To practice rapid-fire shooting and editing, I made the above short video of my fiancée, Kristin, at work on a new painting. Kristin earned an MFA at the Pennsylvania Academy of the Fine Art, in Philadelphia. Today, she works full time as a graphic designer, but tries to get some painting in after hours. Like me, she faces a constant struggle to remain creatively active, but I think we have both managed to find a tolerable balance. It’s better some weeks than others, but, as always, it’s a work in progress…
I took the basic order for the shots from a handy little article by University of Florida Journalism Professor Mindy McAdams. She describes a simple method for capturing a scene in just five shots. I’m fairly certain she didn’t devise this method (I’ve heard of similar approaches from other sources — in fact, there’s a nice BBC video on the “five-shot rule” here), but she does a nice job explaining it.
If you decided not to click the link, I’ll distill McAdams exercise here:
[In the case of a subject who is relatively stationary and using her hands]
- Shoot the hands up close (tight)
- Shoot the face up close (tight)
- Pull back and get a shot showing hands and face together (medium)
- Shoot over the shoulder (medium)
- Shoot “something else,” typically from a wider perspective
In making the short video above, which would typically be just one scene in a longer documentary-style piece, I considered this approach and tweaked it a little based mostly on my own gut. I do not believe in any hard and fast “rules” about communicating, whether it be via video or the written word, or any other form or medium. We can get our point across in many different ways, and strict adherence to rules or formulas, although it can save time and effort, is a good way to bleed the life out of a story. That said, starting with a solid understanding of the basics is really a must for any aspiring creative.
As you can see in the stills below, I used more than five shots, but the basic ideas were covered:
6. This shot falls between tight and medium, in my estimation, but it’s probably closest to what McAdams identifies as “something else,” a creative shot that adds visual interest to the edit. Kristin was interested to see it, as she didn’t realize she held the brush so high up. “It looks like Japanese brush painting,” she said. It’s her favorite shot and mine.
9. To close out, I decided to give the contextualizing wide shot, which is how McAdams suggests finishing the a sequence. It’s not the most interesting image, and informationally it overlaps with the pan in my third shot, but I like how it gives a sense of scale — this is quite a large painting!
In the end, I used nine shots instead of five, although I’ll admit that for this very basic sequence, eight or even seven would have sufficed. I have shot and edited much longer, more complex videos, but as I’m self-taught, I try to go back and brush up on basics regularly. Like a lot of media makers in the digital age, I learned quick-and-dirty at the U of Hard Knocks. Without going back and practicing fundamentals, it’s easy to get caught in a big project with shaky foundations.
Always curious to hear what rules of thumb you use when telling a story with a video.