Video Storytelling: How to Shoot Engaging Stories Like A Broadcasting Pro | Andrew St Pierre White | Skillshare
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Video Storytelling: How to Shoot Engaging Stories Like A Broadcasting Pro

teacher avatar Andrew St Pierre White, Broadcast professional

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

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

    • 1.

      StroyTelling Intro

      4:38

    • 2.

      4 sec rule intro

      4:02

    • 3.

      4 sec rule examples

      4:42

    • 4.

      5 most important things

      3:31

    • 5.

      Avoid Shaky Footage

      4:14

    • 6.

      B Roll 1

      4:19

    • 7.

      B Roll 2

      3:54

    • 8.

      Make moves look good

      6:30

    • 9.

      Presentations and backgrounds

      5:16

    • 10.

      Making the background a character

      1:50

    • 11.

      Storytelling in Camera

      5:26

    • 12.

      Contextual Storytelling

      6:15

    • 13.

      Making a Story on your own

      6:28

    • 14.

      Equipment trap

      2:38

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About This Class

This class is for aspiring videographers who wish to create and tell stories, to captivate an audience.

Do you want to take your footage and entertain a huge audience? Then this course is for you, because this course is different. Unlike the vast majority of video courses, this one is not about equipment. because in truth, an audience is not the least bit interested in clever technologies and cameras. They want to be entertained! Be an entertainer now!

Remember, the best films and videos are the ones that people talk about. And the only way to have someone talk about your film, is to have it change the way they feel. Good storytelling is the key to changing the way people feel. And I'm here to show you how that's done by professionals.

This first course is about shooting skills needed. In other courses, I go deep into the editing techniques used creating wonderful stories.

Your teacher is a British broadcast professional with 40 years in TV production, cinema film commercials production, TV documentaries and YouTube.

Meet Your Teacher

Teacher Profile Image

Andrew St Pierre White

Broadcast professional

Teacher

Hello, I'm Andrew.

I am a professional broadcaster, writer and presenter, with 38 years in TV and film and now a full-time YouTuber and TV documentary producer/director. I'm also an award winning author with over 17 book titles and a YouTube channel that boasts over 27 million views.

Included in my body of work as director and cinematographer are over 80 TV documentaries, many of which have been on major TV networks. I've edited hundreds of TV commercials and won several international editing awards, including Cannes Gold, and New York TV Gold.

I love teaching as much as I love telling stories. Once in the centre of the huge professional film industry working in London, New York and other cities, I've now moved into ... See full profile

Level: Intermediate

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Transcripts

1. StroyTelling Intro: why selling stories so important? Well, because if you think about it, every single video that you have ever enjoyed in your entire life, apart from a cat falling off a covered there's a story behind it. And any video you watch, even a cat falling off a covered. If the cat falling off the covered has referenced. In other words, there's something reference to it, like it's owned by a small child or it you know it. So you start feeling something for the cat. Then it makes falling off the cupboard funnier or more interesting, and you feel more. I'm waffling. The principle here is this that you could go out and capture the most amazing footage with your camera. You could be the world's best camera operator. The moment you look at that footage and you want to share it with somebody else are fun. That's a stumbling block. Often that Sir, are these just a collection off great shots or is there a story, or am I trying to tell a story? Great videos, great films have a great story. It's the it's the bottom line. So that's why you're here. I'm hoping that's why you're here. You're here because you want to understand the process off video, filming video and molding it like clay into something that somebody can appreciate. You can get the best clay in the world. You can say this is their breed, Italian clay and look our beautiful It isn't. It's all on this eso gorgeous to work with, and it's easy to work within its fantastic played The Best player in the world. It's just play. Nobody cares about clay until it's turned into a beautiful pot that they can feel and touch , and the light hits it and put flowers. And it'll put, kept this is in it or plants, or put it in a beautiful Now the clay has meaning. It's exactly the same with videos and video footage. It's exactly the same you can appreciate. Sure, the clay, the picture, that beautiful drone shot, which is just. But it doesn't make you feel anything when you see that final part at final ways, that final creation in its position, you can say what an artist, what a beautiful thing that is human has taken this clay and turned it into something so enchanting, beautiful, rewarding you Tories storytelling is exactly the same. It's difficult to take a bad picture these days because even a mobile phone can take beautiful images. So it's not so much about the cook. It is a bit about the equipment, but it's much more about storytelling where an image is presented to the viewer. What does it do to the viewer? Professionals worry about money. Artists worry about light and sound, and amateurs worry about equipment. What? I mean, the equipment is cameras and all of the technical things that go with them. They detract any reasonably good camera will do at the end of the day. So again, the course that you're about to do is mostly creative. I have where I have felt it needed, helped with equipment and taken go stuff where I felt it was important to know if I haven't mentioned it it because I do not believe it is, um, not it is important to know. So I haven't fluffed up the course with lots of technical stuff because I don't think it's important. If you want to tell stories, it's not important. If you wanna muck about with cameras, maybe this isn't the greatest course for you. If you just want to muck about with cameras, you want to tell stories. You've come to the very best place. I will teach you how I've been doing it for the last 38 years. 2. 4 sec rule intro: What I'm going to teach now is amongst all the lessons that I've presented here, one of the most valuable. It's something I like to call the four second rule. Now you go out. You film a lot of footage, too. Come bring it all together in your in suite and not it's time to actually mold the story. Now, if you're making a big vie vase, big bars or a big pot, you need a lot of clay. You making a small part you need are you need enough clay and that's so common with videographers. Filming is that they get to the reading room and they just don't have enough clay. They don't have enough material to keep on audience captivated. You have to feed them information. So while you might have somebody talking to camera talking about something very interesting like I am doing now without me actually showing other stuff in other words, having other material to show you, you get pretty bored of just looking at my face talking. So what I'm going to do with this particular lesson is as I'm gonna show examples where I have used this rule while filming and what it has resulted in. So I'm gonna run now. Unbroken camera footage from a camera start to camera. Stop, Andi. I'm going to mark with titles what I'm doing So you can try and get into my head because when a whole lot of things happening I'm filming on my mind is looking at other things and then I'm finding another shot. Then I'm finding another shot. Now I'm finding another shot and I'm getting all of these different options for storytelling. But here's the secret on here is the most. This is what this is all about. When pointing your camera had a subject, Don't move it at four seconds is the minimum amount of time where when you come back in your anything room there, you've got a nice shot. It needs to run for at least four seconds. Minimum four seconds for it to be useful. If it's six seconds, eight seconds, 10 seconds does matter, but it must be more than four. That's why I call it the four second Rule Wind filming. Often it's a problem because you'll be pointing and shooting and you, when you get back into the cutting room and you'll see where he got that job. Natural, natural, natural. But they're all a second and 1/2 long. They useless. It's very common. So I'm gonna find three pieces of footage where I let the camera run. But while I let it run, I was moving, framing and counting to at least four with not moving the camera at all. And when I did move the camera, I was always following a moving object. My principal subject matter was moving on. I moved with it. I'm gonna do this a few times because I believe this is so important to good storytelling and being able to grab footage that you can use in the storytelling process in the editing room. 3. 4 sec rule examples: You're okay. Only one E. - That's the sensation. I need some help, huh? No, fast. - That's right. Okay, so in the long run ground. Oh, good for were you, But even to Muluzi's in your life, But okay. What happened? I know a big red one, but a in fact, Um, no. What is a Well, what about don't. But I get 50 was ridin Main road to be in the home From what? - Wait , wait, but it's self service. 4. 5 most important things: the five most important elements off storytelling with video are as far as I'm gonna put them up on the screen. Now I'm going to label them 1 to 5. And if by the time you finish this course, if you take away with you any one of those five and you just hold on to it and you use that as the key to your film making and storytelling, then you wouldn't have wasted your time and I wouldn't have wasted my time and you would have got the most. You can get out of this course. I'm gonna put them up on the screen. Now. I want you to look at them, choose one, and make sure you take that away with you. Here they are now. You might be laughing at that, but this is absolutely true. And I feel very, very strongly about it. I do seven us. Where have people in a room in the United States when I go there every year and I have a new some courses and that's what I start with, I actually opened with that. So I talk about film making and storytelling on I get them to choose one. And then I put that up on the big projector board and they laugh. And I have to say them, you, This isn't there is no laughing matter. I'm absolutely serious. If you don't have a good soundtrack, you're not telling a good story. Bottom line. It's the saying that I think video storytellers find most difficult to understand. I don't think they find it difficult to understand it, because it's quite a big leap to to understand that that the video images that are presented to an audience give them information. But it is the soundtrack that makes them feel it evokes emotion far better for easier, then video. If you want to get your audience to feel something, you do it with the soundtrack. That means that when you're filming, you are paying as much, if not more. In this is that this is a big challenge, as much if not more attention, to the soundtrack that you're recording so that when you get into the edit suite, you continue doing exactly the same. You spend more time working on your soundtrack. Then you do your video water as much time because, as I said, if you want you audience to feel you do it using audio, not video more about this to come 5. Avoid Shaky Footage: Let's talk about holding the camera steady. Having a set of legs like this little Jimmy's. It's very nice for obviously, for obvious reasons. You can put the camera down and shoot. What do you like? And of course, as of logging instrument, they're wonderful. I can do that and record myself very nicely. But let's say that you are in an environment where you wanted a film and something was happening and you felt that this wasn't stable enough. How do you stabilize the camera? So I'm gonna take it off this mountain now to give you an idea of what the alternatives are , because now you've just got this right. This might be your mobile phone. Okay, let's just talk a little bit of mobile phones. If you are going to film with your mobile phone, hold it like this. Not like this. Your audience. If you're audiences are gonna watch it on a mobile phone, then it's okay to film like this. Everything else tablets, computers, screens. Unless you of course, your television screen at home is actually mounted like this on the wall, which I doubt if it is okay, you're going to shoot like this shoot everything like this when shooting with us with a mobile phone, you shoot like that. Okay, So how do I keep this steady? A couple of things. I can put my arms together like this, and I hold it as still as I can, but that's still not really stable. It's just not You know what is more stable? Lean it on a door. All right. Leaning on a lamppost. If you're filming with a camera like this, hold it steady by leaning it on a lamp post anything, even something up like that. Push it against it. Hold it down and hold it steady. Now, what I do is I quite often actually hold my breath. So if I wanted to get a really cool shot now, I might use that. But if that was a bit too low and I actually had to be going quite high like this, what I would do is I would hold my breath. Can you see how steady that is? That's a really steady, short, this kind of stuff. I'm not gonna walk to the camera now. This kind of this kind of It's It's disturbing. Don't do it. You really need to. You really need a cold city. So when you're doing of logging shot, you're holding it Absar lutely stationary. And I've locked my hand in position. So I'm now getting Ah, lovely stadi shot. I'm not moving the camera around because it looks horrible. Shaky shots are an enemy. Okay, So when we spoke about the vital parts about making great films and telling great stories, your enemy is bad sound. You cannot hear the voice shaky shots on an audio track that doesn't make the audience feel OK. We'll get onto that when we get to the editing will start talking lots more about audio, that a design of the audio and how the audio makes your audience feel This might sound ID like advanced stuff. And that's not this is not advanced stuff. This is basic stuff. And that's why so many people make videos that are really kind of ordinary because they don't realize that this stuff is the basics off good video storytelling 6. B Roll 1: B roll for those of you who don't know is the also ran footage that supports the narrative , so the narrative could be called a role, if you like. That's the main story and structure. The B roll is all of the other bits and pieces that are in shot to support the narrative. Absolutely vital for good storytelling. No, that introduction sequence. So one of my favorites, actually that I've done introduces motoring Show Way took a vehicle through the deserts of Amman. Andi. It was the first time that I had shot in that interesting country on. I wanted to demonstrate to the viewer straight off that it was a about motoring, be were in on Arabian Country and wanted to present to the audience the flavor, the flavors of the Orient. This is Dubai, with its spirited combination of the ultra modern and a past the oldest human history itself. I'm here by invitation Brief is bring your toothbrush and your driver's license and we will look often everything else and come and drive something amazing in an astounding that was good enough for me. What They didn't tell me it was what vehicle would give me to drive on. I remember we were actually at the time. We'll be shooting a lot during the day in the city, which in those shots, actually a little later in the film. And it was it was getting late in the afternoon and we had been such a guide. Bean suggested a restaurant. The guy have some local cuisine, and I saw on the beach a little bit of a distance. Guys on the camels and they were tourists around. But there were camels and the sun was going down. I thought, Camel son misremember that often mostly B roll is is shot on the hoof. It's just you see it in you, you just and you keep your eyes up you go. You will find it on at that time, Of course, when seeing the opportunity and seeing the sun and seeing the camels, I have no idea where that footage would appear in the film. I don't think it has to have a place in your head in a place in the film for you not to need it. It's oil Bureau is the essence of good story because it means that you can have if you need to have a greater explaining something. You have footage for that. If you have somebody talking to camera and you want to keep it short because lots of face to camera can be tedious, much better to show than tell. That's a principle of storytelling. It's much better to show something. Then tell something. If you can do both with duration and B roll. Wow, that's the way to do it on. This demonstrates very, very nicely how well the B roll worked. There are two shots in there than our Aero were actually shot as part of the mansion and those of the vehicle shots, because we went later to go to a picture via collector vehicle on. I wanted to get a whole lot of from vehicle shops on then, finally, we have our vehicle delivered to us. That's not really B roll that there is a bit of a gray area, obviously, but the fact is that those shots were used in this sequence because it's a motor insurance . So the opening sequence had to say interesting country, interesting place. Middle East. It's about cars, and that's what that opening does. And as you can see, it's mostly beer. Oh, 7. B Roll 2: a little later on in the film I'm taking down through a market Now the market again was the market scene wires. We decided to go to market because it was more local flavors. Not really. Part of the motoring story is part of the local flavor story, and I had a guide and you'll see some very obvious B roll shots. Take a look. Thistles. My host Sean Man, a bit of a surprise South African expect being living here for well over a decade, and he's taken over as director producer. Giving a pajama did too. So I see there are two. There's a talk on the car, so actually, it's the same, right? So this is Saudi. Typically, this is Jordanian with Kessel's. So typically you'd only be wearing the one on in a sandstorm. You would cover up way, spent a day filming in Dubai, a couple of little sequences again. Many of them were not scripted. We had some ideas for them before we went in on. Then. Of course, this kind of filming is wonderful because things have just kind of present themselves on. One has to take advantage of them while you're actually shooting. So be role is very much a. It's gotta be constantly running in your head. And as a director, cameraman, camera person, you're always looking. You're always looking for those bits of detail, too. Puff up, pump up in Belle ish with story. The role is very, very good at in this sequence. I was now waiting for the vehicle to arrive, and I wanted to build up a little bit attention in the story because I didn't know what it was gonna be and again in the story. In terms of storytelling, building tension is great because it keeps your audience involved again. B Roll embellishes that. So by getting you'll see here, I'm waiting for this new. This is vehicle. Whatever it's going to be given to me, I have no idea. But I keep getting shots of this really old old tatty Landcruiser, so there's a bit of a counterpoint then I wanted to try that. If it works, I think it kind of does. In a way. It kind of works that they do have in their inventory some very, very old teddy Land cruisers. Maybe they'll give me one of those instead of something you know, fancy that I'm hoping for. I think it's a nice sequence. Take a look like I have a look around the vehicles on its way because I don't know what they're going to give me. I mean, they told me it's not off the shelf and they've said that they're very confident that I'm gonna love it. But is it Is it a Jeep? Is it a land Cruiser? I know a little bit about the Arabs and the way they like to modify their vehicles, and there they really sometimes go so over the top. It's just unbelievable. Some of the creations they come up with in these countries, I have no idea what I'm going to get. In fact, I haven't even I'm too scared to guess. Well, while I wait, I guess it's time to look at some of the accessories they produce. And, of course, these delicious old land cruises. This language is believed to be the early 1958 original unmodified Landcruiser of its type that still running today. Why it's significant to me is this. Green was originally done for the military and only available to the public in the 19 sixties. Those few examples, I think, is a good start in understanding how important the role is 8. Make moves look good: when a camera pans or tilts or zooms very easy to make that look amateurish. Here's how to avoid that tilting or moving The camera is absolutely fine when following an object, but we're not following object. Here's a way of making it look really slick and really professional. Okay, this is now the bad way of doing if I hold the camera static and I simply you see that that's a static zoom in the eyes. Don't do that naturally, so it looks okay, but it looks a bit forced. It's kind of saying to the audience, Hey, I'm a camera. I'm a land a much better way. If you wanted to go from a point of focus and zoom out, would need to do something like this, find a point of focus, focus on it and then move the camera while zooming so you can see here. I'm going from rocks. I wanna have detail in the rock from our audience to understand the look of the rocks that a light on the rocks. But then I give them perspective by doing a pull back or alternatively, assuming if I am pulling back and zooming in while moving the camera. It disguises the pull back and it just looks more. The shamans show now is actually taken from a finished production, and it's and it's a massive zoom. Notice a few things. There was a reason for it. I wanted to give scale. That was what This is why I did a zoom. You must remember that when storytelling your image, your audience is very perceptive. That see things and they'll register things in their heads and there needs to be a reason for things. In other words, this this pullback that you will now see was a way of me as a filmmaker to say I wanted to express the enormity, the vastness, the hugeness off this mountain pass that we were driving down. Take a look. - Wow ! Why can't remember post this dramatic? It reminds me off. You probably noticed. I hope you noticed that the zoom was not central. It was. The vehicle was a bottom was fairly central but a little bit off center. But then when I pulled out, the vehicle was definitely not in the center of France. The vehicle wars bottom right and the huge mountains were top left, so I maintained a nice composition, a way through no panning the four second rule use the four second rule win panning. The reason for that is that I could do a shot off this to this, and I've got one shot. But if I used the four second rule, I can turn that into three shots, which means I have a subject. I frame it up nicely on guy, count to four without moving the camera at all. Then I pan on to my next subject. And again, I hold the frame for at least four seconds, and then I turn the camera off. What that results in is that I've got a static shot that I can use. I've got a pan that I can use. I've got aesthetic shot that I can use. So instead of just having one shot, I've got three options in my edit suite. Whenever you are moving the camera, no matter what you're doing with the camera when tilting, panning, zooming, there has to be a reason for it. So make sure there is a reason there's no point in just panning from here. So there, where the bit in the middle doesn't give any extra information. It doesn't help the story if you need to go from that point to that point and in the middle is not relevant to the story than do a static of that on a static of that. And don't do a move. Another way of making a pan look really nice is this? I'm following the subject. Subject is now moving through frame, and I pan faster than the subject is moving onto the mountains. Then I hold the camera still on. The subject re enters the frame. What that does is it says to that in terms of the story, this thing is going there. Look, our meeting. It is so again I have the choice. I can use the front part of just the vehicle moving. I can use the pan onto the mountains. There's even a short piece there where the subject before the subject interest frame and then there the beautiful mountains where the vehicle is going to and it's going on. You could use this with any moving subject. Alternatively, look where they come from. Do that in reverse, go from this amazing thing, and then pull back and find your subject. And you realize, Hey, my subject has just bean there. It's great for storytelling 9. Presentations and backgrounds: I don't really need to tell you how important backgrounds are, but I do need to tell you I think how AH backgrounds can contribute to a story on how easily they can actually spoil a story. There's some rules about backgrounds. If you're using a wide angle lens, then generally speaking, your backgrounds are going to be You're gonna Seymour more information. They are likely to be in focus or less out of focus as they might be if using a long focus lens. Here are two examples now, as you can see the one that is where the subject is very close to the camera. The aperture has Bean opened to narrow the depth of field or the depth of focus. Therefore, throwing the background out of focus on Give Overy gives a very pleasing look to the image . Here's a similar image taken with also very wide angle lens where the shattered has bean closed down and both the foreground and the background are in focus now in the video. In this course about lenses and perspective, you'll understand how that effects the background in this example in the desert, interviewing doing formal interview, and we set it up with a background that would be relevant to the story. We're in the number of desert and then see what happens. And then it night, the clear skies, the astronomy that you get. It is absolutely majestic to see this landscape. A woman passes through the background and could have completely spoiled that part of the interview. But because the background was out of focus and because the movement in the background was not completely incongruous, she was obviously a local person living in the local area, so she wasn't out off context. Now, if that had mean something completely out of context, what may be a car driving by because we're talking about the world and it's the story of what is the wilderness? If it had been something very contrary to the story, it would have ruined it. If the background had Bean in focus sharply in focus, even with this interview and the background movement would have Bean a za parent as it is. But in focus, it would've sport the shot because there's no ways that viewers eyes wouldn't have bean drawn to it. They are a bit as they as it happened, but because it was subtle ish. It didn't affect the viewer's experience off listening to the words of the interview and seeing the scene. Let's now look at some other backgrounds and how they affect the storytelling. You know, Uh ah, I go E way thistles, Great Zimbabwe, and I think very appropriately, bringing you the next series of four wheel drive from the country. This, I think, is an example of a lovely background to a presentation directly to camera. I have set up the scene. This is the Great War, the ruins, the great Wall of Zimbabwe. And I'm about to do a story about a little bit of history off the country, Zimbabwe, and then do a traveler a great way of opening a show. Lovely images, lovely texture and, of course, the background here. What's good about the background? Here's the wall that I am sitting on. Leaning against is in focus. The wall is part of the ruins. It's very much relevant to what we just seen. It's more of what we've just seen. It's more of us. This this lovely, this lovely rock on this level for motion, this lovely texture and yet the background is out of focus and no matter what happened in the background, it would be interesting because it would be completely out of focus. And if there was movement in the background, that would actually be quite nice, because it would be so far away. But it would be it would. It would express a life on movement and imagine animals moving in the background or cattle herder or even, ah, bus with Batic. ALS would be nice and big because there would be completely out of focus, but there would be so much part off the story. 10. Making the background a character: with this one, I decided to actually make the background apart off the story. It was such a beautiful background. It was this service planes African plain, and I was kind of sitting in there Behind me was this. It was gorgeous. Itself was worthy off. There's nothing have really happening on The plane was static, but it was just so beautiful on because of the show had a very informal approach to presentation. I decided to actually make the background turn it into a character. Well, I can't afford such extravagance. Is so live Langan National Park. Hang on a minute. That's an elephant. It is too. Oh, sorry. Um, I was supposed to announce the program. Yes. Today we're testing the land total and Cruz fj The truth is that I had photographed the elephant half an hour earlier. We were there. We were setting up thinking about what we were going to do. And there was I saw an elephant and a long focus lens and got the shot off the elephant and that it actually came to me while presenting to camera. Why hadn't rehearsed it all. Hadn't even really thought about it. But as I was presenting camera Little thing in my head said That background needs to be. We need to say something about it, and so I think it's quirky. You might think it's it's It's very informal now to do that in a show that was very formal , it would just be seen a silly, but I think it's quirky and works quite nicely. 11. Storytelling in Camera: here is a good example. Off win a story just appears. It's not necessarily scripted. It's something that you be looking for your aware off stories as they happen. So the rule of this kind of story telling is that because it's not scripted, you have toe have your your creative brain on all the time. So when something happens, you react immediately and you turn yourself into filming, capturing story telling mode. In this particular situation, we were filming a an interview to camera. There was a nice tree. The ground was this very earthy brown. It kind of felt very Africa ish on. So it was a nice background for an interview and we would set up the interview and you can see in the background somebody walking down the road. They didn't really disturbed me, was using a long focus lens, so the background was out of focus. The audience is focused on Paul talking, but this man who came up walking up the road we were filming as he came up and he said, Hello. How are you? My way? Well, thank you. Yeah. And he said, we've got we've got We've got a puncture. We've got a double picture. We said Well, how far you run and you said about three kilometers and I immediately thought it could be a story. I didn't know if it was going to be a story. I thought this could be a story. Something's happening. And we were in the mode off, capturing interesting things and very much kind of enjoying the moment, enjoying the experience. That was the broader picture. So we then finished our interview, packed up the car, and I actually said something to camera. I knew that something was gonna happen, but I didn't know what. So I said to Jeremy, who's filming? I said, Point the camera at me And then while I'm talking, swing the camera way through the windshield side, Then I've got a windshield shot on. I've got a me talking shot, a need both a boat onto the lake and it looks like somebody has a problem. Maybe we can ask them to see if there's a okay, get a shot out of the window. So somehow he's gotta shoot both so I can edit when in the Edit suite I can edit me talking , but because I've got an Inter cut off the vehicle, approaching the event I can cut into and out of my talking whenever I like. In other words, I don't have to run all of what I'm saying. I can run some of what I'm saying over the approach shot. See again, This is giving me choices, always using a brain giving choices in the edit suite appointed a no okay for visibly tired , we stopped the vehicle and I realized immediately that this was going toe potentially be a very nice story. It turned out to be one of the best stories of the entire Siri's. Yeah, that's why it's leaking from who? Okay, we can plug that. You can fix it thing out, I'm sure. Currently the big men I need the strength. They get the tools when we get a plug it, and then we're gonna put the compressor again. When we were actually doing the repair of the tires, I was shooting a lot of the footage and I would give the camera to Jeremy. Jeremy is not a professional cameramen. He's a photographer, but he's not a video camera man on. I would actually have to say to him and I'll show you some peace. I'll show you the final edited piece. But I will also show you some off the footage because I said to Jeremy change position because what he was doing, he was filming what was going on. But he was making a classic mistake in not moving from here from here. So that's in the back change angles. 12. Contextual Storytelling: Here's an example off context to wool story telling now forgive my appearance because I mean camping in the African bush last three weeks. I am a bit wrecked. I'm gonna make you shoot. So I woke up this morning on first thing. I hear my birds so immediately, I'm thinking, How can I use the bird sounds? This is a This is something that I want to put into my program because it's really interesting and it's lovely. It's just plain beautiful sound. So just like with when you're capturing video, you're capturing sound. So you're saying OK, this is a beautiful sound. I'd like to use that. Do it all the time or here's a beautiful image. Light is gorgeous. The subject is brilliant. How can I use it in my program? Textiles storytelling means that I took Take that element that I see on want to put into the story and I give it a context. So this morning was very, very simple. The sequence I'm going to show you now right now is I'm recording this this very instant. I don't know if it's gonna work. I'm not in the edit suite. That footage is in that camera and in that camera. But what I did is I decided, Well, what story can I tell that is relative to the bird sound? Had I got an amazing picture of a bird this morning and I've been photographing the birds and I didn't really get to review any very good pictures. Wasn't really so much about that. It was more about sound. This story was more about sound. So I thought, Well, what story can I tell about the But what? I'm hearing what the audience is hearing when I am offering the audience. So I compiled this story in my head and filmed it Sounds writes a noisy virtual, starting with another small bird taking dictation. Looks like a tight right there. You, You, you, You I'm officially a Rick. This morning, I couldn't have a shower last night cause there's no hot water, even though they'd let me. Dr. Boyd of the plumbing is just a complete mess. So I didn't have a good night because it was a a mouse or something scurrying around the outside of my taint, making a lot of noise. But I woke up this running to this credible, credible birdsong. Just unbelievable. Such a beautiful thing to wake up to on it reminded me I wasn't very academically good at school. Was pretty terrible. Actually, I was. I would I would. I was voted the kid that would amount to absolutely nothing. I I think every teacher and most off people's. But I didn't do too. Um, projects. One was a Head Hawk open ended project due to like, four marks. I think it was great. 11 on I did a Birds of Botswana project where I created I drew a map and I had pictures of different birds. And I think there were six or eight birds in the collection. I'm not quite sure, but it came with a collection. It sounds on a cassette tape that I was very, very young. I used to recall bird sounds when I went out with my dad on these trips. And the bird sounds at least three of them. I've heard this morning from my chain tins. The three which, considering how many there were, could be as many as 50% of the entire road collection. We're Aramark Ebola, virtual starting now amongst the most noisy birds here. I also had on my list Afghan golden oil that was actually, well, the virtual sonic starlings mimicking the African golden. We'll find a Burkle darling imitating an African golden Oriole. Bring my very bird recording trips into Botswana. I did record a few birds that I still have not identified. This one, I believe to be some kind of strikes. That guy, it's a black eyed global. He was another bird Robert Collection. And can you hear that? I think not 100 essential. Another one was the yellow billed Humble. That noise that available told Bo. I thought that no, that would be It would be too much of a coincidence. It sounded like a golden oriole. Meanwhile, on the plains far below, something is stirring every time you turn on your camera, your brain should be thinking, unless you just getting shots for later use in a B roll, they call it. But if you actually creating a story, think about the image or the sound or both. In what context can I put that to tell a good story because I shot about Bird is nice is a shot of a bird, but a shot of a bird is much nicer when it is in context, with a bigger story 13. Making a Story on your own: This piece of contextual storytelling, I think is very useful for those of us on our own filming, blogging and capturing stories. But where Or But we're the only one really doing most of the work and it often happens like that with myself. This particular story happened in was gain Paul. You've seen him in the previous lesson previous video. As part of our low impact camp, We, uh, even put our bed rolls on the track itself. We decided, not set up tents, anything. We would lie on the desert floor. If you've never done that, it's that so. It's so such an amazing experience in the African Well, any desert really in just lying to the stars on the ground, on the ground, not on a rift ain't on our on the ground. There's a connection with. Anyway, I digress. I wake up Now I've got that camera next to me because I know that something could happen in the middle of the night. What amazing amazing night would have privileged us see if one of the stars So I have the camera in a waterproof container bag next to my bed on the ground, ready for me to just pull it out, turn it on and shoot. So I did a little little piece to camera about the Southern Cross of really, really early. So let's literally just set up the camera, literally. Just set up the camera like this and pointed it myself and started talking. It doesn't get better than this. Lying under the southern sky, the sky in which there is the only constellation with celebrity status. The silent cross is, uh, it's constellation used by explorers. Then pull got up to make coffee and there was a bit of a banter between us and I was losing a four second rule, okay? And I would point the camera with the lens cap off at pool and he would be he would be saying something. I've got a short rifle. Microphones. I'm reasonably good with capturing voice was very little other ambient sound. Okay, so I'm holding it still alive, pointing it up all and he's talking to me, and I am talking to him too. But I've got the camera here so I could just get my framing right. And I'm talking to him. What would I have inundated if you think about it. What would you pull would say something That one character would say something. What would be the shot you would want to cut to? You don't want to cut to a reaction, wouldn't you? So what do I do? Uh, bacon and eggs. I know what I'd like. Some of those little chip. A lot of sausages. Just dream something. What we see working up from a dream. I'm on my subject because he's now reacting. I'm controlling the conversation. So then turned it around to myself, and I send them to say something to pull. Then he comes to bring me my car, and we have this little banter, which I think is very funny. Did you tipple? Art is next. You probably see working up from a dream. I am in a dream. I'm in a drill. It is that copies about it. Not a bad dream. Not a bad one. I dreamt about good last night. She's being very nice to me. Fantastic. Everything around that way are you? Uh huh. Very funny about genuine. It's genuine. It's not scripted area set up is genuine. That's why this little technique is so But your editor but I'm busy editing in my head ID like a what? I'd like a shot. Now, Here. Pull starting to move with the coffee. So I swing the camera around him and hold it still, I was Don't I hold it? Absolutely still. And then Paul now moves with the coffee next to me, and then I pan with him. Nice and smooth. Nice and smooth. Nice and smooth. Okay. And he does his little thing about putting it far away from me. I swung the camera around and I pointed in myself. I'm acting, but it's riel. He's moving around. He doesn't even know the candy. So used to having a camera around. You just does his thing on. I am constantly getting him getting May, getting him getting May. And I'm editing in my head. And that's what you've gotta do. You've got to become an editor while you're actually pointing the camera at things. Construct your story G. A wide shot would be good right Here. Get a wide shot. Four second rule. Use the four second rule because every time you do change angles of the camera, you'll get a usable shot. If you don't use the four second rule. You will think that it's been running for four seconds, and it's probably not you will. It's very common to shoot a shot that is far too short, and that's difficult to use. So minimum four seconds. Remember, it's a minimum four seconds, not maximum, and not every shot has to before seconds. That's the minimum. It's important that I reiterate that because it's sometimes confusing people. What has to be a four second shot? No, doesn't. Don't let it be. Less than four seconds is what I'm saying and keep the camera still is so, so important. If the subject is moving, then fine pan or tilt with the subject. Otherwise the camera is absolutely still. 14. Equipment trap: It is a very common trap, particularly with those people that are new to photography and videography is that they dwell too much on the equipment you will find on YouTube today. Hundreds off channels dealing with cameras and lenses and reviewing those pieces of equipment and all that goes with them but very few on creative film making and storytelling . And that's because it's far easier to talk about equipment that it is about creative things . For example, you might be thinking now if I wanted to do a walking shot to keep it smooth. I must have some kind of gimble. No, you don't find another way If you can't afford a gimbal and don't let the need for a gamble stop you telling stories, then hold the camera still or use something else. What I'm saying is that be aware of this trap that so many wannabe filmmakers fall into thinking they have to have the latest and greatest before they'll go out and tell stories. Here is my key. Don't let technology get in the way off telling a story, so if the piece of equipment that you're thinking of using is quite complex and it's It might be very clever. It might do a lot of great things, but if it can't be set up and used easily, then so easily, it could get in the way off telling the story. Keep things simple. I was once out with a guy who was It was the sun was going on was beautiful. It was so beautiful and I've got a few pictures and he was sitting up his tripod. He set up his camera and he wanted a He had a view finder on the cut. He spent show much time setting up his equipment. He completely missed the shot. I didn't get any shot. Sure, he was trying to get the very, very best shot, and that's why he was setting up on his equipment. He didn't get anything on that. What I'm trying to say here, beware of not getting anything because your dwelling too much on the machinery instead of creativity