T257 Social Media Video Production Lesson 4: Coverage and Shot Selection

Foundations of Video Production and Editing

  • The Philosophy of Editing

    • Editing is not defined by the software used; it is fundamentally about telling a clear and meaningful story.

    • Editorial choices directly influence what the audience understands and what the audience feels.

  • The Necessity of Coverage

    • Editing is only effective if the editor has access to the right shots.

    • The consequences of missing or unclear shots include:

      • A confusing story for the viewer.

      • Failure to convey the intended emotion.

      • An overall failure of the final edit.

  • Structural Hierarchy of Video

    • The Shot: The most basic building block of a video.

    • The Scene: A collection of shots.

    • The Sequence: A group of related scenes.

    • The Video: The final result of combined sequences.

Detailed Classification of Shot Sizes

  • Extreme Wide Shot (EWS)

    • Often utilized as an "establishing shot."

    • Its primary purpose is to be the first shot of a new scene to orient the viewer to where the action is occurring.

  • Long Shot (LS)

    • Also referred to as a "Wide Shot."

    • Displays subjects from head to toe.

    • Effective for showing people together and capturing physical action.

  • Medium Long Shot (MLS)

    • These are closer than a Long Shot.

    • Sometimes known as "three-quarter shots" because they include approximately that much of the subject's body.

  • Medium Shot (MS)

    • Also called a "mid shot."

    • Frames subjects from the hips to the head.

  • Medium Close Up (MCU)

    • Frames the subject's head and shoulders.

    • This shot is described as "fairly loose," allowing the subject some room to move.

    • Recommended as a good shot size for presentations to camera.

  • Close Up (CU)

    • A specific feature or part of the subject occupies most of the frame.

    • For people, this usually denotes a close-up of the face.

Camera Angles and Perspective

  • Eye Level

    • Considered the "default" or "neutral" angle.

    • The camera is positioned on the same plane as the subject’s eyes.

  • Over The Shoulder (OTS)

    • The camera is positioned behind one subject's shoulder, framing the other subject.

  • High Angle

    • The camera is elevated and points downward at the subject.

    • This creates the visual effect of looking down on them.

  • Low Angle

    • The camera is set at a point lower than the subject.

    • This causes the subject to loom or tower over the camera.

  • Dutch Angle

    • Typically used to communicate that a situation has gone out of hand, taken a turn for the worse, or to depict a world thrown out of balance.

Principles of Composition

  • Rule of Thirds

    • A fundamental principle of shot composition governing all screen-based visual mediums.

    • The frame is divided into a grid.

    • Subjects or characters in focus are placed at the four points of intersection (power points), typically to the left or right of the frame.

  • Headroom

    • Refers to the vertical space between the top of a subject's head and the top edge of the screen frame.

    • Too Much Headroom: Creates a feeling that the subject is "sinking" and makes them appear small.

    • Too Little Headroom: Causes the subject's head to be cut off by the top of the frame.

    • Determining Proper Headroom: Apply the rule of thirds. Divide the screen vertically into three equal sections and place the subject's eye on or near the line of the upper third section.

  • Lead Room

    • Also known as "Looking Room" or "Walking Room."

    • This is the space between the subject and the edge of the screen in the direction they are facing.

    • Compositionally, there should be more room in front of the subject than behind them.

  • Depth and Visual Interest

    • Foreground: Composing with elements in the foreground creates a sense of depth in a flat image, making it more dynamic.

    • Frame within Frames: Using elements of the set or location to create a secondary frame around the subject. This is used to communicate feelings of being trapped or a yearning for freedom.

Concept and Practice of Coverage

  • General Definition

    • Coverage is the process of ensuring you have the necessary shots to tell a story.

    • It involves filming the same scene multiple times using different shot sizes and angles to provide options during the editing phase.

  • The Conversation Scene Sequence

    1. Master Shot (Wide): Captures both characters and the overall environment. It allows the audience to understand the setting and action. It is usually filmed from start to finish and acts as a "safety shot."

    2. Single on Character A (MCU/CU): Focuses on one character's expressions and reactions, conveying their feelings. It is essential for emotional moments. The camera should remain on them even when they are not speaking to capture their reactions.

    3. OTS Shot on Character A: Shot from behind Character B. This establishes the relationship and clarifies who is reacting to whom. Shooting this after the single on A minimizes camera movement.

    4. Single on Character B (MCU/CU): The camera is swung around to focus on the second character.

    5. OTS Shot on Character B: The corresponding OTS shot for the second character.

    6. Inserts and Cutaways:

      • Inserts: Close-ups of important objects or actions (e.g., a hand picking up an object, a key turning).

      • Cutaways: Shots of other details the character sees or reacts to.

      • Purpose: To emphasize moments, clarify the edit, and add visual interest.

  • Key Takeaways for Coverage

    • Options: Coverage means filming the same scene multiple times from different angles. Without it, you are limited by the single shot you have.

    • Relationship of Shots: A single shot means very little on its own; meaning is created when two shots are combined in the edit.

    • The 180-degree rule180\text{-degree rule}: An invisible line runs through the scene. Keeping the camera on one side keeps the audience oriented. Crossing the line causes characters to appear to be looking in the same direction rather than at each other.

    • Emotional Impact through Shot Size: Using the same shot size for everything makes all moments feel equal in importance. For weight, stay wider for longer and cut to a close-up at a key moment.

    • Knowing the "Why": Before planning shots, identify what the moment is about and how the audience should feel. Shot size and angle follow this purpose.

Final Assessment (FA) Expectations

  • Cinematic Vlog Requirements:

    • Proper coverage is mandatory for the FA.

    • A cinematic vlog must consist of scenes, and each scene requires proper coverage.

    • Do not rely solely on talking heads or montages of clips.

    • Every scene must be planned with wide, mid, and close shots.

    • Even stationary scenes (e.g., characters sitting around) must demonstrate different angles and shot sizes before moving to the next moment.