$5.00 US MUSIC VIDEO 101 Home Camcorder Production Copyright © 1993 - 2006 Timothy Dwelle. All Rights Reserved. All Rights Reserved. No Part Of This Publication May Be Reproduced Or Distributed In Any Form Or By Any Means Without The Prior Written Consent Of The Publisher. Published In The U.S.A. By DASH Entertainment Productions, Inc. This e-Book was published in January 2001, and includes all text, graphics, and photos from the 1993 booklet. Click on the links to open a Web page TIMTV.com http://www.
E-mail: webmaster@timtv.com Correspondence: TIMTV P.O. Box 2251 Douglasville GA 30133 Visit the Music Video 101 Update 2006 Web page New information, and video production links! http://www.timtv.com/update2001 Special thanks to the following companies for providing photographs: JVC Panasonic Sony Newtek-Video Toaster In 1986, the original Music Video 101 was written about in Billboard magazine (September 13), and USA Today (Today’s Tip-Off, Life section, October 2).
About The Author... Since 1981, I’ve done a little bit of everything in broadcast video production: Camera Operator, Director, Producer, Scriptwriter, Editor, Lighting Director, VCR Field Operator, Audio Mixer, Grip, Tele-prompter Operator, Video Assist Operator, Dolly Operator, Grip Truck/Van Driver, and Voice-Over Talent. My career began in April 1981, when I graduated with honors, from the Music Business Institute in Atlanta.
a nationally-syndicated show called Halloween Thriller. “HT” featured Mr. Price as host, a magician, and music videos. Visit http://www.timtv.com to see the Greatest Hits & Photo Gallery from my television career. Visit my Web site and watch my video clips, courtesy of YouTube and Google Video. For fun, I enjoy the beach (any beach!), and playing basketball, golf, and several musical instruments.
Table Of Contents CHAPTER 1 - THE LEAST EXPENSIVE METHOD The Difference Between Film And Video Major Music Video Costs Home Camcorder Connection List: Seven Requirements For The Least Expensive Method Requirement 1 - A Camcorder And Blank Videotape Camcorder Audio Input Rental Options Earphone Jack Camcorder Defined Record Times For Different Tape Formats Pickup Tubes Power (AC Or Battery) Fade Options Credits Auto/Manual Focus Control Zoom Iris Control Care Of Tape Stock Requirement 2 - A Camcorder Operat
(Diagrams) Shooting Inside A Room (Diagram) Building An Outdoor "Room" Plastic Sheeting Plastic Garbage Bags Balloons Styrofoam And Cardboard Producer And Director Defined CHAPTER 2: PRE-PRODUCTION PLANNING FOR SHOOTING AND EDITING How To Find An Editing Facility The Easiest Approach Editing Visuals In Sync With Vocals And Music "Source Footage" And "Take" Defined Reference Audio Audio For Scenes Before And/Or After The Song Stereo Master Audio Countdown Reference Audio Playback Audio Playback Operator Prod
Take Sheet Slate After The Shoot Checklist For The Shoot Blank Take Sheet Form CHAPTER 4: BASIC EDITING Video-Only Insert Edits Cuts-Only Editing Frames Per Second (FPS) Control Track Crystal Black Slate Credits Elements Appearing On The Master Videotape Audio-Only Insert Edit Safety Master Video-Only Insert Edit In Point Preroll Editing With The Cuts-Only System Equipment Photos Pausing A VCR Freeze-Frame Editing Random Shots Without Syncing Visuals To Vocals And Music Editing In Sync With Vocals And Music
http://www.timtv.com/update2001 Visit my Web site and watch my video clips, courtesy of YouTube and Google Video! TIMTV.com http://www.timtv.com TIMTV Blog http://www.timtv.blogspot.com MySpace http://www.myspace.
Requirement 5 - Performer(s) Instrument/Lip Sync Practice Tips For Performers Clothing Requirement 6 - Master Audio Audio Recording Options Live Performance and Multi-Track Audio Playback During The Shoot Requirement 7 - Special Audio Cables "Y" Audio Adapters Recording-Line Level Attenuator Plug Audio Cable Connection (Diagram) Two Options For Shooting The Least Expensive Music Video Without Editing (Diagrams) Shooting Inside A Room (Diagram) Building An Outdoor "Room" Plastic Sheeting Plastic Garbage Bags
camcorders. The video gear was distributed at a concert, and the fans shot it! Then, the video footage was transferred to broadcast videotape, and edited with broadcast editing equipment. The clip has appeared many times on MTV. Footage shot with home camcorders can be transferred (“bumped up”) to broadcast tape, and edited with broadcast equipment. Many newscasts and reality-based TV shows often include home camcorder video footage.
pictures. Full-sized VHS home camcorders are designed to rest on a person’s shoulder during hand-held operation. They use regular size VHS cassettes, and can record up to 2 hours on one tape. Smaller home camcorders are compact, and referred to as palmcorders. The unit is strapped to a person’s hand during hand-held operation.
tape. CREDITS - Some camcorders have a built-in Character Generator, which creates electronic lettering on the videotape. If your camcorder has flying erase heads, there will be a Cut ( a clean and instant transition) between shots every time the camcorder is paused. Credits can be shot after the music video. Before the shoot, print the lettering with a large Magic Marker on a sheet of paper, or with a typewriter or computer desktop publishing system. Tape each sheet to a wall.
2) A CAMCORDER OPERATOR - I assume it’s you! Like anything else, the more you practice, the better your camcorder work will be. Hand-held camcorder operation - The human body is capable of going places, obtaining angles, and making camera moves that wouldn’t be possible with a tripod. It takes a lot of practice to make smooth camera moves when shooting by hand.
INDOOR LIGHTS - The more lights, the better. Choose a location with lights mounted on the ceiling, shining downward. Try not to mix different types of light. In other words, use all household incandescent bulbs, or all fluorescent bulbs (typically found in offices, schools, and home kitchens). If you’ll shoot during the day, don’t let sunlight enter the room. If necessary, cover up the windows with blankets or brown plastic garbage bags. If extra light is needed, see Extra Lighting in Chapter 2.
INSTRUMENT/LIP SYNC (To Be Or Not To Be) - Many performers don’t know how to Lip Sync properly. The secret is to breathe normally. They can’t be lazy, and just mouth along like a puppet. Each vocalist should practice singing their parts out loud, along with a tape recording of the song. (A rehearsal recording is fine for practice purposes.) By singing out loud, they’re forced to breathe like they would in a live performance.
If needed, secondhand clothing stores, yard sales, and flea markets are ideal places to find an inexpensive and/or unusual wardrobe. If the budget allows, a costume shop can make a performer look like anyone from King Arthur to King Kong. 6) MASTER AUDIO - The Master audio of the music video will be recorded by the camcorder during the shoot. Most home camcorders have only one audio channel, so the sound will be in Mono, not stereo.
track, such as recording 3 background singers with a microphone, on one track. Once all of the tracks are recorded, the multi-track tape is played back, and the song is mixed through the audio mixer. (Mixing means that the sound of each track is adjusted, including volume and effects.) When the mix is just right, the song is played back, and recorded by a 2-track stereo audio tape recorder, which creates the Master tape.
of the audio recording devices specified in Requirement 6 - Master Audio, Option A (earlier in this Chapter) could be used as the audio playback machine. It must have a Line Out (Left and Right). A CD player or an Audio Mixer with a Line Out (L & R) could also be used. Here Are 2 Options For Shooting The Least Expensive Music Video, Without Editing Option 1 - Shoot the entire music video on a tripod, from one camera location, without camera moves.
Overhead View - The Lead Singer should be closest to the camcorder. Before taping, Zoom Out wide, and move the camcorder position forward or backward to establish proper framing in the viewfinder. Option 2 - Shoot the entire clip Hand-Held, with lots of Pans. Walk around to obtain different angles. * Begin shooting from the front-and-center camcorder position; shoot for 10 seconds. * Slowly walk forward to the left camera position, shoot various shots for 20 seconds.
the footwork with a camcorder in advance, and walk softly. * * * When shooting inside a room - Remove furniture and furnishings. Use 3 of the walls as the background. It is ideal for a medium to large size room, such as a bedroom, den, living room, kitchen, basement, school room, etc. Overhead View: The map above shows four performers in a small room. Shoot handheld while walking around anywhere inside the black area. Pan left and right for 3second shots of each performer.
before they get crushed, and thrown into the trash. Large sheets of Styrofoam are available at most hardware stores and lumber yards. Styrofoam can be painted, but it probably will take two coats. When applied directly, enamel paint will destroy Styrofoam. If an enamel gloss finish is desired on a Styrofoam prop, use latex paint for the first coat. When it is dry, enamel paint can be used. Using some creativity, patience, and a razor knife, you can build just about any kind of prop or background imaginable.
MySpace http://www.myspace.
Find and talk with an editing facility before shooting, so you’ll know what tape format to shoot with. An edit system will have 2 VCRs - a Playback VCR for the Source tape, and an Edit/Record VCR that records each edit. It’s common for each VCR to use the same videotape format. VHS and Super-VHS editing systems are most common. Some systems can edit from a VHS Source VCR to a Super-VHS or 3/4” tape VCR. If you’ll shoot with a regular VHS camcorder, find an edit facility that has a VHS Source VCR.
When shooting instrument/lip sync scenes, the camcorder records visuals and Reference Audio, which is referred to during editing. Reference Audio will not appear on the Master videotape. During editing, and before each edit, the Reference Audio on the Source videotapes will be used to synchronize the Source video footage with the audio on the Master videotape. To record reference audio, the camcorder’s microphone can be used, instead of the audio cable and adapters specified in Chapter 1.
Take 3 - Begin 250 End 374 This should eliminate any confusion about which Take to use when making a copy for the sync/shoot, or transferring the Master audio to the Master videotape before editing. If a second audio record machine is used for a same-day shoot/sync, also write down the counter numbers from that machine. If the Master deck and second deck aren't the exact same type, make, and model, the counter numbers will be different.
actresses to help tell a story. You shouldn’t have any problem finding family members, relatives, and friends who will volunteer to be part of the action. However, be careful when selecting Extras! Don’t choose someone who is prone to being late! Never underestimate any person’s ability to throw a monkey wrench into your plans by being late, unprepared or by not showing up, especially if they are expected to work for free.
portion of the audience area. These are the most important shots, and an audience will create unwelcome distractions. SCHOOL - If the band has its own lighting equipment and PA system, a local school gymnasium or auditorium is a good choice. Most have their own PA and lights. In exchange for use of the facility, the band could offer to play a free concert to raise money for a club or other school function.
Plain flood lights are excellent, and available at local hardware stores. They’re also available in different colors (red, green, blue, etc.) for color lighting effects. A dimmer for each flood light could be used to create a basic light “show”. Photography bulbs (not flash bulbs) in the proper lamp could be used for regular lighting. Lights can be attached to railings and tops of doors by using C-clamps. If needed, nail up a 2”x 4” wooden beam, and make a place to hang a light.
Filters - For special effects, check with a nearby photography store, and ask about the availability of camcorder filters. A filter mounts in front of the lens, and alters the image that’s recorded. There are many choices available. When pointed at lights, a Star filter causes each light to emit beams of light, sort of like a twinkling star. A 4-point Star filter will create 4 beams per light; an 8-point Star filter will create 8 beams per light. A Fog filter creates the illusion of a hazy fog in the shot.
purpose, it should occur at the same time, and be moved to the same place, during each Take. After each Take, it must be returned to the original position. After breaks, be careful not to leave cups, cans, towels, chairs, or other surprises in view. Continuity also applies when shooting multiple angles of concept scenes. Watch out for items that can be easily bumped out of position - tables, chairs, lamps, trash cans, doors, paintings, telephones, books, cups, ashtrays, vehicles, etc.
and your music video talents. If you don’t live in the same city as the cable operator, you might not qualify for the training and free equipment use. (Ask anyway!) Always use brand new tape when shooting and editing. If the cable system can only provide used tape, purchase new tape stock.
and edited on videotape. I know that someone will have an old home movie film camera tucked away in the attic, and will want to experiment. There’s a certain risk with shooting film, as unlike videotape, film footage can’t be played back and reviewed, during the shoot. Improper adjustments or an eyelash in the camera gate could render the footage undesirable or worthless. Standard motion picture film rolls at 24 frames per second, or FPS. A frame is a single picture.
Visit the Music Video 101 Update 2006 Web Page New information, and video production links! timtv.com/update2001 http://www.timtv.com/update2001 Visit my Web site and watch my video clips, courtesy of YouTube and Google Video! TIMTV.com http://www.timtv.com TIMTV Blog http://www.timtv.blogspot.com MySpace http://www.myspace.
Chapter 3 SCRIPTWRITING & STORYBOARDS Beat Sheet Storyboard Blank Beat Sheet Form Shot Descriptions Scene Descriptions Camera Angles Cut Fade Headroom Take Cutaway Shots Overhead Maps For Shooting Planning Shots Beat Sheet Example Take Sheet Slate After The Shoot Checklist For The Shoot Take A music video can be performance only, concept or some of both. A performance video is relatively simple to plan. A concept video can be either a literal or abstract interpretation of the lyrics.
cassette of the song, a copy of the lyrics, and photocopies of the Beat Sheet form. To print a blank Beat Sheet, visit http://www.timtv.com/mv101/beat.pdf Ask them to break the song down into measures, beats, and lyrics. Each measure should be numbered in order, and contain a dot for each beat. The placement of the lyrics should correspond with the proper measure, and beat.
A Wide shot of a stage would show the entire stage, and all of the band members. A Wide shot of a performer would show the person from head to toe. A Medium shot of a stage would show a smaller area, and fewer band members. A Medium shot of a performer would show the person from the waist-up. A Close-Up shot would show a performer from the shoulders-up, or a guitarist’s hands and part of the guitar, during a lead solo. An Extreme Close-Up is a very tight shot.
gradually disappears to Black. If your camcorder has the Fade from/to Black option, it’s possible to create the Fades when shooting the first and last shots of the music video. Some editing systems can generate the Black signal electronically, and allow the speed of a Fade to be variable, from very slowly to very fast. (A very fast Fade will simulate a Cut.
CAM. POS. TAKE 1 1 Static Wide shot of the entire performance area. 1 2 Wide shot of each performer. Give each person 1/3 of the song. 2 1 Static Wide shot of the entire performance area during the first half of the song, and a Static Medium shot of the left side of the performance area, during the second half. 3 1 Alternate Close-Up and Medium shots. Each shot should last about 20 seconds. 4 1 Static Close-Up shot of the lead singer. 4 2 Static Medium shot of the lead singer.
The previous examples represent plenty of Source footage. The actual number of Camera Positions and Takes will depend on the number of performers, and the band’s layout on stage. If the video will be performance and concept, you won’t need as much performance footage. Plan Your Shots - Listen to the song, refer to the Beat Sheet and Overhead Map/List, and determine each shot.
* * * TAKE SHEET A Take Sheet is like a scorecard that’s filled out as the shoot is in progress. It’s important for someone to keep accurate Take Sheets during the shoot, as you’ll save time when searching for shots during editing. Make sure that the person in charge of keeping the Take Sheet is not distracted. If necessary, one Production Assistant could serve as Audio Playback Machine Operator, and take care of the Slate and Take Sheet, during the shoot.
that occur before or after the music, use a stopwatch or watch with a second hand, and write down the running time (minutes and/or seconds) of each Take. * REMARKS - The Director’s comments about each Take, as to whether it’s acceptable or not. If a Take is acceptable, write OK on the Remarks line. If a Take is excellent or best of the attempts, a check mark should be added to the line. Mistakes should also be noted, like a botched lip sync or bad camera/lens move.
Camcorder Position Number, then refer to the Take Sheet, and see how many Takes took place from the position. Look at the Shot/Scene Descriptions and Remarks. Determine the best Take (if more than 1), and write down the Take Number for the shot on the Beat Sheet. During editing, you’ll tell the Editor that you’re looking for a shot - let’s say Camera Position 4, Take 2 - and it should be easy to find.
Power Requirements (batteries, AC outlets, extension cords)_______________________ Props________________________________________________________________ Other________________________________________________________________ ______________________________________________________________________ Visit the Music Video 101 Update 2006 Web Page New information, and video production links! timtv.com/update2001 http://www.timtv.
Equipment Photos Pausing A VCR Freeze-Frame Editing Random Shots Without Syncing Visuals To Vocals and Music Editing In Sync With Vocals and Music Digital Displays On The Edit Controller Programming The In Points and Out Points Preview VCR Slipping Editing Off The Downbeat Making The First Edit In Sync With Vocals and Music Fading From Black Time Estimates Editing Checklist Computer Special Effects The Least Expensive Broadcast Editing Options "Ballpark" Cost Estimates Tape Stock Dissolve A/B Roll Mix Time
CONTROL TRACK - The VCR refers to the Control Track on a videotape to determine where each frame begins and ends. BLACK - Before editing begins, Crystal Black must be recorded onto the Master videotape. When watching the playback of a Blacked tape, all you’ll see is a black screen on the video monitor. Different shots will be electronically joined together in sequence by making Insert edits - one at a time - onto the Master videotape.
use a Color TV.) Save The Source Tapes! Who knows? In the future, you may decide to use a better editing facility, or transfer the footage to broadcast tape and edit. Store them in a safe place, and don’t play them at home. Make a copy for review or amusement at home. Proper storage of the Master tape is essential. For added protection, buy a plastic cassette case that completely encloses the cassette. And you may wish to do the same with the Source tapes.
SONY RM-450 EDIT CONTROLLER Photo courtesy of the Sony Corporation
PANASONIC AG-7500 Super-VHS Edit/Record VCR Photo courtesy of Panasonic Both the Playback and Edit/Record VCRs can play back audio and video. As a tape is being played back at normal speed, the Edit Controller allows the Editor to Pause either VCR, at any time. Pausing a VCR will produce a freeze-frame on its monitor. Once a VCR has been paused, the tape can be searched either forwards or backwards in order find a particular shot.
beat. When searching for a shot, you may assist the Editor by snapping your fingers on the correct beat. However, don’t offer to press the pause button. Don’t touch any piece of editing equipment without proper training or permission. In order to find the In Point on the Master videotape, ask the Editor to: (A) Play the Master tape, listen to the audio, and locate the second Measure. Pause the tape. (B) Jog the tape in reverse about 7 seconds. (C) Play the tape at normal speed.
the VCRs will continue to roll for another second or two, then each VCR will pause. After reviewing the edit, the In Points of the next edit are determined as usual. The excess footage from the previous edit is covered up (copied over) by the next edit. The second way to end an edit is to program an In Point for both VCRs, and an Out Point for the Edit/Record VCR. Let’s suppose that you have already edited a CloseUp shot of the Lead Singer, and that the shot lasts for an entire measure.
Preview, go ahead. However, the In Points will have to be entered again before making the edit. Regardless of whether or not an edit system is slipping, a Preview of every edit is not absolutely necessary. If it’s slipping, and a Preview occurs before each edit, it will take more time to edit, since the In Points will have to be reentered for each edit. Editing Off The Downbeat - Sometimes, a vocal part will begin just before a downbeat.
first sound on both VCRs, and Pause both machines. Determine how long you want the Fade to last, from Black to 100% video. Example: Let’s say that you want a 1-second Fade, and 1 second of video before the music begins. Jog the Source tape in reverse for 2 seconds (-60 frames). Pause the tape. Jog the Master tape in reverse for 2 seconds (-60 frames). Pause the tape. Zero both VCR counters. These are the In Points for the edit. Start the Fade from Black just after the edit begins.
Director can concentrate, and communicate without unnecessary interruptions. Everyone else should remain quiet. Editing Checklist To print this checklist, visit http://www.timtv.com/mv101/edit.
being routed through the effects gear. Use the new tapes as the edit Source tapes, and edit with a Cuts-Only system. *** An early success story in the world of desktop video was the VIDEO TOASTER computer workstation from NEWTEK. It has been called a revolution in broadcast TV production. From national cable and broadcast TV networks, to local cable companies and broadcast TV stations, the verdict came in... the Toaster rocked! Plus, it was ideal for music video. The basic system was less than $5,000.
processing device that must be used during the transfer and editing process. The least expensive broadcast tape formats for editing include Super-VHS and 3/4” (three-quarter inch). Specify broadcast videotape and VCRs, as Super-VHS and 3/4” are also available in Industrial formats. For better quality at a higher price, use Betacam, 3/4” SP, or better yet, Betacam SP tapes and VCRs. The Master Audio should be transferred (copied) to the Master videotape before editing begins.
multi-track audio recording tape is sold. Broadcast tapes will have the word Broadcast on the packaging and labels. Some broadcast video cassettes come in two sizes, small and large. The small cassettes are designed for use in portable VCRs (for shooting), and can also be used in studio model VCRs for editing. The large cassettes are designed for use in studio model VCRs. Some portable VCRs can use large cassettes. In addition to a Cut, another common transition is a Dissolve.
* This section is now Online * Visit the Music Video 101 Update 2006 Web page New information, and video production links! http://www.timtv.com/update2001 Visit my Web site and watch my video clips, courtesy of YouTube and Google Video! TIMTV.com http://www.timtv.com TIMTV Blog http://www.timtv.blogspot.com MySpace http://www.myspace.com/timtv2 MUSIC VIDEO 101 Home Camcorder Production Copyright © 1993 - 2006 Timothy Dwelle. All Rights Reserved.
