14 iPhone Filmmaking for beginners

Smartphone filmmaking

Regardless of what you film on the same rules of filmmaking (or photography) apply. Don’t worry we will discuss these rules (or creative tips) as we progress.

The great thing about smartphone is that they are essentially small computers / cameras / editing stations / music payers and so on. They are amazing especially when used creatively. I was somewhat unconvinced initially by using smartphones to make films  (I think I was being a purest),  in resent years the technology has developed tenfold. RED (the legendary camera brand) created a smartphone, Zeiss (the legendary high end lens makers) make the camera glass for smartphones and the film Tangerine (2015) was shot on 2 iPhone 5s’ (https://www.imdb.com/title/tt3824458/).

A whole film and photography industry has grown around the popularity of smartphone filming and photography. You can buy:

Lenses (https://www.shopmoment.com/),

Steady rigs (https://www.dji.com/uk/osmo-mobile-3),

Tripods (https://joby.com/uk-en/gorillapod-phone-tripods/),

As well as a whole host of apps (I’ll link to some free and paid ones later).

And much more

You definitely do not need to spend any additional money on your smart phone to create great content. They already come equipped with brilliant technology. Additional equipment should used to enhance your film and photography. 

The best thing to improve your skills I just to do it. Try lots of ideas out, get it wrong, try again and importantly learn from your mistakes.

The tips below will help you compose the perforce shot for your scene.

Before you shoot.

Before you begin filming (shooting) you will have an idea or a script or a storyboard or a shot list (please tell me you have at least one of them?).

I use Celtx Script it’s free I think on iPhone /iPad. (https://apps.apple.com/gb/app/celtx-script/id381536091).

Next you’ll want to shot list the film (this makes it easier when you begin shooting). I use shotlister, it costs £9,99 I think (https://shotlister.com/). You can get a free template online. Again these apps are meant to help the process if they don’t work for you save your money.

The basics

Stabilisation.

If you want a ‘locked off’ still shot they a tripod is the best solution. You may use this for when interviewing etc. Using a tripod is essential if you don’t have a second person to hold the phone for you. (You do not have to buy an expensive branded tripod a cheaper generic one may work perfectly well for your needs, or if you have a tripod get a phone adapter).

Handheld is a stylised look and may be exactly what you are after. You will need a second person if you are the subject of the film i.e a dance or theatre piece.

Gimbals are great but tend to get over used. They create a ‘floaty’ effect. Again someone has to hold the gimbal. Make sure you practise using it before you shoot they take a little mastering.

If you have shortlisted your film you’ll know exactly what you are going to shoot and you will have decided on what kit (if any you need).

The iPhone camera app.

I use this app loads as its simple to use I do also use the moment app as I have moment lenses and they are designed to work together.

For this tutorial we will use the native camera app.

Once opening the app you’ll see a menu screen at the bottom. By default the PHOTO app is selected. 

To change to either VIDEO (which is what we will many use), SLO-MO, TIME-LAPSE (swipe left), PORTRAIT, PANO (swipe right).

Once you select VIDEO you’ll see  a few options.

In the top left corner you’ll see two numbers. In this case 24 and 4K, the 24fps is the frame rate (24 frames a second), the 4K is the frame size (4,000 pixels). Tap the number and you can change these fro 4K to HD (1080), 24fps to 30fps to 60fps. The higher the frame rate the the more detail stored in the file, 60fps is slow motion giving you a smooth dramatic fleeting. 24fps is the most cinematic as it’s the most natural to the human eye.

In the bottom left corner you’ll see a lightning symbol. In this instance it has a circle and an line through it. The lightning bolt acts as a light when filming in low light situations. When selected it’s yellow without the line through. Lighting is crucial in filmmaking.

At the centre top you’ll see a timer. This is the amount of time you’ve been filming.   

In the top right you’ll see a circle made up of two curved arrows. Pressing this swaps from the front camera and the back camera and vice versa. This can be used in interesting ways when making dance films to swap from one dancers to another. Make sure you practise this technique before filming. If you slide up next to the VIDEO you’ll see an extended flash/light menu.

In the centre to the right you’ll notice a 1x icon.  Depending on the phone you have this may or may not be here. I’m shooting if an iPhone 11 which has a dual lens system. If you’re seeing a 0.5 here you’re on the wide lens. Click this to switch between the lenses.

What you’re not seeing in the image is a small yellow square on the screen. If your touch anywhere in these creek the yellow square will appear. This is how you can control the aperture. To get the best results look for the mid tones and select there. If you select the sky for example you’ll under expose the rest of the shot and if you press the ground you’ll over expose the sky.

Finally you’ll see a grid formation. This is based on the rule of thirds.

Rule of thirds .

The rule of thirds is one of the main “rules” in art and photographic composition and stems from the theory that the human eye naturally gravitates to intersection points that occur when an image is split into thirds. (https://learnprophotography.com/rule-of-thirds/)

(https://www.dpreview.com/)

Lighting

Lighting is incredibly important especially when using the phone to create. If you are using the phone without any accessories (additional lenses etc) the best bet is to utilise natural light.

This blog post from Canva explains it beautifully

https://www.canva.com/learn/beginners-guide-natural-light-use-take-great-photos/

Go and make magic.

If you’ve reached the point where your wanting more than the native camera app here is a list of apps to take your filmmaking to the next level. Most offer advanced settings beyond the native camera app.

(Disclaimer; these app are for iOS they are the same for android)

Apps

Moment app iOS  (https://apps.apple.com/gb/app/moment-pro-camera/id927098908)

Filmic pro (https://www.filmicpro.com/)

10. Audio for your film (again)

Hello there,

So you are looking at making a film are you? Cool. Go for it I say. Have you thought about how you are going to capture your sound? I’m sure you have but just incase i’ve save you the trouble of searing the big wide web and found this brilliant article on recording audio.

It’s from PremiumBeat. After reading this you should definitely head over to their website and see what other great content they have on offer. https://www.premiumbeat.com/

Disclaimer: I would always recommend using a filmmaker if you have the budget. They will have specialised audio recording equipment and will know how to get the best sound for your scene/location/film etc. However if that isn’t an option have a gander at this.

Learn how to properly record audio on set with a traditional boom mic setup.

All images via The Film Look.

Here in the PremiumBeat office, we’re big fans of The Film Look — a YouTube channel dedicated to showing you how to make better films and videos (with new episodes every week).

We recently teamed up with The Film Look to bring you a series of tutorials on capturing better sound for your videos. The eight-part series will cover a ton of different audio recording and mixing topics, with plenty of tips and tricks for you to learn along the way.

In the first five episodes, you will learn how to work with audio on set. Then the series will shift focus to working with audio in post-production.

You’ll quickly see that it’s not about having the right gear — it’s about knowing how to properly use audio equipment. The audio kit used in the series is the basic setup for indie films and corporate video productions — a shotgun mic, boom pole, audio recorder, and headphones. There are also tips on recording with smartphones and on-camera microphones for those without this setup. (You can piece together a professional boom mic kit for around $500.)

Microphone Position Is Key

The position of your microphone is crucial to a quality recording. In the first episode, you’ll hear the difference between a smartphone recorder and a shotgun mic — but there’s a twist.

The smartphone audio was better in the first take because the shotgun microphone was too far away. To get better audio, place a shotgun microphone over the head of your speaking subject.

If you are on a windy set, try positioning the microphone underneath the subject, or for the best results combine that with a dead cat or blimp.

When it comes time to record, limit the movement of your hands. Use your arms and shoulders to reposition the microphone to avoid making noise. There are also some great tips in the video about the best ways to grip a boom mic.

Capturing Dialogue Is Your First Priority

The highest priority when recording a film or video is dialogue. Noises or sound effects are easier to  recreate in post — or to draw from an SFX library.

While on the topic of noises, if you detect any outside noise on set — like a plane, train, or automobile — be sure to bring it up if recording has not yet started. If you are already rolling, finish the take, and then mention any need for another take.

Before shooting, make sure the camera crew (specifically the 2nd AC if you have one) uses a clapper board to mark the take. This will help tremendously when editing and mixing the project in post.

Minimize Unwanted Noise

You can silence the set as much as possible to eliminate unnecessary ambient noise, but that doesn’t always prevent unwanted sounds. Episode three dives into separating dialogue from any noise the actors make on set.

If there is a loud action, like placing a glass mug on a glass saucer, you can eliminate the noise with some simple camera tricks and foley work.

Setting Audio Levels and Capturing Room Tone

The loudness of actors and actions differs in every take. Make sure audio levels don’t peak, and leave some room for any unexpected loud noises or increases in conversational volume.

In this episode, you’ll hear the audio clip when one character shouts. Be sure to lower the gain while recording dialogue. Also, be sure to capture about two minutes of room tone to help avoid unnatural silence. This ambient noise makes conversations sound more realistic, and it can cover up hard edits. (If you forgot to capture room tone, check out our pack of 15 free ambient noise tracks).

Record SFX (Wild Takes) On Set

Wild takes are sound effects recorded on set without dialogue. If cameras aren’t rolling (and if you can convince the crew to be quiet) you should try to record some on set SFX. They can be as simple as an actor’s footsteps or the clashing of dishes, doors, or machinery.

The goal is to capture the sounds that could be difficult to find in a SFX library. While we may have hundreds of thousands of SFX here on PremiumBeat, you may not find the exact sound to the exact time you need. For example, if you are shooting a scene with an old car, it’s best to record real engine sounds to keep the sound as authentic as possible.

Something to keep in mind: you don’t need to turn up the gain to capture all these SFX. Since they will become layers in post, you’ll want to keep them accurate to the levels you’d hear on set. So if footsteps are quiet and slightly registering on your recorder, that’s ok. Try to record each SFX in a few different ways, including different microphone angles, positions, and distances.

Wow how comprehensive and good was that? I don’t know about you but I feel a better filmmaker already.

If this has helped/inspired you please do let me know. I can be found on all the social medias @waynesables or via the email at artistic@waynesablesproject.co.uk and my website www.waynesablesproject.co.uk.

9. Projection mapping with HeavyM basics


Projection mapping using HeavyM

You’ve probably heard of projection mapping, in fact you’ve probably seen it. It is ever more present in today’s music shows, light nights, New Years celebrations and arts festivals and they look amazing right?. Now we need to just manage expectations the big event projection mapping you’ve seen probably cost shed loads and by that I mean thousands, uses loads of projectors, has had specific content created and a full crew managing and running it. Don’t let that put you off, we can work up to that. The concept is the same. 

You may have seen that the first paragraph is the same as my previous blog xxxxxxinsert blog link xxxxxxx that’s because the information is the same where the rest of this blog differs from the previous is this one uses the projection mapping software HeavyM (https://heavym.net).

I have to say HeavyM is a phenomenal piece of kit, it’s intuitive and easy to use. One of the great things about HeavyM isn’t the software it’s the additional stuff you can buy. The bods behind the programme have created something called the Olga kit.

This is direct for the HeavyM website:

The Olga kit is the perfect accessory to add volume and relief to your project. It works very well with HeavyM. Indeed, the trianglugar shapes and ready-to-use effects included in the software, allow for a simple and fast project creation. For instance, here on the right, the same arrangement of triangles is sublimated in several different ways with the effects of HeavyM.

Right back to the software.

Once you open the application you’ll see the below screen.

Let’s talk through it. At the top you have a series of shapes -square, circle, triangle etc double click these and they’ll appear in the interface. You will add media to these for your projection map. As you’ll see there are small dots on each of the shapes. You can control the size and shape with these. On the far right is here the media assets live (see below image).

In the assets section you can control virtually every aspect of the asset, from the timings, colour, opacity, gradient etc. The best way to find one that suits your needs is to experiment  

At the bottom you’ll see the scenes this is same as in Madmapper. Once you’ve built your projection map click the scene and it’ll store it. You can then change the image/animation etc, then click the next scene to store that and so on.

When you click projector icon you’ll get a second screen appear which will show you what is projected. You will have to have a projector connected to see this. 

Note: The icon with the square and the plus sign is how you add your own media such as a video.

Honestly it’s really that simple. You can create scenes as complex as your imagination will allow.

Here are a few projection maps I’ve created both with and without the Olga kit.

http://www.waynesablesproject.co.uk/grimsby/

http://www.waynesablesproject.co.uk/projection-mapping/

If this has helped/inspired you please do let me know. I can be found on all the social medias @waynesables or via the email at artistic@waynesablesproject.co.uk and my website www.waynesablesproject.co.uk.

8. Projection Mapping – MadMapper basics

7a – Bonus blog – Capturing live theatre performance – multi camera set up

5. Independent filmmakers vs companiesCapturing live theatre performance – multi camera set up

Recently I published a blog post on filming live performance which covered the basics of filming a live show, I recently however did a multi-cam film shoot for a theatre show and realised there’s a few things extra that I’d like to add.

On a multi cam set up there are a few things that you must figure out before we film.

I’ll assume you have not read my previous blog for catching like the form and so will do a quick recap here.

When shooting on two cameras let’s say camera A and camera B. Camera A will be your master camera, this wants to be placed ideally at the back of the room with a full view of the stage. You will want to put the camera on a tripod, lock it off so you’ve got a wide shot of the entire space. If everything else fails you will have this master shot to give to the company so they can they sell their show and they have a record of what took place.

When you set up camera A up make sure you work with the lighting and sound technician to get the level correct for the show, get them to turn the brightest light in the show on so you can set your Iso and aperture that way you won’t overexpose.

Remember, if you are shooting this on your own this camera will be unmanned so it needs to be set correctly. With Camera A ideally you will want to get a line out of the sound desk so you have a clean feed. In an ideal world, the actors will be miked up. This will save you no end of trouble when you enter the postproduction stage and will give you good audio levels.

Now you’ve got cameras a set ready charged with a fresh clean memory card in let’s move onto camera be. When doing a multi-cam set up, you really need to use the 180 rule.

What is the 180 degree rule

The 180 degree rule is a filmmaking guideline for spatial relations between two characters on screen. The 180 rule sets an imaginary axis, or eye line, between two characters or between a character and an object. By keeping the camera on one side of this imaginary axis, the characters maintain the same left/right relationship to each other, keeping the space of the scene orderly and easy to follow.

When the camera jumps over the invisible axis, known as crossing the line or breaking the line, and it can produce a disorienting and distracting effect on a viewer.

Camera B will be your close up/mid shot tracking. This means you can cook close on the actors you can follow the action you can create an intimate feeling as if the camera is almost on stage with the performers.

A cautionary note, make sure you set your ISO frame rate, Kelvin level the same across both cameras. If you are using the same type of camera, this won’t be an issue. Again, this will save you more time in postproduction if you’re having to cut between two cameras.

 

When I do a multi-cam set up I always send the footage from camera A straight off to the company so they have a record of the show which they can then send out to producers/theatres etc.

Once you’re in the editing suite (or in my case your laptop) you can sync both cameras together using the editing software of your choice.

If this has helped/inspired you, please do let me know. I can be found on all the social medias @waynesables or via the email at artistic@waynesablesproject.co.uk and my website www.waynesablesproject.co.uk.

5. Independent filmmakers vs companies

7. Creating a dance film

Upon The Stairs filming

7a – Bonus blog – Capturing live theatre performance – multi camera set up 

Northern School of Contemporary Danc
Dance Film shot in Leeds
www.waynesablesproject.co.uk
Wayne Sables

So you’re thinking of making a dance film?

Well, I don’t mind telling you you’ve come to the right place. As you probably know I began my career as a dancer before moving into film. I’ve made quite a few dance films both for myself and for other people.

Is the dance film for yourself? i.e. it’s your project or are you making a dance film somebody else i.e. a choreographer? The reason I ask is that you approach each slightly differently.

For the sake of this blog I’m going to assume your making a dance for camera work.

Northern School of Contemporary Dance
Filmmaking
www.waynesablesproject.co.uk
Wayne Sables

The first thing you want to figure out is your choreography. When making material for the camera you have to approach it slightly differently,  you don’t have a front per se. Meaning that the audience don’t watch it from one angle. One of the things I really love about making dance films is that you essentially re-choreograph it when filming and again when editing. You in control every step of the way. It’s exhilarating.

If this is your first time making dance films my advice is to try lots of things, try lots of ideas and definitely don’t be afraid to get it wrong. The great thing about working on film is that it is NOT live, you can do as many tasks as you and your dancers are able and they all don’t have to be done in the same day. (Obviously if you’re on a budget that impacts things somewhat).

Quick note; making a dance film is different to making a dance promo for a dance piece so for example if you’re making a dance promo you need to make sure you get the key points and narrative of the dance piece across in a short space of time, if you’re making a dance film you are re-writing or developing the narrative.

Intense Attachment
Intense Attachment a dance film  
www.waynesablesproject.co.uk
Wayne Sables

The first thing you’re going to want to do is figure out the concept and a rough guide to what the material will look like, if you are making specific material for the camera you will choreography it with the lens in mind. You don’t have to have a fully formed choreography, it can be sectional or bitty or just small ideas. You can tie it all together in the edit if necessary. You’re basically building up you narrative. In filmmaking terms this would be called the narrative character arc in dance terms it’s getting your shit together.

Once you figure out how the content is put together and roughly what you want to say it probably  would be a good idea to storyboard and shot list it. This will keep you on track when you start shooting the film and it will also give you a good sense of what it look like in the planning stages without wasting time and resources. Note; this is just one way to do it. You could of course just dive straight

interactive film Man Made Youth Company
www.waynesablesproject.co.uk
Wayne Sables

Once you’ve got your shopping list and more storyboarding place it’s time to get cracking. Now there are no right or wrong ways to feel anything really it’s all down to your artistic interpretation, you’re filming and I, and what you want to say in how are you want to say it.

There are a couple of things however that I think will really help you create something dynamic. As you’re filming movement you have lots of choices as to how you capture the action. Taking the camera off the tripod and having movement within the shot always add another layer of dynamism to the finished film. Then it’s a case of cutting between establishing wide shot / close-ups / micro shots etc  focussing in the eyes or the body parts cutting across screen, you know the drill.

The possibilities really are endless (for those that are old enough that’s a Bob Hoskins reference). Make sure you get lots of coverage and lots of different angles of the same material, that way you’ll have lots of options in the edit process, you can always recut the movement if you’ve not quite captured it.

Intense Attachment
Filmmaking
www.waynesablesproject.co.uk
Wayne Sables

There is NO one correct way of working or creating a workflow when making films (despite what film schools will tell you). There are a few  simple things such as do make sure you press the record button (I literally have done that before, if that happens you can always say let’s do another take for good luck). Try different filming approaches such as getting static shot so you’ve got coverage (you can always cut back to this if the other shots don’t work), to following the action so in affect the camera almost becomes part of the dance.

Right let’s assume you shot all of your footage and I’m guessing there is a lot of it (if you’re anything like me). It is and I can’t stress this enough IT IS vitally important that you figure out a comprehensive filing system. The last thing you want to be doing is searching for ages to locate specific shots or sections of your peace.

Filmmaking
www.waynesablesproject.co.uk
Wayne Sables

So go figure out a good filing system. I do something like card one, day one and the content that is on it and then I go through each clip and label adding notes on what is in that clip. I know it sounds boring as hell and it is but I promise you it will save you time in the edit. Some cameras also allow you to do this on the camera itself so it burns the metadata into the file. Proper timesaver.

All you need to do now is pop it in the editing program of your choice, get your second creative wind and get cracking and create a really amazing dance film.

I personally would love to see it once you finished it so please do send me a link.

If this has helped/inspired you please do let me know. I can be found on all the social medias @waynesables or via the email at artistic@waynesablesproject.co.uk 

Here is a link to some of the dance films i’ve made. There are loads more in the film page http://www.waynesablesproject.co.uk/films/

Unspoken

Man Made Youth Company
www.waynesablesproject.co.uk
Wayne Sables

3. Cinematography- your film needs it

8. Projection Mapping – MadMapper basics

Projection mapping

Madmapper basics

You’ve probably heard of projection mapping, in fact you’ve probably seen it. It is ever more present in today’s music shows, light nights, New Years celebrations and arts festivals and they look amazing right?. Now we need to just manage expectations the big event projection mapping you’ve seen probably cost shed loads and by that I mean thousands, uses loads of projectors, has had specific content created and a full crew managing and running it. Don’t let that put you off, we can work up to that. The concept is the same.

Projection Mapping uses everyday video projectors, but instead of projecting on a flat screen (e.g. to display a PowerPoint), light is mapped onto any surface, turning common objects of any 3D shape into interactive displays. More formally, projection mapping is “the display of an image on a non-flat or non-white surface”.

                               https://projection-mapping.org/what-is-projection-mapping/

There are a few projection mapping software options out there I personally use Madmapper (https://madmapper.com/) and have recently discovered lightform (https://lightform.com/) and have used HeavyM (https://heavym.net/en/) in the past. The fourth option is a programme called resolume (https://resolume.com/), which is actually VJ software but does have projection mapping functionality.

I will focus on madmapper for this blog. I will do versions on lightform and heavym so it doesn’t become to overwhelming and to avoid this being to long.

Madmapper

You can download a free version of Madmapper which has full functionality you will have a watermark and you won’t be able to save your project. However bbefore you commit to either buying or renting the software you’ll be able to test it out to see if it’s a good fit for you

Madmapper Is available for both Mac and PC. On a basic level you can do phenomenal things, if you are technically aware you can add any number of DMC fixtures, use Syphon/Sprout, Midi, NDI, OSC, DMX, Artnet, sACN, HID devises to connect any Madmapper parameter live. 

Once you open Madmapper you’ll see the start up screen

Let’s break this down. On the left you have the quads. These are the shapes you’ll map, there are 4 basic shapes, squat, line, triangle and circle. These can all be manipulated to fit your surface. You also have a mask and 3D function (that’s beyond the basics of this blog).

On the far right you have the media panel. There are lots of stock media that you can adapt. Or by clocking the plus button you can import your own media (including films, animation, photos etc).

At the bottom you have something called scenes. This is where you can store your projection maps and play them back later. It’s a great addition to the interface and give you much more flexibility.

To add content to your quads you move over to the media section (on the far right) and double click the media.

Once you’ve build your projection map you can connect your projector. To do this in the top right of the interface is a projector symbol. Click that and select your projector

(you can have multiple projectors connected but that goes beyond the basics of this blog. I’ll add links to online tutorials at the end).

Remember once you click the scene button at the bottom it stores the media in the quads. You can then add new media, or adapt the quads or add new ones and as long as you click the second scene button that will also be stored. You can be as simple or as complex as is needed.

Here is a great article on shortcuts for developing you projection mapping.

https://madmapper.com/doc/cues/

Here are some useful links to online tutorials .

https://madmapper.com/

https://www.youtube.com/watch?v=VPcMOzzRmZI&list=PLe9qr8GslyxLCyNHgilPmRc6UzgzHfQpM

As with all of this stuff the best way to learn is to have a go. I will do another blog on using different mapping software both on a laptop and tablet.

Here is a great little video to inspire you.

https://www.youtube.com/watch?v=10ga6Y1quFk

If this has helped/inspired you please do let me know. I can be found on all the social medias @waynesables or via the email at artistic@waynesablesproject.co.uk

4. Making marketing videos

4. Making marketing videos

Hello there,

So you’re looking to make a marketing video hey? Cool right on. Have you seen the other blogs i’ve done? If not they maybe worth a gander, I’ve covered smart phone filmmaking, cinematography and capturing good audio. Let’s assume you have ether checked them out and popped back over or you already know about that stuff and crack on.

I should probably introduce myself my name is Wayne Sables, I’m a filmmaker (go figure), projection mapper (blogs coming on that soon) and a digital artist. I made my first film in 2004 and fell head over heels in love with filmmaking. I’ve been very lucky to have been contestant making films since then. I’ve made all sorts, some good, some great and some rubbish. I’ve been thinking about what to write to help you on your journey to creating marketing videos. I did a little googling and came across the article below. It’s better than anything I could have written to be honest so to save you having to ready my drivel I’ve popped it below.

I can’t find the original author but kudos it’s brill. I’ll check my search history (dangerous I know) and add it in later. In the mean time enjoy.

Marketing Videos: Pre-Production

1. Create a Storyboard and/or Shooting Script

The best marketing videos don’t just happen – they’re a result of meticulous planning and preparation.

Before you even think about getting your camera equipment ready, consider putting a storyboard and shooting script together. Storyboarding helps you figure out exactly what shots you need before you start filming, and a shooting script is like a screenplay for your video.

Storyboard panels for ‘Harry Potter and the Deathly Hallows, Part 2’

You don’t have to draw a stunning masterpiece for your storyboard. In fact, you don’t need to draw it at all. You can use a series of still photographs as a storyboard, or even rough sketches or stick figures – whatever is easiest. Just make sure you know what shots you need before you start filming.

Remember – the more time you spend planning your marketing video, the less likely you are to find yourself missing footage later on.

2. Prep Your Presenters or Interview Subjects

Make sure all your presenters or subjects know what’s expected of them beforehand to minimize mistakes or wasted time on the day of the shoot. You should have a good idea of what the finished product is going to look like long before you arrive at your location, and your presenters should know exactly what they’re doing.

Also, try to avoid having your presenters memorize pages upon pages of script – they’re probably not actors, and asking this of them is likely to cause more anxiety (and mistakes) than allowing them a little freedom.

3. Know What B-Roll Footage You Need

Planning to intersperse shots of your team hard at work into your video, or cut away from your presenter to other footage? Then you need what videography professionals call B-roll footage.

B-roll is essentially any footage that isn’t of your primary subject. If you’re filming an explainer video showcasing your software product, B-roll footage might include shots of satisfied customers using your product, or an external shot of your offices, for example.

Whatever footage you need, figure it out during the pre-production phase to avoid situations in which you need footage you don’t have. Remember – there’s no such thing as too much B-roll.

TIP: If you need a shot of something that would be difficult or impossible to film yourself, such as aerial shots or footage from exotic locales, you can always use stock B-roll footage. I’ve used footage from Beachfront B-Roll several times in the past, and the quality and diversity of the footage is excellent.

Marketing Videos: Production

Whether you’re shooting a video or taking a photograph, composition is crucial to the finished product. Composition is so important it deserves a post in and of itself. However, since this is a crash course, we’ll just cover the basics for now.

Composition is the proper term for how a shot is framed and staged, or “composed.” This refers to how your subject – whatever it is you’re filming – is arranged and positioned within the shot.

4. Use the Rule of Thirds

Whenever you’re filming anything (or taking photos), remember the “Rule of Thirds.”

Imagine your shot is divided into nine equal sectors by two horizontal lines and two vertical lines, like so:

Notice how the primary subject in the image is positioned where two of the four points (which are known as the “anchor points”) intersect? This technique is used to draw the eye toward the main points of interest in the shot. The viewer’s eye will naturally gravitate towards the top-left anchor point, and many people will spend longer dwelling on this area than other parts of the shot, making it a logical point at which to position the main area of interest in your shot – in this example, the face of the subject.

This is a pretty standard composition using the Rule of Thirds, and although it might not seem that remarkable, composing your shot in this way makes it easier for the eye to “read” and results in a much more aesthetically pleasing shot overall. Your audience probably won’t even notice the composition of the shot, because it just “works.”

The Rule of Thirds can be applied to just about any type of shot, including landscapes. Using the horizontal lines is a great guide for where the horizon line of your exterior shots should be, and where your subject should be positioned:

In the example above, the upper of the two horizontal lines is the logical horizon point for this shot, as using the lower of the two would result in the shot containing way too much empty sky. Of course, this might be precisely the effect you’re trying to achieve, so think of this as a guideline rather than a hard-and-fast “rule.”

Many cameras enable you to overlay this grid onto your viewfinder, making it easy to compose your shot before and during filming.

However you choose to frame your shot, make sure that you keep composition in mind, especially when setting up your camera. To read more about shot composition, check out this great guide to line, shape, negative space, and other composition techniques.

Marketing Videos: Lighting

Few things will ruin a marketing video faster than a shot that is either too light or too dark. Yes, you can correct image brightness and contrast in post-production to some extent (more on this later), but it’s better to get the shot right on the day of the shoot than relying on “fixing it in post” later on.

5. Avoid Conflicts Between Natural and Artificial Light

When it comes to lighting in video, different kinds of light have different temperatures. These color temperatures are measured in degrees Kelvin (°K):

Again, this is a complex topic and could easily warrant its own post, but for our purposes, all you need to know is that mixing two light sources with different color temperatures will make for an unevenly lit shot.

Let’s say you’re shooting an explainer video featuring a member of your team. You’ve chosen an indoor room with good acoustics (more on this later), and you’re ready to start filming. The room is lit primarily by fluorescent lights, but there’s a problem – a large window that lets in plenty of natural daylight.

If you position your subject too close to the window, you could run into a potential contrast in light sources – the fluorescent overhead light with a temperature of around 4500° K, and the daylight, which has a temperature of around 5600° K. This kind of conflict can be difficult to compensate for, and it’s a headache you really don’t need.

Wherever you’re shooting, ensure that your primary light source is even and consistent. If you shoot indoors, avoid rooms with windows. If this isn’t possible, position your subject sufficiently far from the windows to avoid the daylight interfering with your shot.

6. Manually Set Your Camera’s White Balance

Now we know that different light sources have different temperatures, we need to account for these temperature ranges by manually setting the camera’s white balance – a process that basically tells the camera what “true white” looks like in an environment to avoid color casting.

In the image above, the shot on the left has a blue color cast caused by the natural temperature of the daylight in the shot. The white balance of the shot on the right has been set correctly, capturing the true colors of the image.

Many cameras have an auto-white balance feature, but I strongly recommend learning how to set it manually. This avoids relying on your camera to achieve a correctly color balanced shot. You can learn how to do this by referring to the instruction manual of your camera.

Even if the color casting in the example above is the effect you’re trying to achieve, film the shot using the correct white balance and adjust the color in post-production – don’t rely on lazy camerawork to achieve a particular effect.

7. Avoid ‘Spotlighting’ Your Subject

Unless you’re filming a Broadway musical, you should probably avoid placing your subject in bright pools of direct light. Intense primary light sources can blow out the brightness and contrast of your shot and cause unflattering reflections on your subject. There are many different lighting techniques, each of which can be used to achieve a certain effect.

If you’re lucky enough to have a professional light rig, don’t just point it at your subject – make sure your shot is lit evenly, and use a reflector and/or a diffuser to minimize harsh spotlighting or shadows (such as the “mustache” in the far-left example above).

To learn more about lighting for video, check out the awesome videos at the Vimeo Video School.

8. Check the Acoustics of Your Filming Location

Before you start filming, check the acoustics of the location in which you’re shooting. Is there an echo? If so, try and find somewhere else to shoot. You can fix a lot of audio problems in post-production, but even a faint echo can be a nightmare to get rid of completely.

You don’t need to soundproof a conference room in your office (but hey, if you can, go for it), but be sure to bear the acoustics of your location in mind when you’re scouting for possible places to film. It could save you a lot of headaches later.

9. Shoot Multiple Takes

Even experienced presenters make mistakes, and the last thing you want is a situation in which you only have a single take of a crucial part of your marketing video.

Even Norse gods mess up sometimes.

On the day of the shoot, make sure to run through multiple takes. This provides you with a safety net in case you notice something wrong with one of the takes, and allows you to edit together your final sequence from several clips of the same sequence rather than relying on just one.

Even if the first take goes flawlessly, shoot another – just in case.

Marketing Videos: Post-Production

Before we dive into my post-production tips, you need to choose and familiarize yourself with your editing software.

I strongly recommend using Adobe Premiere Pro, which has been my go-to editing package for almost a decade. This remarkably robust editing program has everything you need to start producing professional-quality marketing videos, and the pricing plans are very reasonable (around $250 per year for an individual license), meaning that the barriers to entry have been lowered considerably, even for small businesses.

Despite being a comprehensive professional editing suite, Adobe Premiere Pro is also surprisingly user-friendly, and the learning resources and user community at the Adobe website are amazing.

If you’re working on a Mac, you might be tempted to opt for Apple’s Final Cut Pro. Although Final Cut Pro is a fine editing package, I still recommend using Premiere Pro. In my opinion, the ease with which you can seamlessly move between Premiere Pro and other Adobe programs such as After Effects and Photoshop alone makes it the stronger software program.

10. Tidy Up Your Clips Before You Start Assembling the Rough Cut

When importing your footage into your editing program, clean up your clips as you import them. Most editing packages allow you to set “in” and “out” points for each clip, reducing their length by trimming out pauses, giggles, and false starts.

Editing the final sequence together using trimmed clips is a lot easier than adjusting each individual clip on the fly.

11. Always Cut ‘On the Action’

When editing a shot of someone doing something, make sure to cut to the next shot during the action that your subject is performing.

For example, if you’re editing together a sequence of someone opening a door before walking through it, cut to the shot of the subject opening the door at the precise moment the person turns the door handle. Cutting away before or after the action can look jarring and distract the viewer. You may not even have to worry about this, but it’s worth bearing in mind if you’re working on a more ambitious video.

12. Assemble the Rough Cut Before Working Out Any Timing Issues

Once you’ve got all the clips you need imported into your editing program, it’s time to start actually putting the rough cut of your marketing video together.

Editing a sequence can get complicated quickly, so tidy up your clips as you work.

However, before you begin the painstaking process of frame-by-frame editing, get your clips roughly into place. There’s no point agonising over precise timing issues until your video has already begun to take shape. It won’t look pretty, but it’ll give you a solid idea of which parts of your marketing video need the most work.

13. Don’t Overdo It with Transitions and Effects

Unless you’re making a Star Wars parody video (which would be kind of awesome in a marketing context), don’t use radial wipe transitions – or star wipes, or any of the other “zany” effect presets that come with your editing software. The more attention to draw to your transitions and editing, the cheaper and more amateurish your video will look (and yet we still forgive George Lucas for this).

If you have to, use simple cross-fades to transition from one shot to another. Let your content do the talking, not your editing software.

14. Choose Your Music Carefully

Not every video needs background music, but if you’ve decided that yours does, be careful about your choices. For example, you probably wouldn’t expect to hear Norwegian death metal in a promotional video for an animal shelter. Ensure your music is suitable for your project.

Also, pay close attention to the licensing requirements of the music you plan to use. Unless you use royalty-free music or compose your own, most music is subject to stringent copyright restrictions that could land you in some seriously hot legal water if you don’t play by the rules.

Remember – a record company won’t care if you’re “only” using copyrighted songs in a short marketing video. It’s copyright infringement, plain and simple, and it could result in a costly lawsuit, so tread carefully and err on the side of caution.

TIP: There are several sites that offer royalty-free background music and sound effects, including:

FreeStockMusic.com

Incompetech.com

AudioMicro.com

RoyaltyFreeMusic.com

You can also use certain songs and orchestral pieces if they are considered to be within the public domain. You can read more about public domain music at the Public Domain Information Project, and browse a selection of public domain artists and genres at Public Domain Music.

15. Don’t Assume You Can Fix Everything in Post-Production

Editing packages such as Premiere Pro and Final Cut Pro are extraordinarily powerful and enable you to accomplish a great deal with your videos, but they’re not magic.

Don’t assume that any and all problems with your video can be fixed in post-production. Sometimes, you simply won’t be able to correct the brightness or contrast of a shot as much as you need to, or manage to isolate a single person’s voice in a room crowded with hundreds of people. Yes, it might be possible given enough time and skill, but post-production should be seen as a process to add polish and finesse to your video, not an opportunity to go back and fix mistakes that could have been easily avoided during a properly planned shoot.

Wow how comprehensive and good was that? I don’t know about you but I feel a better filmmaker already. The only thing I would add is i’ve recently switched from Premiere Pro to Davinci Resolve and Davinci it superb. Premier Pro is expense there is no getting away from that. Davinci resolve has a free and paid version. Th free version is great and to be honest you’ll use that for a good year before (if ever) you’ll need to upgrade.

If this has helped/inspired you please do let me know. I can be found on all the social medias @waynesables or via the email at artistic@waynesablesproject.co.uk and my website www.waynesablesproject.co.uk.

5. Independent filmmakers vs companies

Independent filmmakers vs companies

Ok so you’ve been tasked with hiring a filmmaker/company for your business and/or brand, how do you decide whether to use a company or an independent? Cost? Reputation? Quality? Prestige? All of the above?

In this blog I’m going to go through the pros and cons of both. It’s by no means conclusive, it’s my opinion having both run a company and been an independent filmmaker.

Let’s start with quality. There is sometimes a misconception that big companies have the best kit, the best resources and the best people. This certainly used to be true in the bygone days of film when kit cost you and arm and sometimes a leg. Today however with innovations in camera technology those costs have come down exponentially. Don’t get me wrong its still not cheap to get a good camera and the peripheral kit but its not going to cost you an organ. And there are the hours and hours and hours it takes to be great at using it we will definitely get on that later. In my experience you can’t differentiate the quality as much these days. Basically independents and companies are mostly using the same kits or have access to the same rental houses.

What kit should you look for? I get asked this question quite a bit and its a weird one to be honest. You can make a great film on your smart phone look at the film Tangerine. Shot on 2 iPhone 5s’ with a full crew. It did have a proper sound set up mind. To be honest I don’t really know and its not that important as long as the quality of the visuals and the audio looks and sound great winner winner chicken dinner.

So if you’re worried about the prestige of the company/individual making the film it’s maybe worth looking at the motivation for the film. It should be about your brand/product/company so who’s really that bothered as long as they are great at what they do, you build a good bond with them, they can take changes/feedback/amendments etc and they deliver an amazing film that telly your story.

When it comes to reputation (as you already know) you need to do a bit of research, look at their website, any reviews, look at previous films, speak to people who they have worked with before, There’ son point having an amazing filmmaker if they don’t turn up, are difficult to work with and make the whole process unenjoyable. Meet them before for a coffee and chat. I often find if you can socialise with someone you’ll get a good gauge of their personality and values and you’ll know if you can work together. I get most of my work from face to face coffee meetings, to be fair I love coffee so its win win.

 

Ok the biggy cost! Obviously everyone has a different pricing structure but independents generally tend to better value for money as they don’t have large overheads, expensive office rents, pension contributions etc. In my experience you usually get more for your money too as they tend to be more flexible. They tend to be able to film, sort audio and lighting etc. This of course isn’t the case every time. And it’s equally if not more important to have a good relationship between yourself and the filmmaker/company. Usually if your budget is significant and is more than a one person job i.e you need multiple cameras and sound, lighting etc an independent will have a network of fellow filmmakers/cinematographers that they can call upon. To be honest smaller film companies regularly bring in freelancers to boost their team on larger jobs.

As I mentioned previously i’ve run a company and I spend a lot of time balancing the books, squeezing every penny, maximising time which in turn meant that on occasions we’ve under delivered on creativity. I went back to being freelance a good many years ago and I love it. The flexibility and freedom is fantastic. In fact ive worked on more exciting projects than I would have done previously.

So pulling all this together if you have a great relationship with your current film company and its working really well why change it. But if you are looking for a filmmaker don’t discount the freelancer/independent because they are small in comparison the quality will almost certainly be the same.

If this has helped/inspired you please do let me know. I can be found on all the social medias @waynesables or via email at artistic@waynesablesproject.co.uk and my website www.waynesablesproject.co.uk

if you’ve not read my previous blogs here’s http://www.waynesablesproject.co.uk/making-marketing-videos/

6. Filming live dance performance

Filming Dance  – capturing live performance

A how to guide

Hello, 

Before we delve into this I probably should tell you a little bit about who I am. As you already know my name is Wayne (you are looking at this blog on my website after all) I originally began my career as a contemporary dancer before moving into film and digital technologies (coding, projection mapping et cetera) in 2006. Since then I’ve worked loads in the dance sector with companies, independent artists and making my own multimedia dance installations.

When filming dance the first few things to figure out is are you filming somebody else’s work? or are you filming your work?, is it a recording of a live work? Or is it specifically a dance for the camera?

In this blog I will be specifically talk about filming live work for example a performance on stage. Don’t panic though if you’ve come to this blog for advice on filming dance for camera I promise my next blog will be on that subject. In the meantime crack on reading this as there is a lot of similarities.

If you are filming a live work it’s really important that you get a range of coverage. My advice (if your budget will stretch to this) is to do a multi camera set up. That’s one camera at the back facing the stage locked off on a tripod, this will be a long shot (LS). That will give the film context it will tell the audience where we are, and as it’s locked off it will be our stable cut to camera. 

The second and a third film camera want to be along the 180 rule.

If you only have two cameras don’t worry too much about it because the 180 rule is still relevant and let’s be honest its less work you’ve got to do in post.

I would have camera 2 as a mid shot so it still catching all the stage but it’s a little bit closer than the one centre stage at the back. And the third camera I would have close up tracking the movement. This would give an element of excitement to the screen when the audience are watching this bad. It’s almost like your replicating the atmosphere of live. 

It’s worth noting that you should wear possible record of the same cameras. Making sure that your ISO and shutter speed are the same. Don’t forget your shutter speed should be double your frame rate which if you’re in the UK he is 25 frames per second in the USA 24 frames per second, meaning your shutter speed will either be 50 frames per second or 48 frames per second.

Okay so all you can do is match or your settings are the same you’ve done a lighting check so you’re not over exposing or under exposing. NoW you need to catch a sound.

How do you catch a good sound in a live environment i.e. a theatre?

By far the best way to do this is to take the line out of the sound desk and patch that straight into your camera. Usually that will be either XL or or Jack. I would always recommend having a decent microphone on board your camera so you can catch ambient audio. It’s always good to mix a clean feed and ambient sound together to reinforce the sense of a live show. The bonus of this (and this has happened to me more than once) is that if the clean line from the sound desk fails for whatever reason you can always use the audio recorded onto your camera.

https://www.premiumbeat.com/blog/how-to-pick-the-best-video-production-mic/

I usually record the sound from the desk into a specific sound recorder such as his zoom H6N. Zoom is designed for audio and has good preamps where is a lot of cameras don’t have great preamp so you get a very compressed sound. I then mix them together in post which I’ll discuss in a minute.

https://www.gear4music.com/Recording-and-Computers/Zoom-H6-Handheld-Recorder/T78

Okay let’s assume you filmed your live show everything went well you’ve got your clean feed, you’ve got your ambient feed, you’ve got some great visuals, you just now need to mix them all together to create one film.

There are loads of different editing software as you can use, I personally use Davinci Resolve and Adobe premiere pro (although I am trying to move away from Adobe premiere pro because of the massive subscription fee every year).

I’m not going to tell you how to import all of your media etc instead have a look at this tutorial (it spares you listening to me waffle on).

https://youtu.be/PzlJoR0pX00

Note. If you recorded your audio separately you’re going to need to sync it with the video clips. You can do this in premiere pro but it’s a little bit cumbersome and it’s a little bit time-consuming and it will drive you insane. However if you don’t have a budget for additional software make yourself a cuppa grab distressful and I’ll put a link to a tutorial of how to do a multicam edit.

I have a program called pluralise by red giant, all you do is drop all your files into it, click sync and boom as if by magic all of your video and audio is synced. You bust export timeline an import into premiere pro or Davinci resolve.

PluralEyes https://www.redgiant.com/products/shooter-pluraleyes/

Multi cam edit Premiere Pro https://youtu.be/tj75m4WYHm4

Multi cam edit Davinci resolve https://youtu.be/77PjU4baBk8

Sweet, once you’ve edited your live show all you need to do is export it. Depending on where you want to share it there are lots of export preferences you can use such as YouTube or Vimeo and they just put it in the correct codec for you.

Honestly don’t worry too much if you don’t get it right first time. A lot of this stuff is about doing the more live work you film the better you will be and you’ll find a way that works for you.

If this has helped/inspired you please do let me know. I can be found on all the social medias @waynesables or via the email at artistic@waynesablesproject.co.uk

Or at my website (if your not reading this blog on it) www.waynesablesproject.co.uk

2. Capturing great audio in your film – Sound sound sound and sound

SOUND WAVE

Capturing great audio in your film

Sound sound sound and sound

In this blog I’ll show you how to capture great audio fir your next film project.

So how do I capture great audio in my film? Well I shall help you do just that.

Audio is incredibly important when it comes to making film. In fact I’d say it’s more important that anything else, you need great audio. It’s built deep within us. You see way back when in the good old days when our ancestors were hunting big game and big game hunted us and all that. Sound was our biggest defence. You can hear a predator before you at see them. And that innate gift is still with us today. I’ve done it gain, sorry I’ve gone off on one. Ok back to it.

We are much more forgiving if the visuals are not quite up to scratch or if the lighting is a little off but if the audio is schnitzel then your in real trouble, no second film deal, no Hollywood contract and no illustrious film career. We can’t have that can we? So I’ve searched the World Wide Web to find some tips to help you nail your sound.

Tony Errico Is a sound guy. Raindance asked him to compile a do’s and don’ts list. Here it is.

Nowadays it is so easy to make movies, DSLR are getting cheaper and better, every phone can shoot a movie in HD, so everybody can become a director. (even though all the technical magic of the world will never buy you knowledge!)

But by far the biggest problem of many independent filmmaking is the sound.

The dialogue recorded on location, which in most cases is the project’s only source of dialogue in post-production, is not always recorded with the correct technique, which results in poor audio quality.

People have to realise that poor audio can completely ruin an otherwise great video.

Never underestimate the power of audio-acoustic. Bad image quality can be regarded as Arty, bad sound not, and worse it makes the audience feel uneasy!

So here is a Top 10 of things NOT TO DO regarding sound on a movie!

1. “We’ll fix it in post!”

Yeah right! How many times I’ve heard this one. Doing ADR – Automated Dialog Replacement – with the actors listening to the recorded dialogue and replacing it in the comfort of a recording studio with quality microphones, compression, EQ costs a LOOOOOOT of money, and time as well.

And I am not even talking about the background sound here…

2. Underestimate the sound guy recording the sound.

If I had to listen to only one guy on a set, it would be the sound guy. I’ve been on set as Production Assistant noticing that none listened to the sound operator when he said “hum, there was a plane in this take”, and the Director thought the take was great enough not to redo it.

Honestly guys! A sound guy has experience and knows what to listen to, his job is ‘hearing’ – and trust me it is a job per se. He knows what people need in post-prod, so if he says that there is a plane, then it means a big problem for later on…

I would trust a sound guy a lot!

3. One sound guy can do it all!

Of course, and one person in a restaurant can cook, serve and wash the dishes… all at the same time!

Depending on the budget it is true that a sound guy can record, mix and dub the movie, but still the skills are not quite the same, and to mix a movie, better have a pro who owns a studio or at least a perfect acoustic place to do so.

You don’t want muffled dialogues.

4. Using the microphone of the camera will do!

Then why not shoot your movie with a phone cam?

Any microphone will do! Yeah right, then why some microphones are worth thousands of pounds and some £10? Never wondered why in a professional music studio there are hundreds of different microphones?

To record high-quality location sound the right type of microphone must be used: ultra-directional for external locations, directional (shorter) for interiors, and non-directional for cramped interiors. The more directional the microphone, the greater the extent to which it selectively picks up sounds from its front end, and the higher the signal-to-noise ratio will be.

And professional microphones uses XLR connections! So if you have a jack microphone, it won’t sound as good as it should, this is a sign!

5. Underestimate the location!

When you check the location, you should bring the sound guy with you if you want to be pro!

He will then know exactly what needs to be done to get the best sound recording there. A room without windows, posters or furnitures will reverb a lot, hence will be very difficult to deal with, to edit and mix.

An important rule to master is: once there is a reverb or echo on a recording YOU CANNOT TAKE IT OFF!

But it is easy to ADD one on a perfect recording neutral of effects.

6. Record the sound with the music or background noise is fine!

Of course, then when you choose your correct take and mix it, that’ll be fun!

Same as 5) here, once a background sound is on the dialogs, it is impossible to take it off, but if the dialogs are clean, you can easily add a background music, noise etc

The cleaner your dialogues, the better for post-production.

7. We don’t need a “wild track”!

Then I am wondering how your dialogs will sound like… If you edit a dialogue leaving spaces between them or taking a dialogue from one take and the other from another take, there is a big chance that the background noise is slightly different, then, people will hear it, and it will distract the audience. Is that what you want? Really?

Avoid this by always record a “wild track” – or ambient sound = one minute of total silence on a set, before or after the main shooting – to have a neutral background sound. So useful that you cannot live without.

8. Anyone can be a boom operator, I’ll ask a friend

Cool, then I should ask my mum too!

A Boom operator knows what to do and most of all what NOT TO DO!

When you move your hands on the boom, you touch the XLR cable then the sound is recorded on top of the dialogues! Microphones are very very sensitive, any movement or noise will be recorded. And this is why a boom operator should always wear headphones, to hear ONLY the recorded audio and not the sound on the set!

9. Overlapping dialogs is fine!

Then how would you mix them if you need to change one? Or take a dialog from another take?

If you can, it is very good to avoid overlapping dialogues, you can ask your actors to “play it” as to avoid it, not easy but far easy on post-production!

10. Use of a song is fine, no one will notice, or we’ll get the right afterwards!

Mmmmh…. Copyright issues regarding music is a very common problem. If you need a specific song for your movie, be sure that you have the right BEFORE you shoot the scene, or prepare a backup song. Especially if your actor has to sing on it, cos if you don’t get the right, it means you might have to reshoot the scene or let it go!

On how to get the right of a song, there are many Raindance courses about it, as it is a big subject per se, and complicated too.

Honestly if I had to pay ONE guy only on my set, it would be the sound operator!

The Director of Photography and sound guy are the most important people on a set for me! If I can take them with me on a location recce, I definitely would, cos they would know what works and does not.

One last advice on sound recording on set: it all depends on the technique used – there are many – but mainly PROXIMITY IS KING! So get the microphone placed properly and it should do the trick.

Here’s a nifty video on how to get better audio in your films

Does that make sense?

Great of you pop. I’d love to see what you make, if this blog has been helpful do share it and let’s connect. I’m @waynesables on all the social media’s or you can email me at artistic@waynesablesproject.co.uk

7. Creating a dance film