Site hosted by Build your free website today!





If you have not read the manual, you should not, be trying to follow these lessons. There are a thousand details in the Video Manual, I have written here, and those linked to this site, that you need to have read and understood, or at least been exposed to the information.
The manual was written with the idea, that the reader would be using the camera to capture projects of their own choosing, and as a result there are many teachings which you are expected to have learned, before you start this formal exercise. By following through each of these lessons you will advance your skills because you exactly followed the disciplines - and did the classes in order. I dont mind that you read and think about the other lessons, but do not do them untill the lesson before has been completed.

The first (three - ?underconstruction) lessons are exercises in capturing all of the footage for a short program, which you will edit for your demo tape. Each lesson should produce a finished 5 to 10 minute finished segment (The idea here is keep it short but make it long enough to illustrate your mastery of the lesson.

Each style of each lesson must be followed exactly from the start of the lesson to the end of shooting.

When you complete Lesson 3 and we review/critique the finished lessons, you will be asked a series of questions, which you will only have learned if you have followed each project to completion.

Lesson one is an exercise in rigidity, Lesson two is one of fluidity, Lesson 3 is one of immagination and strangeness.

The purpose of this lesson is to learn the film style of shooting the camera. You have probably by now have played with the camera and 'firehosed it' zoomed and shot unlevel video. Basicly shot as much bad video as anyone.

You will already have misconceptions and bad habits relating to your shooting of the camera.

For the sake of this exercise, you will not pan, tilt, or zoom. You will shoot from a tripod and the camera will be at the widest setting of your zoom. You may adjust the shutter speed and the iris. In short you will make a pretty picture and the individual scenes will be taken within that frame.

Planning - choosing the script - finding the talent - choosing the location(s)-
In this lesson you are the 1. director, 2. scripts and continuity person, 3. audio operator, 4. camera operator.

The scene from the play should have a number of people who speak.

Choose a script, any play will do, and from that play pick one scene with a series of dialogue's
This scene should be from 5 to 10 minutes in length.

You will need to visualize now, just as the director of the play would, where are the entrances and the crosses, how is the furniture arranged, the basics of the scene and the movement. Just how will the camera show the scene well and indicate the movement?

Now look at the Dialogue, on which lines do you want to show the entire picture, a two shot, a close-up, and where will you want to use a cutaway to illustrate the speech? Which is more important the speech or the reaction(s)?

Now consider the visual effects you may want, lightning, fog, smoke etc? The audio effects you will add in editing from pre-recorded or foley (effects you create).

Now then you are going to have to reorder the concept of scenes in your mind - where the play will describe one scene you in reality will have many more, because you must now subdivide the script according to the shot that you are going to take. You probably think the ability to zoom and pan are a plus, yet for the beginner I consider them a liability. Why?

WHY! Because you have not learned to see what you are shooting. For many years all films were shot using the same limitiations which I have set out for you above. Some of the best films which have or ever will be recorded were taken using the above technique.

To practice this exercise - take your camera out and set up on the tripod and shoot - at least 20 different places - the idea that you are going to make 20 still pictures with action going on in the frame.


I realize each of these lessons is weeks in time to compete them Im sorry but you wont learn the lesson untill you walk through the steps. I wish I could get a point accross quickly, but how can I know if you body is has learned, enough to react intuitively? So even though you may think the exercise is (whatever-lol) the lesson has the point of causing your body to learn something, not your mind. The trick to learning what I have/am/are teaching you is to understand I want your body to learn it, not your intelect. I want your mind free to make artistic decisions, If you have to think of what your body needs to do then you will be too slow

Have a special note-pad you carry - which has all the individuals that are involved in the project listed.
Have one page for One person. so you can add notes later. You will transcribe all of this information later to lists.

1. Names
2. address
3. phone / cellular
4. email
5. duty
6. contribution
On meeting the person make an issue of entering this information in the notebook, You can check the spelling of their name the accuracy of the contact information, and most importantly you will make the person feel a part of the project.
You will list each person in the final credits ( name and contribution/duty)
Each Project you do will have its own set of notebooks. Refer to the lesson on Labeling and recordkeeping in the manual.