1. Use What You Have and (Still) Produce Great
Video to Increase Sales on the Web & Beyond
2-Hour Version with New Color Balance Section
B & H Event Space
Thursday, September 27, 2012
4 PM – 6 PM
New York City
Presented by
Donald Schwartz
Technology Writer/Photographer
donald.schwartz@imagelinkproductions.com
Twitter: Ishkahbibel
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2. The Road Ahead
• The Big Difference Between Your Eyes &
Ears and a Camera
• What Tools You Need To Focus Attention
– Seeing The Light
• Why The Right Exposure & Correct Color
Balance Is So Important
• How To Become A Master At Composing
What Goes Within The Frame
• The Pitfalls Of Bad Sound
Image: Jennifer Schwartz
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3. The Video/Still Camera vs. Your Eye
Eye Features Camera Features
Auto White Balance – doesn’t see shadows as Auto white balance included but not accurate –
blue or fluorescent lights as green confused by direction (where) of light and
mixed lighting sources. Can’t identify primary
light source without help.
Auto Exposure – wide contrast range covering Auto exposure included but confused by high
highlights and shadows with quick adjustment. contrast. Doesn’t know its own limitations.
Makes choices based on brightest areas.
Auto Focus – face recognition built in. Multiple Face recognition easily confused. Camera
focus points built in. (Your choice) operator must direct focus to the correct
subject. Limited focus distance.
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4. When The Camera Controls Exposure
Click here to view video
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5. Success Formula: Learn To Love Manual Control
(Who’s More Capable, You Or Your Camera?)
• When an all-auto camera reacts to changes in light levels, light
sources, wide audio swings, everything it does is obvious and
distracting.
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6. Start Small, Turn Off One Auto Function At
A Time
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7. Focus Attention – Get Audiences To Pay
Attention To What You Want Them To See
Achieved By:
• Lighting – foreground & background separation – create contrast – makes
image appear sharper.
• Think principal subject – brighter than other pictorial elements.
• Create dimensionality by using light and shadow. Shadow defines depth.
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8. Focus Attention – Get Audiences To Pay
Attention To What You Want Them To See
• Technique: Start with 3-point lighting consisting of key (main), fill (fills in
detail & lightens shadow), back or separation light.
Images: Copyright 2006 Jeremy Birn
3dRender.com
Used by permission of author
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9. Focus Attention – Get Audiences To Pay
Attention To What You Want Them To See
• Technique: Have no lights? • Apply angle of incidence. Angle of
Bounce or reflect available light incidence equals angle of
using foam core, show card, or reflectance. Also works for finding
cine foil. unwanted reflections.
Photo credit: California Sunbounce
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10. Everything You Wanted To Know About Light
Lighting Characteristics
• Color
• Hard or Soft
• Sun is a hard light, a direct light - well defined shadows
• Bounced lights are soft - less shadows and good wrap
• The bigger the light source, the softer the light
• Distance & Light
1. If you move light close to your subject light will fall off very rapidly; further away will fall
off more slowly. When you pull back you can actually light more space.
2. Inverse Square Law - means of calculating fall off
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11. Everything You Wanted To Know About Light
Shadows
• Can Define Subjects (add 3rd dimension)
• Create Pattern
• Can Also Distract
• Video or Photography Distractions:
– Two cross shadow under chin
– Moving shadow against wall
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12. Everything You Wanted To Know About Light
Shadows
Define Subject Create Pattern Distraction
Images: Donald Schwartz
Models L- R: Sally & Lady Camelia
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13. Everything You Wanted To Know About Light
Color Balance – White Balance
Color Balance – White Balance
• A Video Camera sees light differently from your eyes.
• Light color is measured in degrees Kelvin which corresponds to
different colors.
• The Basics:
– Daylight is blue
– Tungsten is red/yellow
– Fluorescents are green I Win
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14. Everything You Wanted To Know About Light
The Effect Of Incorrect Color Balance
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15. Everything You Wanted To Know About Light
Tools For Obtaining The Correct Color Balance
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16. Photo credit: Donald Schwartz
Models: Lynette Scire & Steve Ferrari
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17. Photo credit: Donald Schwartz
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18. Photo credit: Donald Schwartz
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19. Photo credit: Donald Schwartz
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20. Everything You Wanted To Know About Light
Different Color Balance Settings Under Daylight
• Lighting Conditions: Daylight – Late Afternoon
• Lighting Conditions: Daylight – Open Shade
• Starting Point: White Balance with Gray Card
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21. Daylight Late Afternoon
Photo credit: Donald Schwartz
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22. Daylight Late Afternoon
Photo credit: Donald Schwartz
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23. Daylight Late Afternoon
Photo credit: Donald Schwartz
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24. Daylight Late Afternoon
Photo credit: Donald Schwartz
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25. Daylight Open Shade
Photo credit: Donald Schwartz 25

26. Daylight Open Shade
Photo credit: Donald Schwartz
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27. Daylight Open Shade – Flash with Orange Filter (Tungsten Equivalent)
Photo credit: Donald Schwartz
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28. Daylight Open Shade
Photo credit: Donald Schwartz
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29. Daylight Open Shade
Photo credit: Donald Schwartz
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30. Daylight Open Shade
Photo credit: Donald Schwartz
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31. Everything You Wanted To Know About Light
Your Video Camera’s Color Balancing Tools
Image Courtesy: Canon
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32. Everything You Wanted To Know About Light
The Sure Thing For Color Balance – Custom (Manual)
Color Balance To Predominant Source
Use White Card, Gray Card or Custom Globe
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33. Everything You Wanted To Know About Light
Gels – Changing The Color Of A Light Source
• CTO – Roscosun 3407 – converts Daylight (source) to Tungsten
• CTB – Full Blue 3202 – converts Tungsten (source) to Daylight
• Tough Plus Green 3304 – adds green to Daylight (source)
• Tough Minus Green 3308 – converts Fluorescent to Sunlight
• Rosco 241 – converts Tungsten source to Fluorescent
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34. Exposure
What Does It Mean To You?
Why is It Important to You?
Answer:
The amount of light required for the camera’s sensor
to capture the widest range of bright highlights and
dark areas without over or under exposing the image.
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35. Exposure
How Your Camera Interprets A Scene
Why Understand Gray Scale or Zone?
• Your video camera is color blind.
• Exposure is set in relation to Middle Gray
(Zone V) – 18% reflectance.
• Zones are a method of quantifying shades.
• Determining how a color corresponds to a
shade of gray produces more consistent
results.
Photo credit: Donald Schwartz
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36. Exposure
Black Tank Real World View
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 36

37. Exposure
Black Tank Auto Exposure – Middle Gray View
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 37

38. Exposure
White Wall Real World View
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 38

39. Exposure
White Wall Auto Exposure – Middle Gray
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 39

40. Exposure
When It Comes To Exposure, Your Camera Stills
Sees In Black & White
Light Absorption and Reflection
Images: Donald Schwartz 40

41. Exposure
Know Your Skin Tones
Image: iStock
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42. Exposure
Know Your Skin Tones Related to Middle Gray
+1 18% Gray (average reflectance)
-1
Image: iStock
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43. Exposure
Setting Exposure Using In-Camera Controls
• Zebra Stripes - skin tones and peak white
(images: 70 IRE & 100 IRE)
• Waveform Monitor - range from black to
peak white (image)
• Gray Card - mid-tones
Gray Card – Cowboy Studio
Waveform Monitor
IRE Pictures courtesy of The DV Show
WFM courtesy: CyberCollege® and
InternetCampus®
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44. Exposure
By The Numbers (Advanced)
• ISO – Chip sensitivity to light frequently called “speed”
• F-stops refer to the size of the lens opening called “aperture”
• Shutter Speed – how fast the shutter letting in the light opens
and closes exposing the chip
• Video cameras do not have a mechanical shutter. When
referring to speed, we mean how fast the video camera
samples information from a chip. If you select 60th of a second
- (standard) shutter speed - this means sampling all the
information in a 60th of a second. Source: www.videojug.com
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45. Exposure
Video Camera Exposure By The Numbers
Image Courtesy of Canon 45

46. Exposure
A Work Around for Auto Exposure
Shooting a Subject in Front of a Window
Work Around:
• Move subject away from window
• Cover window
• Add front light
Click here to view video
Photo credit: Donald Schwartz 46

47. Focus Audience Attention
• DOP – Depth of Field –
What’s in focus and what is not.
• The distance between the nearest
and farthest objects that appear
in acceptably sharp focus - a
function of lens aperture, ISO,
shutter speed.
• Not available on cameras with
small sensors – but...
Image: Donald Schwartz 47

48. Focus Audience Attention
DOP – Depth of Field – Isolates, Separates, Calls Attention To
Image: Donald Schwartz 48

49. Focus Audience Attention
Compositional Mastery: Part I
Or the face doesn’t have to be in the middle of the frame
Rule of Thirds – divide your frame into a 9 section grid.
Image: Donald Schwartz 49

50. Focus Audience Attention
Compositional Mastery: Part I
Changing A Lens Focal Length Alters Perspective
Wide – 24mm Normal – 50mm Telephoto – 105mm (Compression)
• When you change perspective you change the relationship between the background
and the foreground
Drawings: Jennifer Schwartz
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51. Focus Audience Attention
Compositional Mastery: Part I
Tactics
• Why not zoom in? Because it changes perspective and draws attention
to itself.
• Start wider than normal and walk in to bring your audience with you.
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52. Focus Audience Attention
Compositional Mastery: Part I
Long Lens Compression
Appears Actual Distance
85 mm - lens
125 sec – shutter speed
125 ISO
Images: Donald Schwartz 52

53. Focus Audience Attention
Compositional Mastery: Part I
Wide Angle Lens – Expands Distance
24 mm lens
125 ISO
Images: Donald Schwartz
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54. Focus Audience Attention
Compositional Mastery: Part I
Eye Line & Camera Angle
Up Down
Angle Angle
Images: Donald Schwartz 54

55. Focus Audience Attention
Compositional Mastery: Part II
Solving the 2D Conundrum – Creating 3D
• Using frames within frames, vanishing point and visual triangles.
• Think: what frames do you see every day? Clue: what do you look out of – a window?
• What in this image leads your eye to the horizon?
Images: Donald Schwartz
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56. Focus Audience Attention
Compositional Mastery: Part II
Solving the 2D Conundrum – Creating 3D
Vanishing Point
Triangulation
• Frame within frame • Vanishing Point
• Create scale • Triangulation
• Use of color – set design or color balance
Images: Donald Schwartz 56

57. Audio Mastery
Microphones vs. Ears
Ear Features Microphone Features
Wide dynamic range from a whisper to Limited to microphone specifications
a thunder clap. and audio amplification.
Seamless level adjustment. Requires monitoring to avoid distortion
on the high (loud) end and noise on
the low (quiet) end.
Directional sound awareness. Depends on each microphone’s
acceptance pattern. Each microphone’s
coverage area varies.
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58. Audio Mastery
Microphones – Two Basic Types
Omni Directional: pickup sound from every direction equally
Better at resisting wind noise or mechanical handling
Less susceptible to popping “p,” “b” or “t”
Directional Microphones: Sounds best from the front. Tends to reject sound
that comes from other directions
• Directional Types: cardioid, subcardioid, hypercardioid, bi-directional
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59. Audio Mastery
Collecting Sound Objectives
• Suppress unwanted noise
• Reduce effects of reverberation
• Increase gain before distortion – crank up the good sound
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60. Audio Mastery
Visualizing Microphone Pickup Patterns
Patterns, called polar patterns, should be taken as the floor plan of a microphone’s
response; where the microphone hears the best.
Microphone Patterns
AT8004L Audio-Technica Omnidirectional Audio-Technica AT831 R - Audio Technica-AT875 Short Condenser Microphone
Dynamic Microphone Cardioid Condenser Microphone 60

61. Audio Mastery
Sound Recording – Best Practices
• Recording level should be as close to zero on your meter as possible without
increasing background noises.
• Get microphone or camera as close to subject as possible.
• Metering: Level should be as close to zero as possible with increased background
noise.
• When setting level have subject speak normally. The subject should not move
backwards or forwards during the test.
• Don’t use AGC (auto gain control).
• Record at least a minute of ambient sound (called room tone) with no one talking.
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62. Camera In Motion
Why Does The Camera Bounce When I Walk?
Click here to view video
Animation courtesy of Darmont - www.idleworm.com
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63. Camera In Motion
A Moving Camera
• Use a camera stabilization system – it
separates your gait from the camera.
Example: Merlin
Merlin Stabilization
Click here to view video System
Additional Benefits: A moving camera creates motion
where there is none. Enables multiple angles and diverse
shot compositions (wide angle to close up) without editing.
Allows crossing the line (the 180 degree rule).
Courtesy: The Tiffin Company
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64. Videographer’s Best Practices
Panning The 180 Degree Rule
• If you think it’s too slow, make it • You have crossed the line.
slower. • Quick and dirty solution for
• Apply pressure before you need to interviews: shoot over right shoulder
and lessen before you stop. and for reverse, reaction shot, over
• Use a tripod. left shoulder.
Avoid Dead Eye
• Cause: too much top light.
Image courtesy of Steven d. Katz
Michael Weise Productions in conjunction with Focal Press 64

65. Lighting Supplemental
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66. Everything You Wanted To Know About Light
Light Creators
• The Sun
• LED – Litepanels Hilio
• Fluorescent – Riffa 55 Kit
– Want high CRI
– Efficient, short throw Litepanels Hilio™ Chimera TL Lightbank
Kit w/o Grid Kit
• Tungsten – More heat, less light –
Lowel D Light & Tota
• HMI - generate light equivalent to
sun light color temp
Lowel D Light & Tota
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67. Everything You Wanted To Know About Light
Light Controls and Shaping
• Diffusion in front of lighting instrument: softens light and limits intensity.
Changes character of light. Suggestions: Rosco Opal Tough Spun 3010,
Tough Silk 3011, Tough ½ White Diffusion (also called Lee 216).
• A single lighting instrument with two intensities: Use ½ scrim at one or 2
stop control.
• Lessening light intensity on reflective surfaces: nets with one or two stop
control.
• Removing light from where you don't want it to be: flags or black show
cards in frames.
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68. Everything You Wanted To Know About Light
Lighting Control Tools
Altman Barn Doors
Westcott Fast Flags & Nets Internal & External Scrims
Altman Fresnel
Doors, IK Scrims: Courtesy of
Altman, Fast Flags: Courtesy of
Note: Nets & Scrims: two light intensities from one Westcott
instrument
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69. Everything You Wanted To Know About Light
Light Rigging Tools – Your Personal Assistant
Avenger C Stand Kit & Set Technicians Handbook
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70. One Light Setup
Direct
Spill
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71. Audio Supplemental
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72. Audio Mastery
Understand The Language
Dynamic Microphones
Condenser Microphones
Omni-directional, Directional
Microphone Acceptance & Rejection Patterns
Phantom Power
Impedance – Low & High
Balanced & Unbalanced Microphones
Sensitivity – measured in db (decibels)
Microphone Level & Line Level
Frequency - measured in Hz (Hertz)
Gain
Signal to Noise
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73. Audio Mastery
The Essentials
Microphone Level - audio that comes directly from a microphone.
• Diagnosis: can barely hear it.
Line Level – amplified audio that comes from a mixer, audio system.
• Diagnosis: distorted audio or pinned needle.
Phantom Power –
• Provides power to use the microphone at the camera input or from a mixer.
• Unlike Dynamic, Condenser microphones require a power source. If you don't power
from an external source must boost in line. Will require some kind of battery.
Balanced/Unbalanced Audio Connectors –
• Balanced audio connectors are less prone to RF(Radio Frequency), hum and buzz.
• Unbalanced audio connectors can be ¼ inch or 3.5 mm and are more prone to RF, hum
and buzz.
XLR ¼ inch 3.5 mm
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74. Audio Mastery
Work Arounds
Egg Crates or Shipping Foam
Matthews Sound Blankets - Moving
Blankets
Courtesy of Matthews
Auralex Styrofoam Wedgies
Comprehensive EXF Mini - Courtesy of Comprehensive
Hosa XVM XLR Female to 3.5mm mini male -
Courtesy of Hosa
Beachtek DXA-2J next to Beachtek DXA-5D Courtesy of Beachtek
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75. Improving How You Look To Your Audience
Talk to The Camera: Three Views of the Teleprompter
Courtesy of Second Screen Academy
Auralex Styrofoam Wedgies
Interior Teleprompter Teleprompter with cowling Teleprompter displaying text
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76. Tools to Turn Your iPhone into a Controllable
Video Capture Device
Filmic PRO – Courtesy of Filmic PRO Adaptor for audio – Courtesy of Sescom
vReveal – Courtesy of vReveal
Plus portable digital
recorder and Plural
Eyes by Singular
Software
Wide Angle Lens – Courtesy of Photojojo Miniature Shotgun Microphone –
Courtesy of Vericorder Technology
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77. Camcorder Alternative
Consumer to Prosumer Cameras
• Allows you to visually see audio and
light levels (via Zebra).
35mm Cameras Capturing Video
Pros:
• Enable depth of field with large sensor.
• Use of great glass lenses.
• Exceptional ISO/light sensitivity.
Cons:
• Limited recording time due to sensor
over-heating. Improving.
• Poor sound quality.
• Requires mounting rig for shoulder or
mounting on a tripod.
• Rolling shutter effect (going away).
Photo courtesy of www.idcphotovideo.com 77

78. Picking Up Steam
Panasonic AG-AF 100
4/3 – type MOS Sensor AVCCAM Camcorder
Pros:
• More cost efficient than using hybrid 35mm camera add-ons
• Use of existing 35mm camera lenses = good glass
• Real Depth of Field
• No constraints on video recording time
• No requirement to sync audio
• Use of normal rigging for tripods
Image courtesy of Panasonic Inc.
• Focus Assist Function – sharpen detail in view finder
• Zebra & Color Bar Displays – Zebra for assessing highlights
and/or peak white. Color bars for editing match camera output.
• XLR balanced audio inputs vs. 1/8 inch minis
• Audio monitoring
Cons:
• No 35mm sensor so have crop factor
• Only Panasonic lenses allow for power zoom, aperture and focus
– all other adapted lenses are manual.
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79. Picking Up Steam
Sony NEX FS100UK
Pros:
• More cost efficient than using hybrid 35mm DSLR camera add-
ons
• Exmor Super35 CMOS Sensor
• Real Depth of Field
• Embedded Timecode
Cons: Sony NEX FS100UK
• All manual control lensing
• Control Access & Design
• Some difficulty associated with using prime lenses other than
NEX lens
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80. Video Promotion for Small Businesses, Artists,
Consultants
• When showing your product, animate it.
• With a location, walk in and around as if you were a viewer.
• With paintings and photographs, move camera across the painting or photo –
think Ken Burns.
• Use lighting to create dimensionality for sculpture or installations.
• Create a mood using music, sound effects. For example: bells, foot steps, thunder.
• Create a back story and cut back and forth between you talking directly to the
camera and your work.
• What can you say about your product or service? If you can show it with footage
and stills, do it.
• You can talk about process, materials, specialized tools, why you applied the paint
the way you did.
• You can talk about influences, inspiration, why you are passionate about what you
do.
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81. Resources & Sources
Web Video: Making It Great, Getting It Noticed
By: Jennie Bourne; Dave Burstein
Publisher: Peachpit Press
Pub. Date: August 05, 2008
Print ISBN-10: 0-321-55296-2
101 Quick and Easy Secrets to Create Winning Photographs
By: Matthew Bamberg
Publisher: Course Technology PTR
Pub. Date: April 14, 2009
Print ISBN-10: 1-59863-902-1
Film Directing - Shot by Shot
Visualizing from Concept to Screen
By: Steven d. Katz
Publisher: Michael Weise Productions & Focal Press
Publication Date: June 1991
ISBN #: 0-941188-10-8
Stoppees’ Guide to Photography & Light: What Digital Photographers, Illustrators, and Creative Professionals Must Know
By: Brian & Janet Stoppee
Publisher: Focal Press
Pub. Date: October 22, 2008
eISBN-10: 0-08-092798-X
Home Recording for Beginners
By: Geoffrey Francis
Publisher: Course Technology PTR
Pub. Date: January 01, 2009
Print ISBN-10: 1-59863-881-5
Digital Lighting & Rendering, Second Edition
By: Jeremy Birn
Publisher: New Riders
Pub. Date: April 27, 2006
Print ISBN-10: 0-321-31631-2
Info on Walk Cycle: http://www.idleworm.com/how
Info on Light Reflection Tools: California Sunbounce: http://www.sunbounce.de/
Info on Camera Motion Control: Tiffin: http://www.tiffen.com/
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82. Resources & Sources
 Perfect Exposure for Digital Photography
The Zone System of Metering & Shooting (DVD)
By: Tim Cooper
ISBN 9780981602905
 The Lighting Technician's Handbook
By: Harry C. Box
Publisher: Focal Press
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83. Donald Schwartz
Imagelink Productions
donald.schwartz@imagelinkproductions.com
Twitter: Ishkahbibel
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