There are many books available to learn about using cameras and shooting video.
So we'll confine this section to tips that are specific to training video production, and assume that the basics of lighting and camera operations are understood.
I'm assuming basic camera and tripod operation, rather than steadicam, or motion camera, tracking and such.
Lighting/Filming/Directing fro Training Videos
A common question is: "I'm interested in learning more about how I can make material that may be a bit 'dry' or boring even, into something more interesting on film."
In this first instance, a lot of training videos are dry and boring, or they are when you look at some of the training video productions found in circulation.
This is because the video crew often find themselves in non-descript locations, that are dirty, or scruffy, or look no different to the last video they produced, even though it was in a completely different office.
The solution lies in the hands of the video director.
The rule is that every shot can be made more interesting or improved in some way. No matter how dull the shot, there's always a small improvement that can be found.
In fact looking for big improvements in shots can almost be a mistake, as big improvements aren't necessarily going to be found.
They're simply not possible, either because of lack of funds, or poor quality of location from a film point of view.
As an integral part of training video production, I'd suggest having the following basic tools as a good start to improved filming:
> Portable TV monitor
> Green screen
> Teleprompt
> More than one light
> White scrim and coloured gels.
The following basic code of practice will guarantee an improvement in your shots. You can apply it to all training videos.
> Preview all shots on a TV monitor to check for dark areas, such as under tables, sides of cupboards, in the distance, etc. Dark areas won't do. They make otherwise great shots look poor.
> Shoot 2 angles of everything. This allows cross-cut editing for visual interest. Remember that while you're doing your best to add interest, so is the editor. So help them by providing the footage for them to be creative at least in some small way. Do this with every scene.
> Never have the subject or the camera still at the same time. Always show some movement. Otherwise you might as well use a stills camera. And audiences find stills boring by comparison.
> Avoid wide shots, as nothing can ever be seen clearly from a distance. Unless of course the long distance is deliberately creative, such zooming from high on a bridge to a subject on the ground, or overhead from a cherry picker or mobile platform.etc.
> Use more close shots as they generally deliver more impact. This is because you can clearly see the expressions on subjects' faces, and audiences will relate to this. But be aware that generally camera operators are cautious of using close shots as they're more likely to go wrong if someone moves the wrong way. The solution is to direct clearly and specifically ask for closer shots. Rehearse them while checking in your monitor til it looks interesting. Don't be scared of very close up shots. Your clear direction will give the camera operator confidence.
> Don't be scared of getting it right on first or second take. Too many video directors are nervous and shoot too many takes. Too many safety shots early on means rushing to finish later on, which means creativity vanishes in the stampede to get the job finished before the client has to go home. This is a typical training video shoot issue.
> As a director you have to be ready to pick up on other people's creativity. This doesn't suggest departing from the planned shot list. It's more about being open to other ideas and interpretations. A smart director knows that after lunch they're not so chock full of ideas as in early morning, and consequently looks around for people who are "on a roll" who can help. But don't argue over the creative. If you have to be firm creatively, say "this is the decision. Thank you".
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