!   For further assistance, please contact me to set up some one-on-one consultation time.

Thanks and good luck with your video project!

Lorraine Grula

Internet Video Gal