We're going to be talking about what shots it takes to tell your story and really thinking about both
beforehand and while shooting you know what.
What do I need to get to tell my story.
What it's critical for me as a video maker to share what I want to share.
And this is both you know getting your main interviewer.
You know this type of stuff too.
Getting the inserts getting the shots that help tell the story further beyond just seeing someone talking.
So one important thing to think about is your role versus your role.
Your role is really the meat of your story.
It's where you're going to get your narration or your interviewer talking.
It's sort of the the thing that's going to form your entire story your role is just as important though.
These are the shots that you're going to put over your interviewer or over your voice over This is the
things that really show and bring to life your character or your subject.
So for example we worked on this documentary and we spent the morning getting to talk with the subject.
Learning about his life seeing some things around his house.
But we really just spent the time to talk to him and to learn what he was all about.
From there.
We did get some shots in the house but we went out with him entered into the world and got shots with
him on the streets got him doing actions got you know different stuff that really helped tell his story.
What was really helpful though was getting this interview first because we knew what type of shots we
needed to get later in the day.
So in this instance our April was the interview shot.
It's what we got sitting with our subject and talking to them.
Our B-roll then was all the other footage.
It's important to know what is said in the role and then getting the B-roll that matches that feeling
matches that sentiment.
This can be really critical to telling your story be real in a way brings to life you're able.
Whenever I go out on events or Im shooting with Major Lazer a lot of the times it's just me shooting.
And so I'll go in and think OK I need to go get a wide shot of the crowd.
I need to get these specific shots and I know before even thinking about the edit really that these
are the shots that will help tell this story.
These are the shots that I want to get to tell.
And this takes a lot of practice because each show I do it's something different.
I have a different style a different idea of how we approach it.
Sometimes I only one use close ups.
Other times I only want his wide shots.
That being said having a second camera having a third camera can make a massive difference because I
can have someone always getting a wide shot.
I am someone getting all the close ups and I can myself be getting those magic moments that maybe I
would miss because I was getting that other coverage.
So next time you going into a shoe maybe do some research go and look at other videos online and don't
just watch it don't just enjoy it.
I actually look at each shot think of OK if I'm going into this I want to get this wide shot and I want
to tell it all from this perspective.
It's something to think about and don't get me wrong.
There's plenty of times everything changes and we thought you could do is radically different but at
least you have some idea of what you want to get going into it.
I think the greatest thing you can do to learn more about what shots you need and what shots you want
to get is just to watch films go see how people cover scenes and really analyze it look at their wide
shots are the mediums or the close ups.
And it's a great way to see how other directors have developed his style and especially watching their
first film to their last film.
You can see their take on filmmaking and through that you can decide what a filmmaker you want to be.