Join Ashley Kennedy for an in-depth discussion in this video Scheduling the shoot and nailing down logistics, part of Making Video 2: Teach Something.
- We've already done so much in terms of figuring out exactly what Pamela wants out of this video. And certainly understanding the audience, crafting the message, embracing teaching strategies, designing that structure and style, and getting specific with the script is really most of what we need to be successful before we shoot the video, but there are a few more logistics that I want to cover before the camera starts rolling. The first thing I want to talk about is location scouting.
When finding a location, it's important that it's a good option for hosting a video production. At the very least, the space should be aesthetically linked to the subject in some way either thematically, aesthetically, or even as a more neutral backdrop that doesn't detract from the message of the video. The location needs to be accessible for the entire time of the shoot, and it should be a quiet space removed from uncontrollable outside influences. It should be spacious enough to accommodate the different camera angles that you intend to capture, and depending on the amount of production gear that you have, you want to make sure that you have plenty of access to the proper electrical power and hookups for your equipment and lights.
If you're relying on natural light, you need to ensure that there is enough light and that it's coming from the right direction. You don't want to backlight your subject, for example. If you need to use professional lights, interior lights, or practical lights like lamps, you'll need to plan out how those will be placed to effectively illuminate the scene. As you go through all of this, keep in mind that while smartphones contain some really nice cameras, they don't necessarily handle problematic lighting situations very well, so do all you can to light the scene well.
There are several courses in our library that may be helpful as you learn more about lighting interviews and other scenarios. Let's talk to Pamela about the location and see if there's any considerations that we need to be on the lookout for. All right Pamela, we've done a lot of work in planning this video out. Now we're actually in the location, so I was just curious about a couple of the logistics in terms of location and where we want our shots. We have two locations, the counter and the stove.
Here's the counter. Give us a sense of how you were planning this shot out. - Sure, well what I'd like to do is set up a cutting board here, and then we'll have the sheet pan off to the side, so I'll be chopping the vegetables and then putting them here on the pan. Then, I'll transition to put them into the oven and then go make the eggs at the stove. - All right, so in terms of maybe some production design that we can add to this. Everything's pretty bare right now. What do you want in the shot in terms of dressing the set a little bit? - Well, I think the food, to start with, is going to add a little more visual interest than we have right now.
- (laughing) Certainly. - Then also I have, one of the things I'm using is parsley, and I have that in a vase right now of water, and I store that in the fridge, so that'll make it look a little bit nicer here. Then maybe some cookbooks on the counters in the back, and then I could also get some fresh flowers if you think that would make things a little more attractive. - Yeah, I think that's great. You know, first and foremost we do have the food. It's going to be the star of the show, and flowers and cookbooks will round that out really well. In terms of the shot, we'll have the camera on the other side of this counter capturing you in the medium wide shot for the majority of it.
We had also talked about the insert shots being in closeup. And you know, something very popular now is to have just the overhead shot. We could build something to actually mount that out of the shot but also you know, but I'm thinking that we have some really versatile little tripods that we can set up over here and maybe angle down into a closeup. We can try a few things with that if that sounds good to you. - That does. That does sound good, yeah. - All right, all right so we just need to make sure that they're not in each other's shot, that we have that planned out.
Let's talk about the stove a little bit. If I move over here, talk about all of the places that you're going to be, and maybe we can plan out where the camera would be. - Sure, so I think I want to cook using this burner, and I think I'd like the camera to be sort of where you are right now, so I'm addressing the camera, cooking here. - Then after that, you don't want to end here. You want to end back over here, so take me through that motion. - I'm not sure how to get both pans back to that counter, but maybe one can be already there. And then I can open the oven, bring out the vegetables, walk them back over to this counter, set them here, plate them, add the egg on top, maybe get some closeup shots of the food, and then take a bite and sign out.
- Okay, well I think that the next step tomorrow when we shoot the video is to get the equipment in the space and really start playing around with this multi-camera setup because that is going to be a really nice engaging way to capture the action from multiple angles, so I think it'll be really great. - Awesome, thank you. - Okay, so I think Pamela's kitchen is going to work out great for this shoot. It meets all of our basic location needs. It's accessible and free from outside influence. If we unplug the refrigerator, we can remove a major source of noise.
It's nice and bright, so we'll be good on natural light, and it's quite spacious and will allow us to capture all of the camera angles we need. And of course, I don't think you could possibly get a location that is any more thematically linked to Pamela, her message, and this video. If any of these factors would have prevented a positive shoot, it would be necessary to try to find something else. Getting the right location is key, so is the schedule. Production scheduling can really be truly intricate work, and it's something I definitely recommend for large productions and small productions alike.
In order to properly schedule a production, you need to know everything that you need to shoot, and then you need to figure out how each element fits into the master schedule. And because a video production often involves shooting things out of order for the sake of logistics or convenience, it's crucial that you know exactly what you need to shoot and when and how you'll shoot it. So let's talk about what we need to shoot for Pamela's video, and then we'll figure out what a good schedule would be.
Here's the basic rundown of everything that we need to get for the cooking video. We've got two different locations, the counter and the stove. We start at the counter. Then, we move to the stove, and then we come back to the counter. Now if this were a different type of video and we weren't cooking a recipe from start to finish, we might just shoot all of the counter location shots at once and then move to shooting the stove location. Indeed, it's generally a great idea to group shots together like this of like location and like camera setup.
That way you can keep the camera in one spot and shoot everything that basically looks the same at once and then move the camera and do the same thing in another location and another camera setup. But this shoot is just a little bit different. In making the farmer's market hash, Pamela needs to first prep everything at the counter. Then she needs to cook it at the stove, and then she needs to taste what she's cooked back at the counter and conclude the video, and she's already said that she's not interested in that classic cooking video trick of premaking the dish so that it's ready to pull out of the oven without actually cooking it.
So all of this means that, in this case, we're a bit bound to the chronological events because of the process oriented nature of cooking, and that's fine. We don't have a ton of equipment and lights that we're moving from spot to spot so shooting location A and then going to location B and then back to A isn't really a big deal. With all of that said, here is the basic production schedule as Pamela and I came up with for this shoot. As you can see, everything is outlined pretty standardly, and there's also some padding built into the schedule.
It's so important to incorporate padding because there will always be things that come up to delay your progress related to logistics, equipment, people, extenuating circumstances and so on. Another part of production scheduling is making sure that you outline each member of your crew's responsibilities and inform everyone of the major production information and expectations. In this case, Pamela is mostly a one-man band with some help from me, so really it's just important that she and I are on the same page.
All right, so with all of that, we've got a nice production plan in place for this shoot. Now let's move on to the next chapter where we set out to shoot the video.
- Video workflow and techniques
- Teaching on camera
- Writing the script
- Shooting on location
- Editing video in HitFilm Express
- Adding music and graphics