An Introduction to Video Production for Digital Media (2012)

Video Production for
Digital Media

1

Table of Content

Introduction to Video in Multimedia 3
Step 1: Research 5

Step 2: Pre-Production 6
1.0 - Script / Storyboard 6
2.0 - Allocating Equipment 7
3.0 - Schedules 7
4.0 - Personnel 8
5.0 - Permits / Permissions / Release Forms 8

Step 3: Production 9
1.0 - How-To Set-Up a Shoot 9
2.0 - Lighting 10
3.0 - Audio 11
4.0 - How-to Shoot 12
4.1 - The Rule of Thirds 15
4.2 - An Interview 15
4.3 - 180° Rule 17, 18

Step 4: Post-Production 21
1.0 - Transfer your Footage 21
2.0 - Set-Up to Edit 22
3.0 - Editing 23
4.0 - Working with Audio, Music & Narration 26
5.0 - Save your Work, Render & Export 28
Step 5: Distribution 29

Step 6: Feedback 29
Formats 30
Resources 31
Notes 31

2

If we talk about video production, there are 3 to 6 steps,
depending on who you speak to, that are vital to your success.
However, when we talk about multimedia, there are several more
steps to take into consideration. Also keep in mind that just because
you are working in video, audio cannot be ignored since it plays a
major role in how your message is conveyed.

The standard 3 steps to video production include the
following:
 Pre-Production
 Production
 Post-Production

With advances in digital communication and digital
technology, the paradigm has shifted from “content consumers” to
“content producers”. As a result, we now need to consider how our
video productions going to be shared with the world-at-large.
Therefore, we now include:
 Distribution

In multimedia, or digital media, we also need to include:
 Research
 Copy/Text
 Additional Media Integration
 Feedback

In a nutshell, the 5-steps would look like this:
1. Research
2. Pre-Production
3. Production
4. Post-Production
5. Distribution
6. Feedback

3

This manual is geared towards basic video production and Next, break it down even further by analyzing the video
basic multimedia development and will take you through the paces component of your project. Shooting a video is not something you
to help you create a successful end-product that can be incorporated shoot in sequence. It is, however, shot out-of-sequence and later on
into a presentation or technology-enhanced lesson. in post-production put together to tell a story, much like a jigsaw
puzzle put together to reveal the image. The following list are items
So, to begin to work on a video component to a digital media to keep track of when working with video.
project, we first have to look at, and study, “the B-I-G picture”. In 1. Shooting schedule
doing so, we formulate a series of questions that will need to be 2. Record Keeping / Log
addressed with every phase of development. 3. Identifying the types of shots needed.
4. Managing the video footage.
While studying “the B-I-G picture”, ask yourselves the 5. Selecting the best video clips for your project.
following questions: 6. Audio – Narration, Music, Sound FX, etc.
1. Who is our audience? (Age, Gender, Language, Level of 7. How many ways to distribute this video? Which formats to
Education, and so on.) output your video to?
2. When the audience is watching, how will this project begin
and how will it end? In multimedia projects, video is a powerful tool. However, it
3. What is the message you are trying to convey? And are there does not stand alone. It is supported and enhanced by the audio,
other methods to convey your message? whether it's a narration or a music selection or a simulated ambiance
4. What does your timeframe look like in order to get to of the scene. It is further supported and enhanced by any literature
“the B-I-G picture”? that dives further into details that were only touched upon in the
video or to elaborate on concepts that could only be spoken of in
After you have analyzed “the B-I-G picture”, you're going to terms of abstracts due to time constraints.
have to break it down into manageable chunks. These “chunks” are
much smaller projects that will all fit together, if they're done Multimedia is not about putting the same message on all
correctly. The next set of questions will apply to the more forms of media and force-feeding it to the public, but rather
manageable chunks: showcasing a framework for a point-of-view with solid support and
1. Do we have access to resources / personnel to help us turn information that is all relative yet not repetitive.
this concept into a reality?
2. What is your “Plan-B”? (Having a “plan-c” is not a bad idea
either.)
3. Who in your team can handle various tasks that will lead to
the successful completion of said “chunks”?
4. If you need to learn something A.S.A.P., would you know
where to get help?

4

Step 1: Research

Having gone through the Q&A phase, it's time to begin with
the RESEARCH side of things first. Most of you have selected a
topic in which you are familiar with and perhaps even covered the
material in one or more of your other classes. This will give you a
great point to start from. For the rest of you, whatever topic you
select, you're going to have to dig deep and find solid information
from reliable and scholarly resources.

It's important to understand that the information you provide
the public-at-large be as accurate and truthful as possible. Cross-
reference information. Anything that seems to come into conflict,
will require additional investigation. You, as “content producers”,
have a responsibility to showcase the information in a responsible
and informative manner.

Your information should be supportive by FACTS and not
OPINIONS. We will return to this portion of your project later on.
This is highly important, since the video you produce will be a part
of a 20-25 minute micro-lesson – you do not want to waste too much
time watching an epic unfold, chew up your time, and you and your
team still have plenty to say and do.

When collaborating with a team, communication is essential.
So is the sharing of information. Websites such as GoogleDocs,
Dropbox and Symbaloo help store and share information you want
to share and use.
Figure 1:
Symbaloo and SymbalooEDU are great sites to store your Favorites/Bookmarks online and
Part of your research is also to find out music selections that share them with others.
will go with the type of project your working on. Allocating photos,
graphics, and so on. If you cannot produce these yourselves, then
where can they be acquired?

5

Step 2: Pre-Production

Script / Storyboard
Allocating Equipment
Schedules
Personnel
Permits / Permissions / Release Forms

Now you have your research completed for the overall
multimedia project and you're going to begin working on your video
component.

[Note: At this stage, the more carefully and methodically you plan
things out, the smoother and less frustrating the next series of steps
will be.]

Writing a script helps to keep you on task. The script may
not need to include dialogue, but will have cues on the sort of
camera shots you'll need (establishing shot, medium close-up, close-
up, etc.), locations on where to shoot, whether or not the shots will
be indoors or outdoors, plus a lot more information.

There are several ways to write a script for TV, Video, Film
and Multimedia. You can search these on the Internet via a search
engine. There is software that will help you to write your script such Figure 2:
A sample of a script developed in Celtx – a free, open source application that can help you
as Celtx or Final Draft, but you can simply use Microsoft Word, to write screenplays, graphic novels, scripts, and more.
OpenOffice/LibreOffice Writer just as well.

Like any good story, there is a beginning, middle and ending.
Your video component will also have these elements. A good script,
or “blue print” will bring your project to life. Along with a good
script, there is a storyboard.

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A storyboard looks somewhat like a comic strip from the [ ] Video Editing Software
Sunday newspaper. It is a drawing/sketch of a scene you wish to [ ] Sony Vegas Pro
shoot. It is much easier to change something on paper than to shoot [ ] Adobe Premiere Pro
it and find that you just wasted your time and now you'll need to re- [ ] Avid
shoot something different. [ ] Final Cut Pro
[ ] Lightworks
Here is an example of what is a storyboard and what does one look [ ] KDEnlive
like: http://digitalstorytelling.coe.uh.edu/storyboarding.html [ ] OpenShot Video Editor
[ ] i-Movie
Now its time to see what equipment you're going to need. Here is a [ ] Windows Movie Maker
[very] short checklist of items to keep in mind.
[ ] Gaffer's Tape (Duct Tape)
[ ] Cameras
[ ] Digital Still Cameras [ ] Personnel
[ ] Video Cameras [ ] Additional Crew Members
[ ] 16:9 (Widescreen or High Definition = HD) [ ] Actors
[ ] 4:3 (Standard Definition = SD)
[ ] Tapeless / Memory Cards [ ] Permits / Permissions / Release Forms
[ ] Tape
At this stage, its time to begin scheduling the items you wish
[ ] Tripods / Cranes to video record. These items may include interviews, lectures,
locations, activities and events. Or, are you planning to do a re-
[ ] Lighting Kits enactment? In some instances, you may be required to set-up
[ ] Reflectors appointments for you to come in and shoot. Others will require
permits which do not necessarily happen over night. Release Forms
[ ] Audio Equipment will also need to be handed out, signed by the parties involved and
[ ] Microphones kept on record. Again, this all takes time and personnel.
[ ] Portable Mixers
[ ] Digital Audio Recording Devices When setting up a schedule, its important that every member
of your team has the same schedule so miscommunication can be
[ ] Video Editing Platform averted.
[ ] Mac
[ ] PC
[ ] Linux

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Your crew or team should consist of a wide variety of
specialists that collectively is your primary knowledge base. These
are the people who possess knowledge, skill and ingenuity that will
need to be tapped into in order to produce a high-caliber production.
If you do not have specific specialists in your group, you'll need to
be both creative and savvy enough on how to best allocate such
personnel or gather the information yourself. (Of course this means
there is much more work for you at the RESEARCH level.)

Any time you are going to shoot in any location, it's always a
good idea to ask first if shooting is allowed. If you require a permit,
then you'll need to find out where to get one and how much is it
going to cost you. These take time to process, so you'll want to give
yourself amble time to ensure you have your permit prior to having
your cameras roll.

The same applies to getting permission to shoot or booking
an artist, or giving Release Forms and getting them back. Why?
Simply put, you do not just place someone in front of a camera
without signed documentation that you have their permission to
record their likeness.

You will also need to check if any music, graphics, photos,
etc., will require you to get permission to use these in your project
and/or if there are fees attached to using such material. If you are to
produce your own content (shoot your own photos, create your own
music, design your own graphics, etc., you'll need to schedule all
this and have it created simultaneously while you are shooting your
video during the next stage of the project.

8

Step 3: Production Always record about a minute of footage, just prior to yelling
“Action!”
How-To Set-Up a Shoot
Lighting b) At the end of a scene, the Director yells, “CUT!” Make sure you
Audio record about another minute afterwards. This helps to insure that
How-to Shoot An Interview your [good] footage does not end abruptly.

c) When shooting outside, keep the sun either behind you or off to
1.0 - How-To Set-Up a Shoot one side. If what you want to shoot happens to be in the same
direction as the sun, come back at another time during the day. This
With the Pre-Production completed, you now move into the will give the sun time to move from its current position and you can
Production stage of your project. This is where you will shoot all of get your shot.
your content that will then be edited down into a final project.
d) Decide on the style of shooting you're going to do and be
Production, itself, requires a 3-step process: 1) Set-Up, 2) consistent with it. Will you shoot Film-style or Documentary-style?
Shoot, and 3) Strike Down. All of these require a variety of time to Film-style is steadier, less shaky-cam and no on-camera zoom ins or
get things squared away. Use your judgment. You DO NOT want to outs. Documentary-style is much more shaky-cam and may have
walk in the door and expect to be ready to shoot immediately. on-camera zoom ins and outs.
On many shoots there are other factors to consider, such as: e) Unless you are recording a “LIVE” event, you should plan to
location; camera position; lighting; and audio. For Set-Up, you want shoot a scene several times til you are satisfied with the scene itself.
to give yourself enough time to have the equipment in place and “LIVE” events can only be recorded while they are happening and
tested. You'll then want to have a final word with your team just there is no “take-2” - if you miss, its gone!
prior to shooting.

Shooting video requires communication. The less experience
the team has with production, the more communication is required.
Conversely, the more experience the team has with production [and
each other], the less communication is required.

Here are some rules to consider when shooting (video
recording) a project:

a) Never power-up your camera and beginning record immediately.

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2.0 - Lighting look and feel. These particular times of the day are usually the hour
after sunrise and the hour before sunset. Videographers and
For better looking video footage, it's wise to shoot under well Cinematographers can also use these timeframes. More on the
lit conditions. Granted, this may not always be the case. Many of photographers use of “Magic Hours” and the challenges these
today's cameras will allow you to open the iris on the lens to let timeframes themselves pose can be found here:
more light in but this may not always help your situation since this http://www.advancedphotography.net/secrets-shooting-golden-
may also cause your video to have somewhat of a grainier look to it. magic-hours/
If this is the look and feel you are trying to achieve, then go with it.
In a studio environment, 3-point and 4-point lighting can be
utilized. But in the field, and with no budget, you may have to rely
on ingenuity, innovation and some savvy thinking to pull off a great
photo or video clip – even if it's just a “talking head”. Some things
you can create yourself are known as “reflectors”.

The purpose of a 'reflector', as the name implies, is to redirect
or bounce light that is coming from one direction and use it to relight
a subject from another direction. Something as simple as aluminum
foil or oak tag paper or foam core can be used as reflectors. For
light sources, a big, powerful, heavy-duty flashlight with several
coffee filters taped to the front of it can give you a diffused (softer)
light. Or, use it with a reflector to softly light up the subject.
In many cases you will need additional lighting. Lighting
helps to set the mood or tone of the video. Light can be used to
sculpt a look of a subject. Use light for dramatic emphasis or shock
value. Light can invoke an emotional state depending on the “color
temperature” of the light. “YES”, color does have a temperature.
Additional information on color temperature can be found on the
Wikipedia site - http://en.wikipedia.org/wiki/Color_temperature
You can use color temperature to your advantage by selecting a time
of day in which to do the actual shoot.

An overcast day is ideal for a shoot, since there is an absence
of hard shadows. Photographers use various times during the day
known as “Magic Hours” or “Golden Hours” to achieve a stylized

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3.0 - Audio microphones:
http://en.wikipedia.org/wiki/Microphone
Sound is vital to a production. To test this idea, watch a
comedy sit-com or a horror movie with the sound off and you'll Prices for purchasing microphones run a range from $10 to
notice a that without sound, the visuals do not carry as much power just north of the $1,000.00. Keep in mind, the lower the price, the
as when the sound is up. more likely the quality of sound that the microphone will produce
may be below satisfactory quality. Microphones can either be
When recording sound in the field, keep in mind that the connected to an audio console, or a mixing board via a connection
environment is going to compete with your scene. Meaning, known as XLR (XLR stands for Ground, Left & Right due to the 3-
ambient noise from your environment will also be recorded and prongs in the connection); 1/4” phone plug (like those found on
mixed in with any dialog you may be trying to record. So, consider bigger set of headphones); mini plug (such as those ear-bud
location when you are planning your shoot. headphones); and more recently USB and FireWire.

Your video camera will record sound – so, its good practice
to have the subject in front of the camera “project” and speak with
assertiveness rather than have a casual conversation in front of the
lens.

In the event that the subject flubs their lines, audio recorded a
minute before yelling, “ACTION!” can replaces any audio that may
be considered inappropriate during the Post-Production or Editing
stage. A Voice-Overs, or V/O, are Narratives heard over the video
portion can be added during the Post-Production stage as well.
Now, if you find yourself in need of a microphone and the
Whether you're working in the field, at work, at home or in a clock is ticking, here is a quick fix – the quality of the audio will not
studio setting, a good microphone can make a difference to the be the BEST but will be just adequate. Take you ear-bud
quality of the production. Microphones come in all shapes and sizes headphones (or any headphones) and plug them into the Microphone
as well as for a number of situations. Input / Line In of your computer.

Here is a list of microphone manufacturers: This link will show you how-to set-up your headphones as a
http://en.wikipedia.org/wiki/List_of_microphone_manufacturers microphone on a Windows-based computer:
http://www.youtube.com/watch?
To get a basic understanding of what various microphones can do v=dSCABLqUyvI&playnext=1&list=PLCEF41C89AE516AD4
and what they are best suited for, here is some information on

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4.0 - How-To Shoot...

For best results, you may want to set your camera on a tripod Medium Long Shot = MLS
or on something solid of a significant height and frame your shot up.
There are a number of shots that cinematographers and
videographers use to tell a story or convey a message. The
following pages will illustrate the types of shots that are commonly
used in Film/TV/Video.

Extreme Long Shot = XLS

Medium Shot = MS

Long Shot = LS

12

Bust Shot = BS Close-Up = CU

Head-and-Shoulders = H/S Extreme Close-Up = XCU

13

2-Shot
Worm's-Eye-View

Bird's-Eye-View Over-The-Shoulder = O/S

14

4.2 - An Interview
Over-The-Shoulder = O/S
We have all seen how interviews look on TV, but have you
taken the time to dissect an interview?

On large budget productions, you may have multiple
cameras. The reasoning behind this is that the person being
interviewed is probably an important individual with a busy
schedule. Therefore there is no time for additional takes or “do-
overs”.

In this scenario, Camera-1 captures a 2-shot and remains on
the pair at all times. Camera-2 is on the Host/Interviewer and
Camera-3 is on the Guest or the person being interviewed.

4.1 - The Rule of Thirds - Chances are you are going to be on either a string-budget or a
non-existing budget. If this is the case, we can still produce quality
work with a single camera. Single Camera is a Film-style technique
of setting up the camera to record the same scene from multiple
angels or points-of-view.

Rule of Thirds -
This means that you compose your shot accordingly.
People's eyes tend to migrate towards the action. If the action on
screen is off-center, it gives the impression that something else is
going to enter the scene from the direction that appears to be empty.

15

In this section and for this workshop, we are going to focus They should continue to talk among themselves while you gather
on Single Camera productions. The following pages will illustrate some footage. This footage will come in later on if you need to “cut
how-to set-up and shoot an interview. away” and break away from the back and forth Q&A session. At
this point you can start your interview with a basic introduction of
Host and Guest.

Now, set-up your camera to the next position behind the Host and
frame-up the Guest who is about to answer some questions. The
purpose behind this is to get the initial reactions of the person being
interviewed. Your shot should look similar to the following
illustration.

First, set-up your camera to record a 2-shot of the interview itself
and have them speak among themselves.

It doesn't matter if they are sitting or standing.

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This is known as an “Over-The-Shoulder” (O/S) shot. As you can 4.3 – The 180° Rule
see, we have framed up the person being interviewed in order to get
his initial responses.

From this “Point-Of-View” (POV), the Host should ask all the
questions needed for this interview.

If you notice that a specific question is a vital or important one, you
may want to zoom in a bit and get a tighter close-up of the Guest.

IMPORTANT #1:
Remember to tell your Host and Guest to pause after every question
and every answer. This will benefit you during the editing process.
There is a “180º Rule” which needs to be observed when setting up
Once the interview is completed, you can move the camera to the at the new position. For some clarity on what this rule entails,
next position behind the Guest. please see the following illustration on the next page.

17

180º Rule - (Bird's-Eye-View)
The camera is moved around an arc of 180°. This means, that the
camera while shooting “Over-The-Shoulder” or “O/S” behind the
Host's left shoulder to capture the expression and responses from the
Guest or person being interviewed. Afterwards, the camera is then
set-up for an O/S behind the Guest, it's over the right shoulder that
appears in the scene and the Host then repeats – slowly – the
questions in sequence.

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Your RAW footage from the interview may look similar to the [4] Answer #2
following storyboard:

[1]

[5] Answer #3

[2]

[6] Closing comments and good-byes.

[3] Answer #1

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[7] Question #1 [10] Closing comments and good-byes

[8] Question #2 IMPORTANT #2:
After you have shot the entire interview DO NOT turn off the
camera!!! With everyone still in the room – standing very still –
record another minute or two of room tone or environmental
ambiance.

[9] Question #3

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Step 4: Post-Production
Dazzle Video Creator
Transfer your Footage
Set-Up to Edit
Editing
Working with Audio, Music & Narration
Save your Work
Render & Export

1.0 - Transfer Your Footage

Now you have shot your project and need to get it edited so
you can incorporate your video into a presentation, uploaded to sites
such as YouTube and Facebook or burn copies for your friends and
family. Flip Cameras
The first thing to do is to transfer the footage from your
camera to your computer. Some older cameras may have some sort
of tape. This will require some additional hardware that will allow
you to connect the camera or VCR to your computer so you can then
begin the editing process. For some you can use either Firewire,
(a.k.a. IEEE 1394 and iLink) or a USB cable, while for others, you
may need to set-up a Dazzle. (See image on the right.)

There are also cameras that will record directly to a DVD.
This may require some software to open and extract footage to your
computer.

Newer cameras will either have a memory stick/card or will
simply record video directly to an internal hard drive. Cameras such
as the Flip Camera plug directly into your computer so you can
easily access the footage.

21

2.0 - Set-Up to Edit I've been editing professional video for more than 2 decades
and this system works for me. The sample to the left is just my way
Editing video can get messy in terms of file management. Its of working on a project. There are other ways also. Find a system
good practice to organize your files prior to editing. This in turn will that works for you that is more than just a folder with everything in
help you locate specific video clips, images, music selections and so it – because it will be a nightmare to find anything.
on. Below is a sample of how I manage my folders for a two-day
shoot. I begin with a folder and name it for the project I'm working After you have set-up your folders, gather all the material
on and include the date in the folder name. Sub-folders are created you're going to need to do the edit. This includes getting photos,
and nested inside other folders. graphics, titles, music, sound effects, etc. and placing them into your
> Video Workshop - 03-25-2011 folders. Once that is done, you're ready to edit your project.
> RAW Footage
> Day 1
> Camera 1
> Camera 2
> Day 2
> Camera 1
> Camera 2
> Timelines (From my editing software)
> Photos
> Graphics
> Titles / Slates
> Audio
> Voice-Overs / Narrations
> Sound Effects
> Music Selections
> Effects
> Test Versions
> Final Versions
> Renders
> AVI (Uncompressed)
> MP4 (Mobile Devices)
> FLV (Web-Based Version)
> MPEG-2 (DVD Quality Version)
> Notes / Documentation / Logs

22

3.0 - Editing IMPORTANT #1:
It is crucial that you save your work often! In the event the
This is the process where you piece together your footage to software freezes up on you or the computer needs a hard boot, you
tell a story - a digital story. won't lose so much of your work. This happens in the industry and
the only way some people get it is to experience the frustration.
Begin by opening up your editing program and bring in your
footage. There are several methods to doing this depending on your Save your work in the format that is native to the software
software. Methods include: Import a video clip or a file; Add a Clip; you are editing on. Good practice is to save 2 or 3 versions of this
Open a Clip; Upload a Clip or file, and so on. native file in 2 or 3 different locations. (i.e.: Large Jump Drive;
External Hard Drives; Online in “The Cloud”; etc.)
Many editing software packages allow you to “drag-n-drop”
a video clip onto a Timeline. The purpose of the Timeline is to
guide you along and help you to place your clips in a sequential
order that tells your story. The Timeline has a variety of tools to
help trim a scene down or delete* a piece of video that is useless.

You may also have tools available that will allow you to
properly correct the color of the video. This is known as “Color
Correction”. Perhaps you want to turn your video into a black-n-
white movie or add sepia tone to a flashback or just make the colors
“POP”!

Timelines also give you TIME. So you can edit your video
precisely to the frame if not the second. And to be precise, you may
need to zoom in and out of the Timeline itself. Within the Timeline,
you will also be to adjust, tweak, add or delete* audio from the
video. Your Timeline will also allow you to do Transitions and
Effects between scenes as well as to any text you add to your video.

*Digital [Video] Editing, a.k.a. Non-Linear Editing (technically the
industry name for editing video) is non-destructive. Meaning, that
if you edit and delete something, it's only gone from the Timeline or
from the software's interface, but still remains on your hard drive.

23

As you edit your video or in this case our interview, you
should see it taking shape and your end result should look similar to
the following illustration:

[4] Answer #1

[1] Opening shot

[5] Question #2

[2] Interview begins

[6] Answer #2

[3] Question #1

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[7] A quick “cut-away” [10] Closing commentary...

[8] Question #3 [11] ...continued. Closing shot

[9] Answer #3

25

4.0 - Working with Audio, Music & Narration

OK, so you're working with the audio that was recorded
along with your video and find that the quality of the sound is
terrible. You're ready to go into a panic state. DON'T!!!

When working with digital media, you need to be flexible
and think on your feet. If you have shot video footage of someone
explaining the Water Cycle while standing in front of a visual and
the audio does not meet your standards, you have a couple of
options:

Option – 1: Re-shoot just the visual and add your voice or
that of the presenter while editing as a voice-over.*

Option – 2: If there is a photo of the visual or a similar one
Music is a vital part of any video production. The right piece
online [that is copyright-free] or one that you can get permission to
of music can make or break your project. The mistake made by
use, then bring it into your editing software. You can then record the
many is to use popular music simply because it “fits” with the
vocals separately and bring them into your editor. Don't worry if the
visuals. However, there are copyright issues, licensing fees, legal
vocal track is longer than the photo. You can always stretch the
paperwork, attorney expenses and so much more involved that by
image across the voice track.
the time you paid for that one piece of music, you may find yourself
broke.
In the case of our interview, if the Q&A is audible but not so
clear, you can type out the Q&A in the lower thirds of the screen.
Adding music to your project shouldn't break the bank.
(See the following image to see what lower-thirds look like.)
There are FREE music [and sound effects] libraries available online.
Many come in the form of Podcasts.

A podcast is a professional sounding audio file. These files
*A Voice-Over is when one records a narrative that accompanies a
can be created by anyone and distributed [and downloaded] for
set of visual images (i.e.: Photos; Images; Animation and/or Video).
FREE. Many of these free podcasts come with a license – READ
the license carefully! It will tell you whether or not you can use that
composition in your project. Podcasts cover a broad spectrum of
(See "Step 3: Production / 3.0 - Audio" on page 11 for information
topics such as, but not limited to, unsigned bands or solo artists;
on Audio.)

26

movie reviews; a talk-show no one in the “mainstream” has ever If you are going to record a narration, then you'll need to look
heard of; news; sporting events; and more. Nothing is off-limits and around for a very quiet and somewhat isolated area to record your
the language can be very colorful since there is no FCC License Fees voice. A good microphone can also help you to produce a better
to hinder you. sounding narration, but in the event that you do not have one handy,

When working with podcasts, if given the option to use MP3
or a WAV file, go with the WAV file. The sound quality of a WAV It's good practice to have your material written down rather
file is fuller and much more robust. A WAV will give you full than trying to improvise on the fly. Read your material several times
harmonics whereas an MP3 is very restrictive due to its heavy before you begin recording in order to practice getting the timing of
compression. your project down. Once you begin your recording, do not be
surprised if you have multiple versions of your session. While
You may opt to create your own music for your project. you're recording multiple sessions, it's also good practice to keep a
Keep in mind that its going to take some time to compose, record log or journal entry of which session was better and which one was
and edit your composition into your video. However, if this is the “useless”.
route you wish to follow, below are some useful links.

To compose, record, mix and edit, the following programs can help: (See "Step 3: Production / 3.0 - Audio" on page 11 for information
on how-to set-up a microphone using earphones.)
Audacity - http://audacity.sourceforge.net/
Hydrogen Drum Machine - http://www.hydrogen-music.org/hcms/
LMMS - http://lmms.sourceforge.net/

Note: If you need help in working with any of the programs
mentioned above, go to YouTube and type the name of the program
you wish to learn followed by the word, “Tutorial” and someone has
probably created the video to help you get started.

For Sound Effects, try these websites:

Flash Kit - http://www.flashkit.com/soundfx/
Free Sound - http://www.freesound.org/
PacDV - http://www.pacdv.com/sounds/

27

5.0 – Save Your Work, Render & Export

Once your project is completed, you'll need to save it.
Again, save the project in different locations, in the event one is
accidentally deleted, or becomes corrupt you'll still have access to
other versions.

Next, you may need to do a RENDER prior to EXPORTING
it into a format that is much more universal, such as an MP4, MOV,
WMV, MPEG-2, etc. The rendering process can take some time to
complete. This also depends on the type of hardware you have in
your computer. Rendering a project means that it will now generate
a finished (or semi-finished) project.

When you EXPORT the file, you are making it available to
be seen in any media player – VLC, Miro, Windows Media Player,
QuickTime Player, Flash Player, DVD player, mobile device and so
on. While it is possible to view, say, an MPEG-2 file on your
computer, its not practical because this format needs to be burned to
a DVD. Other formats, however, maybe ready for distribution via
other means.

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Step 5: Distribution Step 6: Feedback

This simply means, how will your project be shared with If your video project is a key component to a much larger
others. If you exported to an MPEG-2 file, then you can always project, its good practice to create a feedback form for your audience
have this file and burn as many DVDs as you need them. If you to fill out and hand back to you. This is usually done by film
choose to export to an MP4, it is possible to send this file to a mobile director when they offer private screenings to a limited number of
device or hosted on a website for others to login and download. people. Based on the publics' feedback, directors and producers will
go back to tweak or re-edit a project in order to maximize its appeal
Before you begin creating multiple formats for mass with the audience.
distribution, you should think about how your project is going to be
viewed even before you start recording your project. This can be done a questionnaire that is handed out or
electronically where the public goes to log onto a website, fill out
Determining what the final outcome of your video will be at the form and submit it. The information can help you to produce a
the beginning will save you time and frustration. For example, higher caliber project the next time around.
knowing your video will be used in, say, a classroom presentation
before shooting it means you can render and export to an MP4 or
FLV format – which can be saved to a jump drive or in online
storage space. Whereas, if you wanted to create DVDs, you have to
take into consideration rendering to an MPEG-2, then using DVD
Authoring software, design the interface, add your MPEG-2 file and
let it render again to produce the final product.

29

Formats The following two media players can be used in place of the
QuickTime Player and Windows Media Player.
AVI - Audio Video Interleave, is a format that saves your video in
nearly a RAW state. Meaning, this is uncompressed and the Miro - http://www.getmiro.com/
resulting file will be massive when compared to the other format VLC - http://www.videolan.org/
mentioned here. One second of uncompressed video is
approximately 3MB. Its also never a good idea to store video,
especially AVIs on the same hard drive as your files and programs.

MPEG - An international standard for encoding and compressing
video images. Moving Picture Experts Group

MPEG-2 – This is a format used to produce a professional DVD.
Every Hollywood studio that puts out films will use this format for
their DVDs.

MPEG-4 (or MP4) – A format used for mobile devices. Small file
size and great quality have made this a popular format.

SWF - ShockWave File are mostly used in online video games.

FLV - Flash Video requires the Flash Player plug-in.

WMV - Windows Media Video from Microsoft to be used with their
Windows Media Player

MOV - QuickTime Movie from Apple requires the QuickTime
Player in order to view these files.

DIVX - Used in streaming online video.

30

Resources Notes

Save Favorites or Bookmarks online -
Symbaloo - http://www.symbaloo.com/
SymbalooEDU - http://www.symbalooedu.com/

Media Converter -
SUPER - http://www.erightsoft.com/SUPER.html

Scripts & Storyboards -
Celtx - http://celtx.com/
LibreOffice - http://www.documentfoundation.org/
OpenOffice - http://www.openoffice.org/

Image & Photo Editors -
Aviary - http://www.aviary.com/
GIMP - http://www.gimp.org/
Paint.Net - http://www.getpaint.net/
Pixlr - http://pixlr.com/
Sumo - http://www.sumopaint.com/home/

Audio Recording / Voice Recording -
Audacity - http://audacity.sourceforge.net/

Audio Recording / Music Creation -
Aviary - http://www.aviary.com/
Hydrogen - http://www.hydrogen-music.org/
LMMS - http://lmms.sourceforge.net/

DVD Creator -
DVD Styler - http://www.dvdstyler.de/en/

31

An Introduction to Video Production for Digital Media (2012)

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