with award winning documentary team tony wilson and leo sullivan


Tip: Sound and editing considerations

Editing. A 10 second wide-shot (WS) of scene not seeing sync dialogue may be a useful 'life-saver' for the editor, plus in a scene with dialogue, remember to shoot listening and/or reaction shots/cut ins and cutaways.
Beware of 'crossing-the-line', particularly when shooting close-ups of dialogue to be cut into a master shot.
Try to shoot cut-in shots in same light as the master shot.
Don't cut the end of your shots too short. The extra length may be useful for laying over the following scenes audio before cutting to the vision.
If just shooting dialogue scenes with just a camera microphone (not recommended!) shoot on the wide-end of the zoom close to your actors to increase the chances of getting useable sound.

Tip: General techniques

Shooting in vehicles. Try to shoot with the background backlit as this will usually give you a better light balance between the interior subject and the background. Useful shots are point-of-views (POVs) through the windscreen and close-ups (CUs) of drivers face in rear-view mirror - shoot this from front seat with a wide-angle lens to reduce camera shake.
If pushed, you can often get reasonable sound with just the camera mic, but be sure to have the windows closed, and the radio and air-con turned off!
Shooting TVs and computer screens. To see true colour shoot with the camera set to 'daylight'.

Tip: Techo

Exposure. Pan camera away from misleading elements like bright lights, windows, dark walls etc. areas when setting.
White Balance. Do in predominant light.
Focus. Zoom in to subject on auto and when the camera finds focus-lock. Do this especially when framing a subject who is close to the camera and will be framed to one side and not in the centre of the frame.
Shutter. Normally set to 50. There are great advantages in changing sometimes. (When? Do a workshop!)
Gain. If possible lock to zero unless shooting in low light.
After checking scene in playback re-cue tape to end of last shot before continuing to shoot. DO NOT start in blank time-code
Lighting. Be careful with the balance of foreground to background light levels. If you want to see the background add just enough light on your foreground person or object to match the background. If you don't want to see the background put more light on the foreground then when you expose correctly for it the background will 'drop-off'.
If using lights in a scene that is predominantly lit by daylight add blue gel to the light to correct for colour temperature. Back to tips - Telling the story, equipment, pre-production, the shoot