Basic Guide to Field Video Recording

Last updated: 14 April 2010
Published in: Creating new digital media
Tags: lighting | microphones | sound recordings | tripod | video

Comments (0)

Summary

This document is intended for users who wish to record ‘in the field’.  This includes both the videoing of resources (animals, plants, sculpture, buildings, etc.) and the videoing of people (students, interview subjects, crowds). The common thread is that the work occurs ‘outside’ in a number of environments.

Introduction

We recommend that you first read our Introduction to Digital Video and Basic Guide to Shooting Video.

The major difference recording on location versus in a classroom or studio is that you frequently have less control over your environment, and limited access to the resources you might take for granted.

The weather is an unknown variable with the potential to damage equipment or, in the worst case, end a shoot. Good preparation, including alternative plans, is essential.

Another difference is seemingly obvious, yet organisationally critical: you can only use the kit you have with you. So you need to organise checklists of supplies and equipment, erring on the side of caution, but also bearing in mind it needs to be manageable to carry.

Finally, shooting video outside frequently allows you freedom of location and angle you might not normally get indoors, but it also introduces variables of sunlight and extraneous noise.

The weather

Water and electronic equipment don’t mix well. So you need to have a means to protect your camera from sea, waterfall spray and rain, and a means to dry it and clean the lens.

It may be that in light drizzle someone holding an umbrella, or a simple plastic bag over the body (with a hole for the lens) will still enable you to function, but if you need to carry out a shoot regardless of conditions you can buy rain capes and underwater housings specially made for your camera.

An essential piece of kit is a lint free cloth to wipe water drops from the lens - using hankies or clothing will potentially scratch the glass.

You should be aware that water can condense on the lens and recording head when moving from a cold to warmer environment.  Sometimes you have to wait 10-15 minutes for it to clear and the camera to work. Even then you may still need to carefully wipe the lens.

Wind can play havoc with props, kit and your onscreen talent’s hair! But worse is the effect it has on audio recording. To reduce the effect of noise from the wind blowing onto the unprotected mic you can use a foam or (more effective) hairy cover.

Wearing proper headphones to monitor the audio at an appropriate level will ensure you can tell if wind is affecting the mic, or causing loose items to knock against the camera. If audio recorded at the location is critical and you don’t have access to a windshield then you may find it best to move to a more sheltered location.

If struggling with audio on a windy day it might result in a better finished product to dub any commentary over your shots in a later edit stage.

Finally, whilst your kit might be ready for most weather eventualities, any subjects in your film may not be as accommodating or willing. Cold and wet weather may mean you have to be flexible over your timetable, location and preferred plans.

Preparations

We explain in our Basic Guide to Shooting Video the need to prepare batteries, tapes, labels and tripods. However, on external shoots it’s essential to be doubly prepared - anything could go wrong and you’ll only have what you bring with you.

If you have access to an extra camera, even if it’s just a pocketable HD camera, it may be worth bringing it along as back-up. Create a packing list and include extras of all of the media and batteries you’ll need. Prepare your tape labels beforehand, but also take pens to make any amendments on the day. Finally, whilst the tripod is a heavy item to be carried it is essential for getting steady, watchable shots.

Whilst technical and kit issues are important to getting a set of decent shots, it is imperative that you know what it is you’re seeking to create. The style of filming, the shots you take, and any editing you use should all reflect the type of film you want. Even if you set out to just create a record of an event you may well end up wanting to add titles or a voice over or even music. If you find you forgot to record a cut away or a close-up on some action, it may not be possible to go back and get it another time. So be proactive in your planning - create a shot list or storyboard that will guide your filming on the day.

If possible a site visit, or ‘recce’, prior to filming will also help you in many ways. You can plan potential camera angles and locations, as well as flag up any potential hazards. During the recce you can also identify areas that might be suitable as a safe and sheltered base for your kit and supplies. Try and visit the location at the same times of day as you’ll be recording, then you’ll be able to judge where the sun will be, how busy it is, and if there are any issues with noise, traffic or members of the public. If the land you are filming on is privately owned (and in some cases if you are filming a private building from public land) you will need permission. Even in some public locations, such as parks, you may need to seek permission. Ensure you take a written copy with you in case you are questioned on the day.

Finally, if you are recording people there are a numbers of rights and ethical issues you may need to consider and seek permissions for. This might include copyrights if you record a theatrical or musical performance (for further information see our advice on Copyright and Other Rights for Creating Time-based Media Resources), ensuring your participants are treated with care and respect and in line with your institution’s policies, or obtaining a signed release form if you intend to make a commercial or public distribution of the finished film. Do also bear in mind the particular sensitivity around recordings of children - and always ensure you gain their guardian’s permission before you film.

How to shoot

In the majority of cases an audience will become disengaged and disinterested in a film consisting of one continuous shot, only broken with shaky zooms or wavering pans that don’t seem to settle on anything. As with all video a varied range of shots that are well executed makes a more engaging and watchable finished product.

Compare these two videos:

Video of Aberystwyth war memorial - badly shot and edited. Uses shaky zooms, wavering pans, wind noise and shows many other undesirable qualities.
If you cannot see the video above, please use this link to download the video file (14.3MB).
Or use this link to download a larger version of the video (32.2MB).

Video of Aberystwyth war memorial - well shot and edited. Uses the techniques listed below.
If you cannot see the video above, please use this link to download the video file (14.8MB).
Or use this link to download a larger version of the video (30.6MB).

In our Basic Guide to Shooting Video we suggest some practices that will improve your shots and camera movements.  Becoming accomplished in a range of shooting techniques will go a long way to creating a polished end product.  Remember:

• If your piece consists of a number of shots edited together, make sure each shot is held steady on the subject for at least a count of 10.
• Consider a wide establishing shot that introduces the location, together with varied close-ups on action to signpost and direct the audience’s attention.
• Changing the frame, camera location or perspective can engage your audience and create a more polished feel for your video. If everything is shot from one location at eye level it can be monotonous. And don’t think you can add variety merely by zooming and panning the camera from one location - you need to physically move the camera. Varying your position will also allow you to avoid distracting jump cuts, (a result of a cut in the action, but the camera is looking at the scene from the same location, seemingly causing the action jump).
• In outside shots there are lots of potential distractions:  be careful of what is in the background, particularly poles or trees seemingly sticking out of heads. If filming groups or interviews don’t be reticent about asking them to move until you have the framing you want
• Any camera movements you employ ought to be practised several times before you start recording. They should be sparingly used - in preference use more static shots.
  • Pans (side to side movement) - you need to hold the frame for at least 5 seconds on something of interest and slowly move the frame across the scene before stopping on another point of interest and holding the shot static for another 5 seconds.
  • Tilts (up or down movement of the camera) - as with pans, you should deliberately stop and start on a still frame.
  • Zooming - slowly changing the focal length into or out from an object or person can be a nice way of presenting some extra information in a non-static manner, but is often overused. It’s a technique that takes practice as there’s a danger the constantly changing shot will end up poorly framed, with the subject inappropriately placed in the final composition.
• If shooting action try and anticipate. If following something (or someone) moving you don’t want the framing to be catching up all the time. Keep the subject towards the back of the frame so they have space to move into. At some point pause your movement and allow them to exit out of a static frame.

How do you intend to film?

The ways in which you can then build upon these techniques will depend upon the limitations of time, resources and the subject of your filming. Here are suggestions for four different scenarios:

A continuous one-off event that cannot be interrupted, and which you cannot edit afterwards

In this situation you have to be calm, prepared and able to anticipate what might happen. Find out beforehand where the action will occur and place your camera in a position suitable to getting the main action. Your framing should remain fairly static, but don’t lock off the tripod in case your subject begins to move out of shot. Try to make any camera moves smooth and flowing, with a definite end point. Slowly zooming into or out from an object or person can be a nice way of creating interest, but beware of overuse. If you are not on a tripod do not zoom in at all - it will only emphasise the camera movement, instead move yourself closer to the subject. Finally you may be able to add some establishing/closing shots to detail your location at the beginning or end of your sequence. Rehearse each one before you press record.

A continuous one-off event that you will be able to edit afterwards

If you have two or more cameras you could use one to follow the main action in a wider shot, whilst the second camera does close ups, cutaways and (if there’s an audience) reactions of those watching. With just one camera you will need to film the event as above, and then either before or afterwards record cutaways and close-ups which could then be edited in over your main shot. Cutaways will also allow you to edit out pauses or action you don’t want. If you feel confident that you will record sufficient cutaways it might be possible to be more adventurous with moving your main camera around during the event. Just be sure you have sufficient material to be able to cover all the erratic camera moves you make.

A scripted piece, where you have control over the events, but cannot edit afterwards

Essentially you will have to edit in camera, shooting everything you want in the correct sequence. If you make mistakes you will need to rewind the tape to the end of the previous shot and try again. This can be inexact and tricky, and you may well get mistakes.

A scripted piece, where you control the events, and you will edit

In this situation you can get your shots in any sequence, repeating the action multiple times, and from a number of angles. This has both practical and creative benefits. You can choose to mix together different viewpoints to engage your audience and you can retake if you make any mistakes.

There are some disadvantages - you’ll need to watch for continuity errors: when something doesn’t match up from one shot to another. You’ll also need to make sure you don’t cross the line of action and confuse your viewers. And you’ll need to have detailed plans because without them it’s easy to spend a lot of time trying to shoot every angle, and even then finding at the edit stage that some things don’t fit together as you’d want.

Dealing with sunlight

As a general rule you want the light to be falling onto the subject, not into the lens. However if you’re shooting interview subjects try to avoid them having to look into stark sunlight that causes them to squint. Instead place them with the sunlight falling on their side. If the sun is very bright you may get hard shadows on their face - a piece of large white card or or even a white wall can be used a reflector to soften the hard shadows, or you could move your subject into open shade. Our advice document Light Sources for Still and Moving Images explains this in more depth.

Recording sound

Aside from windy weather mentioned above, ambient sound on location is easy to get. However recording speaking voices is harder than ever. A camera microphone is not selective and so a handheld microphone, boom microphone or a wireless kit is essential when recording voices. (If you don’t have any of these available your only alternative is to get very close to your subjects.) Also essential will be a decent pair of headphones - but you’ll find you need to turn the headphone level up to hear what’s coming through the mic rather than the sounds around you.

Remember, it’s not possible to separate your voice after shooting, so when you press record you are generally the silent observer. Only speak if you are acting as an interviewer. Finally, always record several minutes of an ‘atmos’ or wild track of the ambient sound at the location. You may not think you’ll need it, but it might prove invaluable to cover knocks or unwanted sounds, or as a background to a voiceover.

The get out

When leaving a field location it’s good practice to do a complete clean-up: you may want to go back there, so leave the people in charge of the location glad to have met you. It’s also a good time to check you’ve got everything, then check everything again. Finally, when you get back check your kit is dry, free from mud (especially tripods), dirt, sand or salt.

Conclusions

Shooting in the field requires considerably more preparation than a standard studio or indoors production. A clear idea of what you want to create, together with a script or shot list is an essential starting point. Meanwhile a site recce and careful kit preparation will help avoid time-costly breaks on the day. Consideration of these elements of pre-production, together with careful attention to your camera and audio technique will ensure you achieve a product your audience will want to watch.

Last updated: 14 April 2010
Published in: Creating new digital media
Tags: lighting | microphones | sound recordings | tripod | video

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Comments (0)