How to Present Confidently to Camera | Ashley Dick | Skillshare

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How to Present Confidently to Camera

teacher avatar Ashley Dick, Filmmaker

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (26m)
    • 1. Introduction

    • 2. About The Presenter

    • 3. Camera Etiquette

    • 4. How to Interview

    • 5. Positive Body Language

    • 6. Mastering Tone

    • 7. Presenting with a Script

    • 8. Presenting without a Script

    • 9. Shaking Off Mistakes

    • 10. Recap

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About This Class


Learn how to confidently present to camera. 

For budding content creators or aspiring presenters, this course will take you through all the techniques you need to confidently present on camera. 

Learn from an experienced presenter, who has used these skills on Live TV, to create social content for the BBC and when working on brand content. 

This course covers: 

The etiquette of presenting to the camera, 

How to conduct an interview,

Using open body language

Mastering tone

Working with a script

Working without a script

Shaking off mistakes

Your Class Project will be to create a 3 minute video, presenting to camera using the techniques explored in this video. 

The techniques explored on this course are simple, but effective. Anyone can practice and build this skill. All you need is the drive to give it a go, and practice.

Meet Your Teacher

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Ashley Dick



I'm Ash, a creative who specialises in presenting on screen. 


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1. Introduction: Lights, camera, action. Hi, I'm Ash and I'm here to teach you hate to present on camera whether you're looking to create content or you'd like to build up and become a professional presenter. This course will share all the techniques you need to confidently present on camera. So why are you on this course? Maybe you feel that you can present one-on-one or even to a small group. But as soon as a camera comes near, you're just not sure of what you need to see and where to look. And that's okay. This course covers the etiquette of presenting to the camera head to conduct an interview using open body language, mastering tone, working with a script, working without a script, and shaking off mistakes. Your course project is to create a three minute video in which you present to camera. You can use any and all of the techniques shared in this course. And you can use whatever equipment is available to you, even your foreign. The techniques explored in this course are simple but effective. Anyone can build this skill. All you need is the drive to give it a go and practice. By the end of this course, you'll have the tools you need to competently present to camera. 2. About The Presenter: Lights, camera, action. So who am I to teach you how to present to camera? I've never been camera shy, but I haven't always been good at it. When I was young. I was always making little videos with my friends. And when I was a teenager, I started studying media. One thing you need to get used to when you start studying filmmaking is starting in you and your classmates films. Everybody needs actors and nobody has the money to pay them. And you know that feeling when you watch yourself and a video and you just heat how you looked and how your lack sounded and what you said. I will go through that daily and I just wanted to get rid of the embarrassment and come across professionally and confidently. I channel this energy into learning how to act. I studied and practiced and began to get comfortable seeing myself on screen. And if I made a mistake, I learned from it and tried again. The more I embraced it, the more I found I became someone that other people could rely on to stand in front of the camera effortlessly. And this afforded me some really great opportunities and made a few live TV appearances to promote my creative work. And people were impressed. I didn't em, so I pushed it a little further by acting in my one room in short film which plead and festivals all over the world. No, I present for BBC The Social. I host my own YouTube channel, and they also present and pervade voiceover for branded content. 3. Camera Etiquette: Lights, camera, action. The camera is your new best friend. In this lesson, we're going to cover you and your relationship with the camera. The first thing you need to do is establish whether you're going to be looking at the camera or not. If you're working with a team and someone is at the helm of this piece of media, you need to discuss with them how they want you to be saying. Generally, if you're presenting a product, discussing expedience or in general, speaking directly to the audience, you will be looking at the camera. Don't let that put you off. It may seem daunting. Bought a camera is just some pieces of plastic, metal, glass, and sometimes mattered. And it's only going to capture what it's pointed out. Urine control of her captures you. And if you're confident and 0s, it will always capture you well, if there are multiple cameras, make sure you know which one you're looking at and stick to it. The secondary camera is there for the editor to have something to cut to, to break up long monologues, or to cut something out later. Treat the camera in front of you is if it's an old friend who you speak to all the team, you want to look directly at the camera about 90% of the time. It's a good idea to break up your gaze to take some of the intensity of your address. I like to look upward because it suggests that I'm thinking about what I'm saying. Be careful of looking at the same spot to save the camera because it makes it look like there's something distracting you. Strangely, this remains the viewer that you're speaking to a camera and not them. And it can be off putting bring in some natural movement that you normally use when speaking to a friend and you'll come across genuine. If your core presenting the same rules apply, you want to look at the camera when you're speaking and looked to the other presenter when they're speaking. This way, you'll look engaged and you're giving your audience the cue that they should be looking at your co-presenter now, so to summarize, feigned out if you require it to talk to the camera. So feigned out which camera, give it 90% of your eye contact. Treat it like an old friend, an F co-presenting. Remember that they're your friend too. 4. How to Interview: Lights, camera, action. A lot of people prefer it when they're asked not to look at the camera, perhaps they're being interviewed or hosting an interview themselves. The principles that we've covered in your demeanor will largely remain the same. But you want to make sure that you are pretending the camera is not there. This allows the audience to feel like a third person setting and the conversation. If you do look at the camera, which we call breaking the fourth wall, it suddenly acknowledges the audience. They then don't feel like we're just setting them in the conversation and can actually be taken out of the expedience. The pressure of knowing you can't look at the camera, can be distracting. So you want to remove it from your conscious thought entirely. Interviews get really DO twin. An interviewer has captured an interviewee so intensely and conversation that both of them forget they're being watched even in light audience scenarios in an interview setting, especially if you were the interviewer, it's really important not to speak over the other person. This is quite difficult and requires some practice because not truly in real life, we are constantly reacting to what people are telling us and things come out unfiltered. So when I was learning the piano, I feel much more connected to my family because music was our secret. And I always observed that. And they're finally okay, it was part of it. This is incredibly distracting. So practice nodding. It might seem a little Audit first, but honestly, it's affirming without giving the same data to our heart job and an interview, it's very important to maintain eye contact with the person you're speaking with. Well, I tend to do is give the person may feel eye contact when they're speaking, breaking up with a few sort of wonders. And then when I'm speaking, I let my eyes move around much more. I am quite an expressive speaker. So when I do this, It's more because I'm sort of bringing the thoughts together. And I think that can be seen when I do this sort of I wondering, but I always keep the person I'm speaking to as my anchor. That are very few exceptions where you can look at the camera during an interview. The first is a very modern style where the interview has been set up where the person looks directly at the camera, much like the street. Now, this means that the interviewer is being cut out of the media and the interviewee is going to be the only presence on screen. This you would treat exactly like an ordinary addressed a camera and a more traditional interview stale, sustains. Elliptic camera is brought in for comedic effect, but only do it if instructed or if the movement is perfect. Do you smoke? No, it's funny you should say that because I have this picture of you smoking debt that I have my ways. So to summarize, If you're not supposed to look at the camera, don't try to forget that it's there, truly engaged in the conversation and this will come naturally. Don't speak over anyone else. Once more for the people at the back. Don't look at the camera unless it's a special occasion. Now that we've covered talking to the camera and talking with the camera present, you can start thinking about what kind of presentation you want to do for your class project. You could pick a subject that you know a lot about and present directly to camera. Or he could interview someone you know, and ask them about a specific topic, get some practice and use your phone to film yourself so that you can watch it back and take notes. And if you're interviewing someone, ask them for feedback too. 5. Positive Body Language: Lights, camera, action. No matter how you're presenting, body language is extremely important. This gets the audience subtle cues about what you're thinking and how you're feeling. In fact, it's said that people pick up more about how you're feeling from your body language than what you see. That's an easy concept to grasp. It's basically her sarcasm works. I'm having a great team. You want to create positive open body language to let the viewer know you're welcoming them and start with your arms and legs. Make sure they're not crossed because this creates a barrier between you and the audience. It lets them know that you don't want to share something or you don't want to let them. And you can get away with crossing your ankles. And you can get away with crossing your legs if you're Letterman. But in general, you don't want to do this. This may take a little bit of practice because let's face it, crossing your arms and legs is comfortable. It's how most people set when they're watching TV and maybe how you stand when you're in public transport. And it may be how you stand when you're speaking to someone on the street. Make the effort to be uncrossed and you'll come across as more approachable and trustworthy. Next, position yourself in the direction of your interest. Now, if you're presenting directly to camera, this is extremely easy. Point yourself in the direction of the camera. If you're talking about something is perfectly okay to reference it, but try not to turn your back to the camera. This again creates a barrier between you and the audience where they're shy. When it comes to facial expression, this is extremely telling of how you feel and the audience picks up on everything. Our faces are so packed with emotion and we want to make sure we're giving off the rate signals. An obvious choice is to smile, but let's not pretend we can't spot 50x mail from a male Hawaii. You don't want to feel uncomfortable or make anyone else feel uncomfortable. You just want to make sure that it's not doing that thing where it's relaxed, but it doesn't look very caned. What you're going for is plays an, an alert. If you're familiar with tire bank says smiles, it's catchy, but it's got some truth to it. And if you've never seen that before, have fun looking up the eyes. Well, sell your smile. So raise your eyebrows a little. Tighten the muscles at the say to your face and bring a slight smile to your resting posts. A great way to develop this technique is to study the body language of presenters on TV and copy what they do. Practice this in the meter or film yourself and watch it back for each person. It will take different adjustments in order to get it right, but it's worth doing. Body language will go a long way to sell your skill and confidence as an on-camera presenter. So to summarize, use your body language to create openness on screen. Invite your audience. N was subtle cues such as open arms and a slates mail. Now think about how you're going to add this in to your class project. What kind of body language do you need to use to welcome in your audience? 6. Mastering Tone: Lights, camera, action. The tone of a piece of media is considered long before the shoot takes plates. It can be serious, fun, educational, informational. It could be a mixture of these things, and it can be much more. Tone is conveyed through emotional cuz these are subtle ways in which we can be inflection by using emotion, energy. So for example, if I wanted to suggest something was funny, are worth smiling about. I bring it shininess to my delivery and make it sound like I'm laughing without laughing. If I wanted something to S2 educational, I'd highlight key points of my delivery that I want people to learn and lead people to certain parts of the sentence that I think are of interest. A great way to study tone is to look at adverts. Ads involving children, ticket, very Mommy, mommy tone. We're, we're partly talking as if to a child and partly having a better bond with the pittance. If I were selling you life insurance, a tick, a much more serious, optimistic tone to remained you to plan for your death. But also to make sure, you know, my company can make this easy for you. If I, we're selling a product that I'm truly passionate about, I wanted to bring a sense of excitement and deletion to that delivery by dwelling on the descriptive words and really taking my time with my sentences to mull over all of the thoughts I'm putting out there. If I were delivering instructional information, but I don't want anyone to misinterpret. I would adjust my tone to remove the emotional inflections from before, going slightly slower and being very clear in my delivery, have a goal at mimicking ads in order to develop a wide range of tone. It's a bit like acting, but you're bringing in implied emotion. 7. Presenting with a Script: Lights, camera, action. A lot of people are free to the script because they think it seems unnatural. And it suggests that you have to memorize something which can be a bit daunting. But Scripts are such a good tool for collecting everything you want to see in one place. Unless you plan and delivering live performances on stage, you don't have to worry about memorizing a script or at for work. Traditional scripts are formatted in a way that delivers information to the entire production crew. For example, the font, combined with the spacing means that one page of a script equates to one minute of screen tame. But if you're writing for yourself, do what you feel comfortable with. Tried to get a hold of the script or write your script as early as possible. This way you can read it a few times before the ship, whether it's your own or someone else's. This is how to prepare to deliver it. Read it as much as possible. You'll begin to remember the sequence of information and then know what to expect next. Read aloud and practice the piece. You can even make little notes on when you want to pause and how you want to deliver a certain lane. Practice reciting parts without having to look at the script. This week, you'll help your brain get use to recalling information. Everyone's brain works definitely. Some people can hear the words inside their head. People can see the words and saved their head. And some people count in rely on prompts. When you find something that works well, steer into that direction and feature strengths. In a studio setting, it's perfectly okay to have a script with you, but you don't want to be constantly looking at it. If it helps to have a prompt at the state of the camera, make sure that it's minimal. It could have the sequence of things you wish to talk about, or it may have key information that you want to get absolutely accurate. But if you involve long sentences or all your information, your eyes will give the game away. It becomes hard for you to maintain eye contact with the camera or the subject. And the constant Darton of your eyes tells everyone that you're reading. This is distracting to have year because they came here to be spoken to enthusiastically about a subject. And if they think you're just reading the information, they may think it's better for them to just read it themselves. In a self shooting setting. It's okay to have the script there and check it in between ticks. When I present my content, I spent aim rating it beforehand and refining it, and reading over and over to make sure that its rate and also to learn a little bit before the ship. Then when it comes to the shoot, I'll have the document nearby so that I can read over passages before I seem to camera and just make sure that I'm happy with how they're going to be delivered. The challenge here is to give enough breathing room between reading and presenting. Think about the Edit. You want a clean open to your delivery and a clean end. If it looks like you're just finished reading something and your debate to go back to reading it at the end. The audience circuit, no. And they're going to feel like you're not passionate on alphabet this subject to nor off by heart. And even though that's not true, you are passionate about this subject. You just need a little assistance. It will still come across that way. Give yourself two seconds before you start speaking to the camera and give yourself two seconds when you finish speaking. This will give enough tame for a clean edit. So to summarize, practice as much as you can. Prompt must be concise and speeding. Never read Jane your delivery. If checking notes have clean breaks between reading and presenting, I recommend you use a script for your class project, because as I've mentioned, it helps you collect your thoughts and maintain organization. But if you'd rather, when it, let's take a look at how to present with a script. 8. Presenting without a Script: Lights, camera, action. When presenting without a script, you still need to prepare, prepare to think on your feet, eliminate EMS and EMS and not repeat yourself. That make no seem scarier than having a script. But don't panic urine in control of what you see and how you see. And if you're not presenting life, you have the luxury of being able to redo your lanes. However, whether you're with or without a crew, you don't want to be redoing your lanes multiple teams. This is very time-consuming for you, the crew and the PAR editor who has to watch to see the seam lane 15 gains. So if you know exactly what you're going to talk about, but you don't have a script practice there anyway. You're probably going to start with the name of what you're talking about, maybe a quick introduction, talk about the features and then summarize. So think about how best to freeze that information. Thinking on your feet means your rating the script on the goal. And it can be a lot of pressure to form the sentences. Remember all the information and keep the flow going. So here's my advice. See what you want to see, not what you think you should see. I have worked with so many people who are talking about something being insane and the trip themselves up because they tried to present the six o'clock news using words that aren't in there. Not sure vocabulary, lake. Furthermore, it would have been better to just see also, it is a performance because you're on camera, but it's not necessary to change your dialect. In fact, you've probably been asked to present this video because your natural pattern of speech sits the subject. Next, keeping the flu and eliminating EMS and EMS is not as hard as it looks. Instead of stopping the sentence to think about what you want to see next, speaking short sentences. That way, if you stop, what you've said so far is still usable and you can add to it. For example, if I needed to see the new hydroelectric vehicles use water instead of traditional fuels, which is cleaner for it, it in vitamin and offers a longer lifespan to your car, meaning you can travel further for longer. That's a lot to remember and there's a large chance I'll get halfway and then forget what comes next. And it can be a challenge for an editor to piece two sentences together into one, which would mean that you would have to start all over again. Instead, I could see the new hydroelectric vehicles use water instead of traditional fuels. This is cleaner for environment and offers a longer lifespan to your car. So you can travel further for longer. Now if I get part way and forget what's next, it's okay. Because what I've said so far is usable. Greek the NFO down and deliver it in short sentences. Lastly, avoid repetition. This happens when we're trying to think and speak at the same time. Our main defense or word that it knows is correct and then just keeps firing that unfortunately, this results in poorly worded content like this. This jacket is durable. It's made from durable fabric. It's a durable FET. This will only make the audience laugh as they'll catch on to the overuse of the word and the competence of the speaker. Instead, deliver the information slowly and see what you want to see, not what you think you should see. This jacket is durable, the fabric is waterproof and breathable, so it works in all different weather conditions. By taking my tame and seeing what I want to see a begin to diversify my language and not stopping and panic. So to summarize, you still need to practice even without a script c, what you want to see, not what you think you should see. Brick the sentences down into smaller chunks. Take your team what the delivery. 9. Shaking Off Mistakes: Lights, camera, action. We all make mistakes. We just don't often have to relive those mistakes on camera. Here's one that happened to me when I was presenting a training video for a well-known cinema cine, we turn this off. I am convinced there was a ghost that tip that bucket. It's not completely humiliating, but it was a pain. I had to clean up all the beer that had flooded the say it and I had to start again. There are two important things to do when a mistake of cars. The first is laugh at yourself and shake it off for the trip up, save the wrong word or get drenched in beer, mistakes happen and they make a great story. Don't let them throw off your professionalism. Just let the mistake pass, reset, and go again. You may have seen behind-the-scenes footage of actors continuously getting their lanes Rome, or they just can't stop laughing. This IS super rare. It takes a lot to get into that state. So don't feel like if you've messed up once, it's going to happen again, you are in control. The second thing to remember F a mystique of cars is to react well to getting something wrong. If you've mispronounce something, said their own name or made a Freudian slip. Don't worry, everyone does it. Mistakes happen. Just take a look at when they announced the wrong winner at the Oscars in 2017. The best thing you can do is laugh at your mistake. Learn from it and move on. If you pronounced Yosemite as USE ME and everyone is laughing, laugh along and ask how to pronounce it properly. That example is from personal experience. There's nothing wrong with being wrong if you didn't know what was right. And in fact, you'll find that for a lot of people, it's common grained. How many times have you done something silly and someone tells you they've done the exact same thing once, it makes you feel a little bit better. Just remember that if you have made a big mistake, sincere apologies. Don't include the word f and try to avoid mistakes by asking questions going in. How do you pronounce your name? Have we done this before? Where will the guns gland? To summarize, shaken off and laugh at yourself and don't overreact to mistakes. 10. Recap: Live action. So let's go back over the steps of presenting to camera confidently. The camera is your new best friend, made of plastic, metal, glass, and meters. It won't portray you in a bad light. You have complete control over, hey, you come across if interviewing someone, forget all of it, the camera. It's still your best friend, but it's sitting quietly in the corner whilst you and another friend catch up. Don't look at it. If you're not supposed to and Pape down when others were speaking, use your body language to create openness on screen. Invite your audience and was subtle cues such as open arms and a slight smile. Your tone will change with the tone of the media being created and the secret is implied emotion. Working with the script doesn't take a perfect memory, but it does take practice and patience. Remember F using prompts, keep them brief. Working with a script doesn't mean practices off the table. It's your opportunity to Belt the delivery Before you step in front of the camera. And lastly, mistakes happen. Laugh them off, don't overreact and remain professional. I hope you got a lot of value from this course. I'm extremely excited to share this with the world and help people upscale. And I'm really looking forward to seeing all your class projects. You can find me across social media ash on film and of course, over on BBC, The Social. And thank you very much for taking this course with me.