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Martin Schoeller Studio is a member of Vimeo, the home for high quality videos and the people who love them.

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What economics look like in resource-rich yet poverty-stricken Madagascar | Aeon Videos

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A large island nation off the eastern coast of Africa, Madagascar is at once resource rich, highly biodiverse and poverty stricken. It has more endemic species than the whole of Africa, but according to USAID, it is also 'the poorest non-conflict country on Earth, with 92 per cent of people living on less than $2/day'.

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Shooting a documentary?

Or a commercial video that includes interviews?

You're good to go if you're working in a nice quiet, well-lit space. But guess what? That's not they way it always works.

Today's round-up of filmmaking tutorials from around the web includes some advice on shooting beautiful interviews in hideous places. Your first job, notes director of photography Casey McBeath, is to scout the location to see what you don't want in the frame.

Speaking of interviews, we also have a tutorial from Adorama on how to capture perfect audio in a variety of interview scenarios and locations.

And for those who are feeling a little unstable about their filmmaking, we've got tutorials on what not to do with a gimbal. There's also a tutorial with some OG Steadicam knowhow. And, of course, much more.
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1. Shoot Cinematic Interviews ... And Get Great Audio, Too
In the video above, from Indy Mogul, director of photography Casey McBeath offers ten steps for shooting interviews that are cinematically beautiful - even if you have to shoot them in dreary places.

Meanwhile, the video below, from Adorama, has tips for capturing pro audio during interviews.

2. Ten Things Not To Do with Your Gimbal 3. A Steadicam Expert Explains How to Move Your Camera
The video explains not only techniques, but the tools you'll need for great audio.
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4. Why Your Travel Videos Suck
5. How to Get a Super 8 Look ... With a Mirrorless Camera
Gimbals let you shoot pro-quality video, but like most everything else in this world, you can overdo it. This video from We Talk UAV spotlights 10 things things you shouldn't do, gimbal-wise. (Don't forget spare batteries!)
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7. Learn to Edit Video in 15 Minutes
8. How to Shoot a Short Film
9. How to Grow Your YouTube Channel
Dan Kneese is a Steadicam OG. In fact, he learned how to operate a Steadicam from Garret Brown, who invented the Steadicam. In this video from Indy Mogul, Kneece explains how to move your camera like a pro.
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10. Random Lessons Learned From Making Films
Here, YouTuber Thomas Alex Norman discusses three reasons why your travel videos aren't all you'd like them to be. Maybe they lack context. Or emotion. Or both.
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There are filters, pre-sets, and apps that will let you capture vintage-style Super 8 video. However, this video from FriendFilmsTheWorld shows how create a custom Super 8 look. Start by slowing down the frame rate.
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The "B" in B-roll doesn't have to stand for boring. In this video, YouTuber Daniel Schiffer shows how he shot a B-roll cooking sequence, from setup to post.
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Is it time for you to get serious about video editing? You can learn how in just quarter of an hour, promises this Fstoppers video.
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Ready to create a short film of your own? Get ready to storyboard! This video from James Matthews will get you started.
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YouTube channels can help you get your film out there. But it's no fun to have a YouTube channel with no followers. This tutorial from Video Influencers explores how to grow your audience.

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You can learn a few things making films. Here Swedish director David F. Sandberg ( Lights Out) offers up some of the filmmaking knowledge he's accumulated, in no particular order. Example: The more characters you have, the harder a film is to make.
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At top: a screen capture from How to Shoot Cinematic Interviews

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AI-AP | Motion Arts Pro " How To: Shoot Gorgeous Interviews in Ugly Places, Make Better Travel Videos, and More

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Shooting a documentary? Or a commercial video that includes interviews? You're good to go if you're working in a nice quiet, well-lit space. But guess what? That's not they way it always works. Today's round-up of filmmaking tutorials from around the web includes some advice on shooting beautiful interviews in hideous places.

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Human magnetism

For centuries, people have navigated the globe using instruments. But what if the Earth itself can help us feel our way?

Philip Jaekl

Impossible choices

Learning from his family, his animals and his work with tribal people, Gregory Bateson saw the creative potential of paradox

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'You wanna get rid of me?' When the time comes to move mom into assisted living | Aeon Videos

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During their weekly Sunday breakfast together, Ivy discovers that her octogenarian mother Riki is losing her memory. Soon after, Ivy decides that Riki would be better off moving out of the cozy Brooklyn apartment where she lives alone, and into an assisted living community in the Bronx, closer to Ivy's own home.

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Locals pioneer safer fishing alternatives to protect seas off Madagascar

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Was the video doctored?

The White House says no - unless you count speeding up action "doctoring."

The video, which was released by White House press secretary Sarah Sanders after a press conference held by President Donald Trump earlier this month, appeared to show CNN reporter Jim Acosta swiftly chopping down on the arm of a White House intern as he held onto a microphone while questioning Trump.

The episode was the latest chapter in Trump's contentious relationship with the reporters - particularly Acosta, whom he once called a "rude, terrible person" and an "enemy of the people." The president's animosity toward Acosta flared during when he and the reporter had a combative exchange during a press conference following the recent midterm elections in which Democrats won control of the House of Representatives.

Following the conference, the White House suspended Acosta's press pass. Press secretary Sanders released the video as proof that Acosta had behaved inappropriately. But as The Washington Post noted, an analysis of the released video showed that it had been manipulated to make Acosta's action look more aggressive than it had been in reality.

"A frame-by-frame breakdown by Storyful, a social-media intelligence firm that verifies media content, found that the edited video included repeated frames that did not appear in the original footage," noted The Washington Post. "Missing from the clip is Acosta saying, 'Pardon me, ma'am,' as he maintains a firm grip on the microphone and continues peppering Trump with questions," reported The Post in a separate story.

"The video has quickly become a flashpoint in the battle over viral misinformation, turning a live interaction watched by thousands in real time into just another ideological tug-of-war," added The Post. "But it has also highlighted how video content - long seen as an unassailable verification tool for truth and confirmation - has become as vulnerable to political distortion as anything else."

Following the release of the video, both Acosta and CNN filed lawsuits against the White House over the suspension of the journalist's press credentials.

"CNN is arguing that Acosta's First Amendment rights are being violated every day he is banned from White House grounds," noted CNN Business. "CNN is also asking for 'permanent relief,' meaning a declaration from the judge that President Trump's revocation of Acosta's press pass was unconstitutional. This legal conclusion could protect other reporters from retaliation by the administration."

On Friday, a federal judge ordered the White House to restore Acosta's press pass.

Other media organizations, including the National Press Photographers Association, condemned the White House's use of manipulated video footage.

"An administration that continually attacks the freedom of the press and labels their work 'fake news' cannot be allowed to flout the fundamental tenets of the First Amendment and the professional ethical standards for which the NPPA stands," stated the organization. "Any journalist caught manipulating a video in such a manner (or disseminating one created by someone else) would likely be terminated from employment. While we can appreciate that the press office's role is to provide information from the administration's point of view, this was misinformation intended to deceive the public and further erode trust and respect in the Fourth Estate."

Trump administration officials continued to defend the video, however. White House counselor Kellyanne Conway, known for coining the phrase "alternative facts," said the clip was merely "sped up."

"They do it all the time in sports to see if there's actually a first down or a touchdown," Conway said during an interview with FOX News. "I have to disagree with the overwrought description of this video being doctored as if we put somebody else's arm in there."

However, as HuffPost notes, another White House spokesman has declared that the video was not manipulated, directly contradicting Conway. President Trump has also said the video was not manipulated, despite evidence to the contrary.

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AI-AP | Pro Photo Daily " Follow-Up: Controversy Continues Over Video Manipulated By White House

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Was the video doctored? The White House says no - unless you count speeding up action "doctoring." The video, which was released by White House press secretary Sarah Sanders after a press conference held by President Donald Trump earlier this month, appeared to show CNN reporter Jim Acosta swiftly chopping down on the arm of a White House intern as he held onto a microphone while questioning Trump.

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What draws drummers out of their basements and singers out of their showers? What requires miles and miles of XLR cables and hundreds of microphones? Rockin'1000! The brainchild of rock-aficionado Fabio Zaffagnini, the event invites musicians of all experience levels, genders, sexual orientations, classes and creeds to jam out in Florence, Italy.

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Premium SMAPP Tutorials - Stillmotion Blog

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Premium SMAPP Tutorials 3 Over 1 Rule Transitioning from Photo to Cinema Being Present on a Shoot Lighting from a Suitcase Deconstructing the 4 Properties of Light Hold up......

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VIDEO TECHNIQUES
BEFORE YOU BEGIN
There are a few how-to-be-a-multimedia-journalist articles that are required reading for any aspiring new media journalist.

You aren't allowed pass GO and collect your $200 unless you take the time to familiarize yourself with these essential readings from the new media canon (according to us.)

The list is always growing and there are arguably many more entries that should be on this list. So if you feel we've missed something, let us know and we'll consider adding it to the list. In no particular order - as they're all equally important:

STAYING IN THE KNOW

Subscribe to the email newsletters for each of these sites. You won't be disappointed as they are the best in each respective discipline. I guarantee they'll keep you informed and updated on all the latest news, gear and best practices.

INTRODUCTION:
Let's start at the very beginning - a very good place to start!
People invariably make the same sets of mistakes when they first start shooting video:

Trees or telephone poles sticking out of the back of someone's head

Interview subjects who are just darkened blurs because there was bright light in the background

Boring shots of buildings with no action

Here are some shooting tips to help you avoid some of these common mistakes.

We recommend that you go out and shoot some video first, and then read through these tips while reviewing your footage to drive home what you need to avoid.

PLANNING YOUR SHOOT - Preparation is key

To prepare for the shoot - Write the story out before you begin production, do this by listing the elements both video and audio you want to gather to tell the story story.

Talk over your shoot with other members of the production team and make sure you're clear on what the story is and what shots you need to tell the story.

Think about what's going to look good visually, and how your shots are going to come together sequentially to tell that story.

So if you imagine that your piece is a skeleton, then the video and audio you shoot or record is the flesh that will cover the skeleton to show or tell that story.

CHECK YOUR AUDIO

Be sure to plug a set of headphones into the camera or recording device to check your audio - make sure you're getting an audio feed.

It's easy to forget to plug an audio cord into the camera or to properly set the audio level - and wind up with great video but no audio to accompany it. Audio is just as important for your final film as your video.
Finding the right Mic for your production.
SHOOT SELECTIVELY

Framing your shot image.

Think before you shoot and avoid over shooting. This will come in handy when you are editing or working with an editor. Be aware of what you're shooting and when the camera is recording. Don't record unless you're taking a shot.

For example, don't record when you're changing from one shot to another or focusing. Wait until you have the shot you want to record and then press record.

That way you'll save a huge amount of time later when you're capturing your video into a computer and you won't have to go through a hour-long footage to find the 20 minutes of shots you want.

And you'll save money by being strategic in the way you gather shots.

Consider the circumstances you are recording if you are in an event and you need to move fast - shooting accordingly.

SHUT UP WHEN YOU SHOOT

When you press the record button, shut up already!

Keep in mind that when the camera is rolling it picks up all the ambient sound, not just what you're focusing on. And you won't be able to separate the unwanted audio out in the editing process.

Don't talk while the camera is rolling, either to yourself or with other members of your team, and no humming or chewing gum.

This is especially important when you're shooting B-roll like natural sound, such as the noise of a busy street or a nature scene, where the sound is critical to the shot.

Also remember to not talk over your subject/participants response to your questions.

HOLD ON YOUR SHOTS

Hold your shots for at least 15 seconds, before you pan, zoom or go onto another shot.

That way you'll be sure you have enough video of a scene to work with later when you do your editing.

When you're starting out, silently count out the 15 seconds to yourself - "1,000 and one, 1,000 and two, 1,000 and three..." - to make sure you've held a shot long enough.

Remember that you can always take a 15-second clip and make it a 2-second clip during editing, but you can't take a 2-second clip and make it into a 15-second clip.

EXCESSIVE PANNING AND ZOOMING

Don't constantly pan from side to side or zoom in and out with the camera - hold your shots and look for the one moment that's really captivating.

If you're constantly panning and zooming, the one shot you'll really want to use will lose its impact with all the movement by the camera.

Instead start with a static, wide angle shot, and hold it for 15 seconds.

Then make your move to zoom in or pan, and hold the next static shot for an additional 15 seconds.

This will give you three usable shots - the wide-angle, the close-up and the zoom in between - to choose from in the edit room.

This is especially important for video you're using on a Web site because video with a lot of movement - such as what's created with panning and zooming - doesn't display well on the Web. Video clips need to be compressed to play on the Web, and that means if there's lots of movement in your clip - such as pans and zooms - it will appear choppy and slow.

Similarly, to get a close-up it's better to keep your camera set to a more wide-angle view and move the camera closer to the subject of your shot, than to have the camera farther away and zoom in for the close-up. A telephoto shot using the zoom feature will accentuate movement by the subject and make the shot appear shaky.

SHOOT IN SEQUENCES

This is especially true when shooting B-roll such as crowd scenes or nature shots, rather than a static shot of an interview with someone.

Remember that you will be determining what the viewer sees and how the story unfolds, so try to shoot discrete segments that you then can assemble into that story when you're editing.

Here's an example:

Think of different scenes, as in a movie. Each of those scenes is made up of sequences. In each sequence, you need to follow the action, and shoot wide, medium and close-up.

Say you want to capture a person arriving at work in the morning on her bicycle - that's one sequence. It could be made up of the following shots: the person pulling up to the building, getting off the bicycle, chaining the bicycle to the bicycle stand, taking off gloves, taking off her helmet, tucking gloves into the helmet, and walking into the building. Every little detail is important. You can't shoot enough details.

In fact, a good ratio to shoot for (literally) is 50 percent closeups and extreme closeups, 25 percent medium shots, and 25 percent wide shots.

It might break down like this: a wide shot of her arriving. A medium shot of her getting off the bicycle. A close-up of her pushing the front wheel of the bike into the bike stand. A close-up of her chaining the bike to the stand. An extreme closeup of her taking off her gloves. An extreme close-up of her eyes as she looks at her hands while she's taking off her gloves. A close-up of her taking off her helmet and tucking the gloves into it. A close-up of her straightening her hair and looking at the building. A medium and wide shots of her walking into the building with the helmet tucked under her arm.

Framing and Composing Your Shots

Be aware of composition in your shots and how you frame your shots, particularly with interviews.

For example, avoid a shot of a person with a plant or pole in back of them. It will look like the plant or pole is growing out of the back of the person's head.

This interview setup had a distracting plant coming out of the anonymous source's head.

When shooting interviews pay attention to your surroundings and don't be reticent or shy about rearranging furniture, moving things on a desk, pushing plants out of the frame of your shot,. etc. to improve the setting, or asking the subject of your shoot to change positions so you properly frame the shot.

And if you're having technical problems, don't be afraid to take charge and stop the interview until you can properly set up the shot.

HEADROOM AND NOSEROOM

Leave the proper amount of noseroom and headroom in front of and above the person you're shooting.

For example, don't have a shot where there's excessive empty space above a person's head. That's just dead space. There should be just a little room above a person's head in a shot.

It's better to have that room below the person's face, space you then could use when you're editing the video to add a title with the person's name.

But don't have the shot too low where you crop the top of the person's head.

And if you're shooting a person standing, don't chop them off at the knees - get their entire body in the shot..

One approach is the rule of thirds:

one third of the frame should be above the person's eyes

one third of the frame should be the person's face and shoulder area

one third of the frame should be the person's lower torso.

And if the person is looking to the side, add space in the direction in which the person is looking, in front of their nose.

DEPTH OF FIELD

Be aware of ways to increase the sense of depth within your shot, since video images are inherently flat.

If you're shooting someone, try to include other objects in the background or foreground that give the viewer a sense of depth. That way the interview subject won't appear to be just a two-dimensional object on the screen.

Also remember that a wide angle shot will provide a much better depth of field than a telephoto shot where you've zoomed in on your subject.

How Lens Change the Depth Perception

The focal length of the lens not only changes the angle of view, but also affects the foreground-background relationship. When zoomed in from afar, the background will appear compressed with the foreground, and a wide angle will make the background appear farther away. This phenomenon is called Perspective Distortion.

CHANGE ANGLES AND PERSPECTIVES

Try to change point and/or angle of view after every shot. Look for interesting perspectives.

Don't shoot everything from eye level - it's boring.

Especially try shots where you hold your camera close to the ground and shoot up toward your subject. The small size of digital video cameras makes these shots very easy to take.

For example, if you're shooting a scene like people walking on a sidewalk, hold the camera low to show their feet moving, rather than straight-on shots of their faces.

Or if you're shooting someone working at a computer terminal, take one shot from over their shoulder, then another that is a close-up of their hands and fingers using the keyboard and mouse, then a shot from over the person's other shoulder, then a low angle shot looking up at them and then a facial shot.

Or hold your camera above your head to get a different perspective on a scene.

Do a close up shot, because that often provides a more intimate view of a person. This is especially important with video on the Web, because the video viewers use small windows and wide-angle shots won't display much detail.

Don't just rely on zooms to get these different perspectives - move the camera closer or farther away.

If you take shots from these different perspectives, when you edit your video you'll be able to put together a sequence of 4- or 5-second shots of your subject, rather than one 20-second shot from a single perspective.

GET PEOPLE IN YOUR SCENES

Try to get people in your shots, which almost always makes the video more interesting.

Don't do a static shot of the front of a building - try to include people walking in and out to animate the scene.

TRIPODS FOR STEADY SHOTS

Use a tripod to get a steady shot, particularly if you're shooting something that is not moving or a formal interview.

If you don't have a tripod or you're doing a shot where you'll have to move quickly, then find something to steady your camera - i.e. lean against a tree, put the camera on top of a trashcan, etc.

If you must shoot without a tripod or other support, shoot a wider angle shot. The wider the focal length, the steadier the shot.

ANTICIPATE ACTION

Anticipate action by trying to predict where the subject/action will go, and then be ready to shoot it when it moves into the frame of your shot. Think ahead and get positioned for the action that's to come.

Let action happen within the frame. Don't constantly move the camera in an futile attempt to catch everything.

And don't be afraid to allow your subject to move out of frame, rather than trying to follow them with your camera.

This is especially important if you're taking a shot of a person who is walking and then later another shot of the person sitting down.

If you follow the person while they walk with your first shot and always keep them in frame, and then cut to second shot of the person sitting down, it can create a mental disconnect for the viewer as to how the person got to the second position.

If instead you show them walking out of the frame in the first shot, then it's logical to the viewer that the person would be seen in the next shot sitting somewhere else.

Vimeo post on framing and composition.

INTERVIEWS

Ask the person you're interviewing to look at you, not at the camera.

Try to avoid a straight-on shot - shoot the person from a slight angle to the left or right.

Don't use the zoom feature to get a close-up shot of the person - that accentuates movement. Instead, move the camera a little closer to the subject.

Don't have your interviewee sit in a chair with wheels or that squeaks.

And watch out for nervous activity that creates noise - like someone jangling change or keys in their pocket. Stop your shoot, point it out to them, and then start shooting again.

Don't do a pre-interview off camera where you tell them the questions you'll be asking beforehand. It makes them sound stilted and canned in their responses when the real interview begins. Just give them a general idea of what you'll be discussing.

When you start the interview, have the camera roll for a few seconds before you ask your first question.

And during the interview, relax and listen. Don't nod or make gestures.

SIT - DOWN INTERVIEWS

When doing a sit-down interview with a subject where the reporter will be asking questions of the person, start with a set-up shot from behind and to one side or the other of the reporter that focuses on the person talking while the questions are asked.

Because this shot will show the person at an angle, leave extra room in the shot in the direction the person is looking (rather than centering the person in the middle of the frame).

Then do a wider angle shot from the same position that includes the reporter while the subject of the interview is responding to a question.

Finally, move your camera to get a frontal shot of the reporter listening to the person - which is called a reverse shot or cut-away. This is shot from behind the person being interviewed. And again get both a close-up and a wider angle shot.

It's important that in this reverse or cut-away shot, you position the camera on the same side of the room as it was when you did the first shot from behind the reporter.

So visualize that there's an axis that runs from the interviewee to the reporter. When you are taking your first shot from behind and to one side of the reporter, stay on the same side of that axis when you move the camera to do the front-on shot of the reporter.

You generally do not film the reporter actually asking the questions - just the answers of the interviewee and/or the reporter listening while the questions are answered.

MICROPHONES

If you're using a hand-held microphone, you usually should hold it about 5-6 inches below the interview subject's mouth.

Don't hold the mic right in front of the person's mouth, but slightly off to the side and tilted toward the mouth. This will help avoid picking up "popping" noises from a person's lips as he/she speaks.

Tell the interview subject to try to ignore the mic and concentrate on the camera.

If it's noisy, then use a lavalier clip-on microphone to reduce the ambient sound.

But watch for necklaces or chains on a person's neck, or buttons on a shirt, that could rub against the lav mic and create noise.

With a lav mic, you'll need to "dress the mic" - properly attach it to the person you're interviewing

Ask the person to run the cord to the lav mic up the inside of their shirt (so the wire won't show in your video).

Then clip the mic to the outside of their shirt, about 5-6 inches below their mouth. Try to center the mic as much as possible. If you have it too far to one side, it won't pick up the audio well if the person then tilts his/her head to the other side while talking.

Use this same procedure if the person is wearing a t-shirt, running the cord up under the shirt and clipping the mic near the top of the shirt.

If the person has a necktie, run the wire down the back of the necktie and through the little label on the bottom back of the necktie.

If it's windy, the lav mic will pick up the sound of the wind. In this case try to clip the mic closer to the person's mouth, or switch to a hand-held microphone with a windscreen on it that muffles the noise of the wind.

AVOID HIGH CONTRAST IN LIGHTING SITUATIONS

Avoid shots of areas that have high contrast such as dark versus light settings, or bright sunlight and shadows.

For example, don't place an interview subject against a bright window or white wall or with sunlight behind the person.

This back light is problematic for the automatic exposure feature of the camera. If the camera focuses on the light in the background, then the face of the subject will be darkened and indistinguishable. If the camera focuses on the person's face, then the background will be washed out in light.

It's usually best to shoot with the sun to your back.

If the sun is directly overhead, hold your hand over the top edge of the camera lens. This will in effect extend the sun screen and avoid having the camera misread the amount of sunlight.

CHECK WHITE BALANCE

White balance has to do with differences in color caused by the intensity or "temperature" of light and how a video camera compensates for these differences in color.

Sunlight is rarely pure white, but rather takes on different shades, such as a yellow or orange tinge at sunrise and sunset, or a blue tinge in a shaded area. Sunlight also has a different color temperature than artificial light.

Digital video cameras usually come with an automatic white balance meter that essentially tells the camera which intensity of the color white is in the picture, and the rest of the colors in the spectrum are adjusted accordingly to make the video look as natural as possible.

But there are cases where a video camera may misconstrue the intensity of the lighting because it is measuring the general intensity of the light it sees at the spot where the camera is located rather than the intensity of the light at the location of the subject of your shot.

The result is either a blue or orange tint to the video you shoot.

For example, if your camera is in bright light, but the subject of your shot is in the shade, the camera will be reading the light as more yellow in tone because the camera is in yellowish sunlight. The subject of your shot thus will come out looking slightly blue, because the subject is actually lit by bluish shade light.

Or your camera may be in a room where the intensity of the light is from an artificial source like fluorescent lamps, but your subject is next to a window and in sunlight. In this situation you also will have a white balance problem.

To fix this, you need to hold up a piece of white paper next to the subject of your shot, and then zoom the camera in on that white paper. Then push or select the white balance button on your camera to set the proper white balance at the position of your subject.

The camera essentially is forced to look at a true white color at the location of the piece of paper, and then balance the rest of the color spectrum around that true white that it sees.

Video cameras also usually come with white balance pre-sets, such as artificial light or natural sunlight.

MANUAL EXPOSURE

The auto exposure on digital video cameras is generally very good at setting the correct lighting. And most difficult lighting situations should be solved first by changing the position of the camera or the subject - such as not shooting into direct sunlight.

But there are occasions when you'll need to manually adjust the exposure on your camera.

One example is on a bright day where there's lots of movement and light contrast in front of your camera, such as buses passing by with large billboards on their sides that reflect the bright sunlight. The camer then will open and close its exposure in response to these changes.

Or if you have to take a shot of a person from a certain angle, and there is bright light behind the person.

In these cases, aim your camera at the light setting you want for your shot and then switch from auto to manual exposure.

For example, if you're shooting an interview with someone, zoom in on the person's face, hold the shot there and then switch from auto to manual exposure.

The camera then will retain or lock in whatever setting you selected throughout your shoot, despite any changes in the lighting.

GET ALL THE SHOTS YOU NEED

Make sure you get all the requisite set-up shots, cut-aways, and so on, even if you don't think you'll use them. They may come in handy in the edit room.

So start with an establishing shot - such as video of the person who is the subject of your story - and then remember to get the other kinds of shots you may use to supplement that in your final film.

The latter is called B-roll, which refers to the earlier days of film when you had two rolls of film - A and B - and you had to edit them together.

A-roll is the main subject of your shot, invariably with audio such as an interview with someone. B-roll is the background video for your film, often just video over which you'll lay an audio track (such as the person talking in the A-roll). So don't forget to shoot a variety of B-roll.

Another type of shot to look for is natural sound (called "nat sound"). This is film that has some natural background noise - traffic on a street, birds chirping in a park, etc. This audio can add depth and impact to a two-dimensional video footage.

Labeling and organizing your footage for post-production is of the utmost importance

Ingest the cards CF/SD cards onto your drive.

Make sure to make a copy of the footage for safety and redundancy.

Put footage in individual folders labeled by day and subject matter.

(JOHN SMITH RODEO PIECE) >

(CARD 1_Day 1_10_5_16) >

(VIDEO John Smith, 10_5_16_Day in life of RODEO KING)

(AUDIO John Smith, 10_15_16_Day in life of RODEO KING)

(Card 1_Day 2_10_12_16) >

(VIDEO John Smith, 10_12_16_Preps for Rodeo Competition)

(AUDIO John Smith, 10 12_16 Preps for Rodeo Competition)

Video - make sure to keep the video and audio that correspond together for the same shoot together in the same folder so it will make it easier to sift through when you start working with it in post-production. Audio
When you are doing a shoot that requires more than one CF/SD card, be sure to label each CF/SD card at the scene. And pick a label that will make it easy to identify later.

There's nothing more frustrating that starting to edit and not knowing which CF/SD card folder is of which shot or what is in each CF/SD card folder.

You can shift the little white switch on a CF/SD card from record mode to save mode to help you stay organized. Once you move that tab you know that card is full and you can move on to the next card to use for filming.

ABOUT THIS TUTORIAL

This tutorial is based on lectures of Richard Koci Hernandez, and formerly Ellen Seidler at the UC Berkeley Graduate School of Journalism. It was written by Paul Grabowicz and edited by Pamela Reynolds and Richard Koci Hernandez and Manjula Varghese.

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BEFORE YOU BEGIN There are a few how-to-be-a-multimedia-journalist articles that are required reading for any aspiring new media journalist. You aren't allowed pass GO and collect your $200 unless you take the time to familiarize yourself with these essential readings from the new media canon (according to us.)

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Try to Keep Up With America's Oldest Female BMX Racer

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Kittie Weston-Knauer loves a challenge, so best not get in her way. She started BMX racing at 40 years old, initially competing against men and later working with the sport's sanctioning bodies to create a women's cruiser division. Now 70 years old, "Miss Kittie" feels like she wins every time she gets out on that track ...

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This Punk Rock Collective Is Straight Metal

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The One Love Machine band are a scrappy crew. They have an affinity for punk rock, and members of the band play the bass, drums and flute. Oh, and they're all robots. The band is made up of scrap metal animatronics, created from salvaged junk from scrapyards around Berlin.

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From the US to China and back again by age six. Why 'satellite babies' struggle | Aeon Videos

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Amid skyrocketing living costs in New York City, many Chinese Americans are choosing to have relatives abroad care for their children until they're old enough to attend school. The financial logic is sound, but what's the emotional toll on a child raised between two worlds?

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I have spent three years collecting accounts and examining how survivors and families have coped since that traumatic event. I document the lingering pain, to resist public forgetting and indifference. Hundreds of photographs bear witness to the broken windows, scorched facades, and environmental contamination, attesting to the mass destruction and disruption of the private spaces that were once called home.

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Higher and Higher: Bringing Chinese Rap to the World Stage

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Straight outta Chengdu, China, the Higher Brothers are making Sichuan hip-hop a global sensation. It all started when the four friends spent a winter holed up in a tiny bedroom writing songs about their beloved childhood cartoon, "Haier Brothers."

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In 2011, a college student named Obed Tiony took a break from his studies in Economics at Shanghai University to go for a run. He registered for a half marathon in the nearby city of Suzhou, ran the race, and came in second. Tiony had arrived one month earlier from his home in Eldoret, Kenya, the hometown of many of his country's best athletes. The race gave out cash prizes and Obed pocketed 10,000 RMB (roughly U.S.$1,500).

In the years since, China has seen a surge of enthusiasm for marathons and other running events. According to the Chinese Athletic Association (CAA), which is the national sport association administering athletics, in 2017 Chinese cities hosted more than 1,000 large-scale road and cross-country races. While China still has far fewer competitive runners than the U.S. (where almost 17 million people finished road races in 2016), the number of Chinese racers has risen dramatically, from 400,000 in 2011 to 4.98 million in 2017-a phenomenon that Chinese media call a " marathon fever." Tiony, now a graduate student in International Finance, couldn't enter every race himself, but three years after his initial run he found he could still enjoy a share of the marathon fever's spoils.

Sports in the People's Republic of China have long been the domain of the Chinese state, which views the prowess of its athletes as emblematic of the strength of the nation, and of the party that rules it. But after a decades-long focus on Olympic glory, in 2009 the Chinese government began to more actively promote sports for ordinary people. The State Council issued "National Fitness Regulations" encouraging all citizens to participate in physical activity, and made August 8 a "National Fitness Day." Growing numbers of middle class Chinese people had time to exercise, and many of them began to run. But China still hasn't abandoned its zest for record-breaking and international competition; the rise in recreational running has only created more opportunities for organizers of Chinese races to measure themselves against the world.
(Graphic by Muyi Xiao via Google Charts. Data from CAA.)
This is where Tiony, who goes by the Chinese name Ou Chen, comes in. Cities across China (not unlike cities elsewhere) want the prestige and lucrative endorsements that good finish times bring. To help burnish their races' reputations, they need to recruit fast runners-and Kenya dominates the sport. So, Tiony works as an agent-or as he puts it, "the Black Broker"-for some 300 runners from Kenya and its neighbor Ethiopia. Tiony's is a profession that exists everywhere in the world where Kenyan runners want to compete for lucrative prizes, but China's road-racing market, with its explosive, sudden growth, is, Tiony says, an especially strong draw for runners who hope to make a living winning prize money.

Many runners from Africa, especially those who are not yet the most successful, find it to be a lot harder to get visas to compete in races in the U.S. or Europe than they do in China, where restrictions are looser and some runners just come on tourist visas (which is technically not allowed, but many do without issue). This, says Tiony, presents opportunities for less-established African runners who might be ineligible for races elsewhere. The main hurdles in China are logistical and linguistic, and Tiony says that many runners he knows mistrust Chinese agents and prefer to work with someone from home. They pay him a cut of their winnings. Tiony says Chinese agents often take money from race organizers looking to recruit foreign faces to their lesser-known cities. "The cities, they hold races because other cities do," he said, "So it'll look like this society is really healthy, but it isn't."

Still, it might be getting healthier. Filmmaker Guo Rongfei heard about Tiony while researching China's booming marathon market. "All of sudden," she says, "lots of my friends are running."

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The number of Chinese racers has risen dramatically-a phenomenon that Chinese media call a "marathon fever." Obed Tiony, a Kenyan studying at Shanghai University, works as an agent for some 300 runners from Kenya and its neighbor Ethiopia.

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In 2011, a college student named Obed Tiony took a break from his studies in Economics at Shanghai University to go for a run. He registered for a half marathon in the nearby city of Suzhou, ran the race, and came in second. Tiony had arrived one month earlier from his home in Eldoret, Kenya, the hometown of many of his country's best athletes. The race gave out cash prizes and Obed pocketed 10,000 RMB (roughly U.S.$1,500).

In the years since, China has seen a surge of enthusiasm for marathons and other running events. According to the Chinese Athletic Association (CAA), which is the national sport association administering athletics, in 2017 Chinese cities hosted more than 1,000 large-scale road and cross-country races. While China still has far fewer competitive runners than the U.S. (where almost 17 million people finished road races in 2016), the number of Chinese racers has risen dramatically, from 400,000 in 2011 to 4.98 million in 2017-a phenomenon that Chinese media call a " marathon fever." Tiony, now a graduate student in International Finance, couldn't enter every race himself, but three years after his initial run he found he could still enjoy a share of the marathon fever's spoils.

Sports in the People's Republic of China have long been the domain of the Chinese state, which views the prowess of its athletes as emblematic of the strength of the nation, and of the party that rules it. But after a decades-long focus on Olympic glory, in 2009 the Chinese government began to more actively promote sports for ordinary people. The State Council issued "National Fitness Regulations" encouraging all citizens to participate in physical activity, and made August 8 a "National Fitness Day." Growing numbers of middle class Chinese people had time to exercise, and many of them began to run. But China still hasn't abandoned its zest for record-breaking and international competition; the rise in recreational running has only created more opportunities for organizers of Chinese races to measure themselves against the world.
(Graphic by Muyi Xiao via Google Charts. Data from CAA.)
This is where Tiony, who goes by the Chinese name Ou Chen, comes in. Cities across China (not unlike cities elsewhere) want the prestige and lucrative endorsements that good finish times bring. To help burnish their races' reputations, they need to recruit fast runners-and Kenya dominates the sport. So, Tiony works as an agent-or as he puts it, "the Black Broker"-for some 300 runners from Kenya and its neighbor Ethiopia. Tiony's is a profession that exists everywhere in the world where Kenyan runners want to compete for lucrative prizes, but China's road-racing market, with its explosive, sudden growth, is, Tiony says, an especially strong draw for runners who hope to make a living winning prize money.

Many runners from Africa, especially those who are not yet the most successful, find it to be a lot harder to get visas to compete in races in the U.S. or Europe than they do in China, where restrictions are looser and some runners just come on tourist visas (which is technically not allowed, but many do without issue). This, says Tiony, presents opportunities for less-established African runners who might be ineligible for races elsewhere. The main hurdles in China are logistical and linguistic, and Tiony says that many runners he knows mistrust Chinese agents and prefer to work with someone from home. They pay him a cut of their winnings. Tiony says Chinese agents often take money from race organizers looking to recruit foreign faces to their lesser-known cities. "The cities, they hold races because other cities do," he said, "So it'll look like this society is really healthy, but it isn't."

Still, it might be getting healthier. Filmmaker Guo Rongfei heard about Tiony while researching China's booming marathon market. "All of sudden," she says, "lots of my friends are running."

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The number of Chinese racers has risen dramatically-a phenomenon that Chinese media call a "marathon fever." Obed Tiony, a Kenyan studying at Shanghai University, works as an agent for some 300 runners from Kenya and its neighbor Ethiopia.

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Born this way: the Mexican town where gender is fluid | World news | The Guardian

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Born this way: the Mexican town where gender is fluid | World news | The Guardian

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Born this way: the Mexican town where gender is fluid

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In Juchitán, Mexico, muxes - children identified as male at birth, but who choose at a young age to be raised as female - are embraced as part of the community

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What Is Prison Like for Women and Girls? | The Marshall Project

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What Is Prison Like for Women and Girls? | The Marshall Project

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For the past few years, America has started to take a closer look at our soaring prison population. Decades of tough-on-crime policies mean we now incarcerate 2.3 million people - the highest rate of imprisonment in the world. And who are the fastest-growing group of prisoners in the U.S.? Women and girls.

The U.S. makes up just 5 percent of the global population, yet nearly one-third of all the female prisoners in the entire world are here in America.

There are more than 200,000 women and girls incarcerated nationwide, a number that has increased by more than 700 percent since 1980. Men still make up the vast majority of inmates, but women in prison face unique challenges. Most are mothers. Prisons limit or charge money for basics like tampons and pads. Women are also more likely to be sexually assaulted, particularly by guards.

To hear these stories, Teen Vogue and The Marshall Project sat down with Ayana Thomas and Sarah Zarba, who were both formerly incarcerated; Kyndia Riley, a student whose parents have been in prison since she was a toddler; and U.S. Sen. Cory Booker, a Democrat from New Jersey who introduced legislation this summer to ease some of the burdens for women in federal prisons.
Parenting from Prison
In this first video, women talk about struggling to stay in contact with their families while behind bars.

Many studies have shown that prisoners who maintain close contact with family do better once they are released and have lower rates of returning to prison. Kyndia Riley, whose parents both went to distant federal prisons when she was 2 years old, never got to have a real relationship with her parents. Phone calls were expensive, and money was tight, so Riley's visits became increasingly rare. As a young girl growing up, she would purposefully get herself in trouble, thinking it would get her arrested so she could finally reunite with her parents.

About 60 percent of women in state prisons have children under 18. Ayana Thomas missed out on mothering her children over the two and a half years she spent locked up. She was living in Virginia, but served her time at a facility in Connecticut. She says that even when her children could visit, they weren't allowed to embrace or hold hands for long before a guard would break them apart. (For security reasons, many prisons limit physical contact during visits.)
The Needs of the Incarcerated
In this video, the women explain how prison fails to meet both basic and complex needs.

When women spend money on basic necessities like tampons and pads, it takes away from savings that could be spent on in-person visits. And because incarcerated people make very little hourly at their prison jobs, they depend on their family and friends for the money to buy what they need. Kyndia Riley sent her mother money to help her buy supplies - but that meant there wasn't money to travel to see her mom.

Sarah Zarba was addicted to heroin when she was sent to jail, which did not help her with withdrawal symptoms. Getting off heroin can be dangerous. The number of people who have died from this is not tracked, but media reports show there have been at least 20 lawsuits filed between 2014 and 2016 that claim a prisoner died due to complications from opioid withdrawal.

Zarba was also surprised by how few female officers worked in the jail, and says that male staff looked at her when she was changing or using the bathroom. Often referred to as "cross-gender supervision," men guarding women, as well as women guarding men, is supposed to be limited under existing laws, and yet it continues. About half of women coming into prison or jail have already been the victims of sexual abuse, and too often that abuse continues. Females are the victims of one-third of all sexual abuse cases committed by prison staff, despite making up just 7 percent of the prison population.
Returning to Society (or Picking up the Pieces)
In this video, the women speak about the obstacles people getting out of prison must surmount.

When Ayana Thomas was released, her house had been foreclosed on, so she went to a shelter with her two kids. There are about 65 million Americans with a criminal record, which often carries with it restrictions on employment, education, and housing. According to the American Bar Association, there are about 40,000 such barriers across the country for people with previous convictions.

But even when people are upfront about their past, the stigma of a conviction is difficult to overcome. For Sarah Zarba, it meant getting turned down again and again for jobs, including by one employer who Googled her name after she applied for a job in medical billing, a skill in which she had received training. She was asked to leave to protect the patients.

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What Is Prison Like for Women and Girls?

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The Marshall Project teams up with Teen Vogue to listen.

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Great Big Story : Why We Were Forced To Play The Recorder

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Great Big Story : Why We Were Forced To Play The Recorder

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Most of us don't have fond memories of playing the recorder. Admit it, you never picked it up after your last elementary school music class session. Well, here's the story behind the high-pitched musical instrument.

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Great Big Story : How a Father-Son Duo Turns Trash Into Transformers

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Great Big Story : How a Father-Son Duo Turns Trash Into Transformers

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How a Father-Son Duo Turns Trash Into Transformers

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In 2010, Chinese farmer Yu Zhilin and his son Yu Lingyun opened up their own metalworking shop in the country's Hunan Province. Inspired by the futuristic robots from the movie "Transformers," the pair began fashioning original statues from scrap metal.

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Great Big Story : Summiting Mountains Without Sight

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Great Big Story : Summiting Mountains Without Sight

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Scaling the world's tallest mountains is a feat in and of its own-doing it while blind is extraordinary. Erik Weihenmayer is the first blind rock climber to summit the tallest peak in every continent, Mount Everest included. At a young age, Weihenmayer was diagnosed with retinoschisis, a rare eye disease that left him sightless by age 13.

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The Hotline for Hollywood's Science Nerds

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Fun fact of the day: "Iron Man," "Star Trek" and even "Batman vs. Superman" have plenty of real science behind them (no, really!). We tracked down the team that's responsible for making sure that your favorite superhero movies have the hard science to back them up. Mission: Possible.

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Great Big Story

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Mysterious Places Stuck in Time, Curated by Lonely Planet

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We got together with our friends at Lonely Planet to curate a travel reel featuring the creepiest abandoned places on Earth, just in time for Halloween. Join us as we tour California's most haunted mansion, explore the lush greenery amid crumbling buildings on an abandoned island, and do our best to avoid the curse of Mexico's doll island.

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Gun nation: a journey to the heart of America's gun culture - video

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A revealing and unsettling journey to the heart of America's deadly love affair with the gun

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I Married a Beautiful Ukrainian Woman and So Can You | ChinaFile

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I Married a Beautiful Ukrainian Woman and So Can You | ChinaFile

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Mei Aisi owes his business to his Internet celebrity, and his celebrity to his wife. Before he met her, Mei, a working-class native of the northern Chinese city of Chengde, didn't have much going for him. He'd scored poorly on China's college entrance exam and his prospects at home seemed dim. But after he followed a friend on a whim to Ukraine, he eventually managed to secure a place for himself in a fine arts program in Kharkiv, Ukraine's second-largest city. He found work as an animator and then started his own businesses, running a Chinese restaurant and then an import-export company. A decade later, he met Daria, a willowy blond Ukrainian, then just 16 and 12 years his junior. He began posting about their romance on a Chinese Internet forum for car enthusiasts.

By the time the two married, two years later, Mei was being heralded across the Chinese Internet as an avatar of China's version of revenge of the nerds, diaosi nixi, "the losers strike back." The expression can apply to all manner of triumph by self-identifying social rejects-striking it rich, excelling in their careers-but Mei's marriage enjoyed a special stature, born of a distinctively potent, distinctively Chinese brew of historical victimhood, racial insecurity, and sexism. When Chinese women marry non-Chinese men, they can be labeled traitors. When Chinese men marry non-Chinese women, they are heroes. The reasons for this double standard are complex. China's population is both aging and, in large part because of the one-child policy, men now outnumber women 117 to 100. This worries Chinese leaders who have been beating the drum for traditional marriage and childbearing ever more frantically in recent years. State media even publish stories celebrating the ingenuity of Chinese men who venture abroad to secure a wife.

But there is a cultural dimension of Mei's fame as well: beginning during the years of acute imperial decline in the late 19th century, many Chinese nationalists, enamored of racialist justifications for colonialism in the West, internalized the notion that China owed its diminished stature to deficiencies of masculine vigor. For many Chinese men, the conquest of a Caucasian woman is an antidote to this still-pervasive anxiety and a trophy conferring on her husband not only the ability to continue to his Chinese family line, but also signaling his prowess, his triumph over history. "You bring honor to the Chinese nation by marrying a foreign woman and advancing our genes," one of the tens of thousands of Internet users who followed Mei's story enthused. "I hope you have a good life and make more babies."

When Chinese men began writing to Mei to ask how they too could meet and woo Ukrainian women, Mei says he "realized there was really a market for this," and that is how in 2016 he came to found the "high-end" matchmaking service known as the Culove Dating Club, to introduce Chinese men like him to women like his wife. "High end" doesn't come cheap. According to its website, Culove charges its Chinese clients more than U.S.$10,000 for a single "dating event" with 30 Ukrainian women, or U.S.$15,000 for "membership," the benefits of which include eight one-on-one dates.

Twenty-four-year-old filmmaker Zong Ming heard about the club and suspected Mei was running what amounted to an upscale prostitution ring in a country that, particularly in recent years, has been plagued with human trafficking. In May, she traveled to Ukraine for five days to investigate for Arrow Factory Video, which is part of the business and tech site Jiemian News. She found a somewhat more complex picture. While none of Mei's male Chinese clients allowed themselves to be shown on camera, Mei himself is unabashed about his enterprise. He sees himself as helping timid Chinese men rise above marriages negotiated in purely material terms and giving them the tools to pursue romantic love. And the women he recruits with his Ukrainian sister-in-law told Zong in interviews they were interested in Culove's clients not only for their money, but because they found their personal qualities more appealing than Ukrainian men's. Mei has plans to expand to Belarus and Russia, and associates the business with "One Belt, One Road," the Chinese government campaign to expand national infrastructure for trade.

Clearly, though, rail lines and deepwater ports are not the kind of infrastructure that interests Mei the most, and there is much to find disquieting in Zong's footage of him scouring the streets of Kharkiv for "dates" for his clients. As the film closes, Zong films Mei's young daughter toddling across the manicured lawn of a walled garden; one can't help but wonder what she will someday make of everything her father is so proud to have achieved.

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I Married a Beautiful Ukrainian Woman and So Can You

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Mei Aisi owes his business to his Internet celebrity, and his celebrity to his wife. Before he met her, Mei, a working-class native of the northern Chinese city of Chengde, didn't have much going for him. He'd scored poorly on China's college entrance exam and his prospects at home seemed dim.

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Animation in video

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When working on this project, I was deeply inspired by the dynamics of motion and philosophy of Kung Fu. Visualizing the invisible is always fascinating, and motion visualizations have been created even in pre-digital times with light, photography, costumes or paintings.

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Skiing as sport is in it's infancy in China, a phenomenon of the country's exploding middle class. As a means of survival, however, it is thousands of years old, a stone age hunter-gatherer technology born in the Altai mountains where China, Mongolia, Kazakhstan and Siberia merge.

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This is the final resting place of your cast-off clothing | Aeon Videos

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When people in the West throw their clothes away, their cast-offs often go on a journey east, across the oceans, to India's industrial interior. From the Kutch District of western India to the northern city of Panipat, garment recyclers turn into yarn the huge bales of clothes that come from people and places distinctly strange.

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A classic film on communication finds renewed meaning in the age of memes and emojis From personal email and texts to Facebook, Twitter and the like, the last several decades have seen an unprecedented influx of new means of human-to-human communication.

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Great big story

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Bernie Krause has been recording wildlife sounds, or "soundscapes," for over forty years. He's amassed the largest archive in the world, and in doing so, can chart how wildlife sounds have changed over the course of climate change. Listen for yourself: the rising silence speaks volumes.​

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Great big story

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The Eyes Have It: India's Ancient Art of Kathakali

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Kathakali is a traditional Indian dance native to the southern state of Kerala. To perform it, artists deck out in elaborate costumes and colorful makeup to tell stories from Hindu epics. It takes students nearly 12 years of training to learn the choreography and gestures necessary to Kathakali. But the real trick?

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Great big story

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Turns out, your old cash has a very green afterlife. When money gets too old and worn out for circulation, it gets sent back to the Federal Reserve to be shred and turned into ... compost? Yep. Million-dollar compost. Money may not grow on trees, but trees can grow from money.

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In Scotland, folk songs serve as memories, of places and the dead who once inhabited them. Exploring the theme of change, When the Song Dies seeks to bring the audience under the captive spell of the old ways. Featuring a range of contributors, the film is a poignant reminder that the dead linger on, all around us, in the houses and landscapes we live in, and in the language and music of our culture.

Director: Jamie Chambers

Producer: James Barrett

Make a donation

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Forgotten songs and memories: Scottish folklore is on the brink of being lost | Aeon Videos

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In Scotland, folk songs serve as memories, of places and the dead who once inhabited them. Exploring the theme of change, When the Song Dies seeks to bring the audience under the captive spell of the old ways.