Video Storytelling. A Guide for stills photographers

Assuming you are familiar with still cameras and lenses, this is where shooting video with these same devices is now not only possible but the quality is often better. Inexpensive video cameras cannot shoot at the equal quality of mid-prices still cameras. Here are my thoughts on getting your hands on the right set of equipment for storytelling on video - but mostly using still cameras to do it.

The choice of audio recording equipment is as important as the cameras.

Professional filmmaker will tell you to always record on a seperate recorder and they are not wrong. But in practical terms, recording both picture and audio using the same device is necessary if shooting without a dedicated sound recordist. And here is why.

I've also included some advice on cameras that are good for recording audio, and important criteria that must be met if this is to be done well.

How lenses are used when shooting video can be one of the biggest challenges for still photographers to appreciate.

Microphone types and uses, and tips on how they can deliver the best possible quality for both the sound recordist and the in-camera, small crew shoot.

As a stills photographer, your tripod will be useful, but suitable only for locked-off, static shots. It will fall short the moment you pan or tilt. It will also be slow to set up because getting the head base horizontal in both in the X & Y axis is required for the horizon to remain level during a pan. This means you will either take a long time getting it level, or use a bowl to get it done quickly.

180° rule:

Ideally, set your shutter speed at double the frame rate. E.g. 25fps output will have the best motion blur if the shutter speed is double that, at 50th/sec. 30fps output will have the best motion blur if the shutter speed is 60th/sec.

With slow motion, the same applies. E.g. If the output frame rate is 25fps, but the shooting frame rate is double that (50fps) for half-speed slo-motion, then 100th/sec shutter speed is the sweet spot.

Film frame-rates: 23.97 fps, 24 fps, 48 fps in all countries.

Standard video frame rates differ around the world and will match the country's standard AC current frequency, as follows:

PAL countries (e.g UK, Australia, Africa, most of Europe AC supply is 50Hz) the video/TV frame rates are: 25fps, 50fps.

NTSC countries (e.g.US, AC supply is 60 Hz) the video/TV frame rates are: 30 fps, 60 fps.

Make every effort to match the camera's recording frame-rate to the output frame-rate. While software can change it from one to another, there are losses and sometimes the footage can have a staggered, frame-skipping look which is almost impossible to correct.

Lenses made for still photography often suffer from focus breathing. This is the tendency for a lens's focal length to change when the focus distance changes. This means that during focus-pulls, the lens appears to zoom in or out. This can be ugly if severe. I demonstrate this phenomenon in this video.

I show you my studio and how I set up a basic lighting set-up that's simple and looks good.

The setting of white balance is more important to get it right with video than with RAW stills. There are far more colour grading limitations with video that's compressed. So this is important.

Moving the camera. The single most common mistake made by still photographers is moving the camera too much.

• WHY are you moving the camera. It is motivated?

• WHEN to not more the camera. Does it need to move in engage the audience?

• HOW moving a camera can help a story or message, and how it can detract from the same.

My rule of capturing content while filming video that will ensure you have useful and varied footage when in the edit. I call this the 10-second shooting rule.

The best time to move the camera is when it helps the story to be told. Because when a camera moves without this purpose, there is a high likelihood that it will do the opposite, detract from the story and therefore would be far better is the camera was left on a locked-off, static shot, with action naturally occurring in the frame.

How lenses and focal lengths affect the sense of speed and motion is discussed here.

Tracking a camera, moving with a subject, or across subjects can only be done with a professional look with the aid of stabilisation. Some cameras and lenses are fitted with optical stabilisation systems that help keep things smooth. But often, they are not sufficient. Enter the gimbal, a system where the camera and lens is mounted on a self-levelling device. Sound's easy, right? Not so fast. I explain here the costs involved in terms of set up times and some of the unspoken challenges in getting a gimbal to work well.

One is always tempted to move the drone when shooting from one - because its so easy. But it can also be overused. And often it is. The wrong motivation for a move can suggest something that is contrary to the story.

This lecture is also shared in the Beafilmmaker.com Video Storytelling course.

Crossing the line unintentionally can produce confusion with an audience. It's one of the few rules Ive shared with you here, that cannot be broken without potentially disastrous consequences

The location of a microphone respective to the thing/person being recorded, will affect its performance. Here are some guidelines.

(This video is duplicated in the Video for Beginners' course.)

Creating a sound stage instead of just voice and music turns a video from ordinary to rich and engaging. So the value in the edit of sound effects recorded while filming cannot be over emphasised.

Meeting eye to eye is the key to seeing inside a person's soul. And the same goes for any creature one is filming.

Non-linear editing requires basic information regarding how computers, media disc drives and the editing interfacw works. This video explains this in the simplest terms to get you going. This is not an editing course per se, because the subject of editing is one the most important elements of making compelling videos.

Storytelling is an art that consists of two distinct elements, shooting and editing. The most common mistake of beginner filmmakers is to regard them as two separate processes. While filming, one needs to edit in one's head to make sure that when the edit begins, the right footage and sound effects are, 'in the can'.

This is an example of a video currently featured in my Storytelling course. In this editing example, I'm, sharing an approach to editing an opening sequence. My editing and storytelling courses are designed with this in mind.

The choice of music in videos can make or break a video. Its really important so ive added it here, although its also included in my Video for Beginners' Course)

YouTuber channels I recommend:

Philip Bloom: https://www.youtube.com/c/philipbloom

GeraldUndone: https://www.youtube.com/c/geraldundone

Tony & Chelsea Northup: https://www.youtube.com/c/TonyNorthrup