Recording Sound

Recording great-quality audio is no simple matter. Professional recording studios spend thousands (sometimes even millions) of dollars to set up acoustically superior sound rooms. I’m guessing you don’t have that kind of budgetary firepower handy, but if you’re recording your own sound, you can get pro-sounding results if you follow these basic tips:

• Use an external microphone whenever possible. The microphones built in to modern camcorders have improved greatly in recent years, but they still present problems. They often record undesired ambient sound near the camcorder (such as audience members at a play) or even mechanical sound from the camcorder’s tape drive. If possible, connect an external microphone to the camcorder’s mic input.
  
• Eliminate unwanted noise sources. If you must use the camcorder’s built-in mic, be aware of your movements and other things that can cause loud, distracting noises on tape. Problem items can include a loose lens cap banging around, your finger rubbing against the mic, wind blowing across the mic, and the swish-swish of those nylon workout pants you wore this morning. I discuss ambient noise in greater detail in the following section.
• Obtain and use a high quality microphone. If you’re recording narration or other audio in your “studio” (also known as your office) use the best microphone you can afford. A good mic isn’t cheap, but it can make a huge difference in recording quality. The cheap little microphone that came with your computer probably provides very poor results.
  
• Position the microphone for best quality. If possible, suspend the mic above the subject. This way the microphone will be less likely to pick up noises made by the subject’s clothes or bumping of the microphone stand.
  
• Watch for trip hazards! In your haste to record great sound, don’t forget that your microphone cables can become a hazard on scene. Not only is this a safety hazard to anyone walking by, but if someone snags a cable, your equipment could be damaged as well. If necessary, bring along some duct tape to temporarily cover cables that run across the floor.

Earlier I mentioned that you should plan which video scenes you want to record. Planning the audio scenes that you want to record is also important. For example, suppose I want to make a video about a visit to the beach. In such a project I would like to have a consistent recording of waves crashing on the shore to use in the background. But if I record short, 5-to-10-second video clips, I’ll never get a single, consistent audio clip. So, in addition to my various video clips, I plan to record a single, unbroken clip of the ocean.

Avoiding timecode breaks

Each frame of video is identified using a number called a timecode. When you edit video on your computer, timecode identifies the exact places where you make edits. On your camcorder, a timecode indicator tells you how much video has been recorded on the tape. This indicator usually shows up in the camcorder’s viewfinder or the LCD panel. A typical timecode looks something like this:

00:07:18:07

This number stands for zero hours, seven minutes, eighteen seconds, and seven frames. If you have a 60-minute tape, timecode on that tape probably starts at 00:00:00:00 and ends at 00:59:59:29. In some cases, however, the timecode on a tape can become inconsistent. For example, suppose you record one minute of video, rewind the tape 20 seconds, and then start recording again. Depending on your camcorder, the timecode might count up to 00:00:40:00 and then start over at zero again. An inconsistency like this is called a timecode break. A timecode break is more likely to occur if you fastforward a tape past a blank, unrecorded section and then start recording again. When you capture video from a digital camcorder into your computer, the capture software reads the timecode from the tape in your camcorder. If the software encounters a timecode break, it will probably stop capture and be unable to capture any video past the break.
The best way to avoid timecode breaks is to make sure you don’t shuttle the tape (fast-forward or rewind it) between recording segments. An alternative approach is to pre-timecode your tapes before shooting. If you do have to rewind the tape — say, someone wants to see a playback of what you just recorded — make sure you cue the tape back to the end of the recorded video before you start recording again. Many camcorders have an end-search feature that automatically shuttles the tape to the end of the current timecode. Check your camcorder’s documentation to see whether it has such a feature.

Don’t abuse the zoom lens

Most camcorders have a handy zoom feature. A zoom lens is basically a lens with an adjustable focal length. A longer lens — also called a telephoto lens —makes far-away subjects appear closer. A shorter lens — also called a wide angle lens — allows more of a scene to fit in the shot. Zoom lenses allow you to adjust between wide-angle and telephoto.
Because the zoom feature is easy to use and fun to play with, amateur videographers tend to zoom in and out a lot. I recommend that you avoid zooming during a shot as much as possible. Overuse of the zoom lens not only disorients the viewer, it also creates focal and light problems whether you’re focusing the camera manually or using autofocus. Some zoom lens tips include

• Avoid zooming whenever possible. I know how tempting it is to zoom in on something cool or interesting in a video shot, but you should exercise restraint whenever possible.
• If you must zoom while recording, zoom slowly. You may need to practice a bit to get a feel for your camera’s zoom control.
• Consider repositioning the camera instead of using the zoom lens to compose the shot. Wide-angle lenses (remember, when you zoom out you make the camcorder’s lens more of a wide-angle lens) have greater depth of field. This means more of the shot is in focus if you’re zoomed out. If you shoot subjects by zooming in on them from across a room, they may move in and out of focus. But if you move the camera in and zoom the lens out, focus will be less of a problem.

Your guide to the video camera revolution

Jennifer Dudley-Nicholson

WEDDINGS, parties and anything worth remembering will be filmed this year in a revolution spawned by a flood of tiny, advanced and inexpensive camcorders.

Even more camera makers are jumping on to the latest trend in video cameras, with heavyweights Canon and Sony releasing new camcorders that can record sharp video and fit comfortably in your pocket, just as Panasonic, JVC, Samsung and Sanyo have done recently.

But while manufacturers are falling over themselves to produce the technology, experts are warning that consumers need to be educated about the new generation of video cameras before they make the leap from still to moving memories, or from Flickr to YouTube.
Film school

This lack of education is something Canon recognised at its latest launch, with consumer imaging products marketing manager Stuart Poignand revealing the company had probed the market to discover why video cameras were not as popular as their still photo peers.

Mr Poignand said Canon's research found many consumers were simply overwhelmed by video camera options and obstacles.

"We found, and this is a really interesting statistic, 85 per cent of people don't own a video camera," he said.

"Unlike digital still cameras, there are a lot of barriers when it comes to owning a video camera. In the past some consumers have been disappointed with the footage they've taken. Also, what tends to happen after they film events is that they end up with this box of videotapes that is not seen by others.

"And they also know that if they don't edit the footage down they're going to bore everyone."

There are also many different recording formats in the camcorder market, Mr Poignand said, as well as several recording mediums, and little in-store information to help consumers choose the right camera for their needs.

Paul Curtis, executive director of the Photo Imaging Council of Australia, says the barriers to owning a video camera come from several fronts.

Many consumers, he said, might be reticent to invest in a new video camera after being burned by videotape technology in the past.

"I wasn't a big fan of videotape because of the moving parts involved and also the fact that it twists and it stretches, which can lead to problems," he said.

"Also, if you don't use videotapes for a long time, the layers of magnetic oxide interfere with one another and degrade the tape. If a videocassette is left flat rather than standing on its edge, the images on it will decay. That's how we lost a lot of the original TV shows."

Not great news for those wanting to preserve footage of their child's first steps, for example.

Editing footage captured on videotape was also tricky, often involving a complicated double-VCR set-up, an edit controller and a lot of patience.
Flash forward

Mr Curtis claims consumers burned by this old technology will be pleasantly surprised if they try out the latest generation of video cameras.

Flash memory, including Secure Digital (SD) memory cards, are "the most secure form of storage we know of", he said, and will stand the test of time better than videotape and even better than DVDs.

Video from these new cameras can also easily be imported to a computer for editing or plugged directly into a television.

Flash-based cameras also have other significant benefits over their older rivals.

Flash memory has no moving parts, unlike hard drives, making the technology less prone to failure and more able to withstand knocks. The technology is also quicker and uses less battery power than other memory and it takes up far less room than a hard drive, tape deck or DVD recording drive, allowing for far more compact camcorders.

Flash memory is also dropping significantly in price.

"With the way memory card prices are coming down I can see the day when people will keep their video stored on flash cards rather than reusing them," Mr Curtis said.

"They'll just buy more memory cards like we used to buy rolls of film."
New gadgets

The falling prices are also enticing more consumers to try out the new technology.

The Canon Digital Lifestyle Index, prepared by GfK Australia, found that digital camcorder prices fell by a "considerable" 16.9 per cent or $139.29 between the last quarter of 2007 and that of 2006, bringing their average price to just $685.

Mr Curtis said this price drop and increased competition would be sure to entice consumers to the market this year, predicting that Australians will buy more than 400,000 camcorders in 2008.

They will certainly be spoilt for choice, with most camera makers embracing flash technology.

Panasonic recently released a tiny SD camcorder called the S7 ($549) that features a 10x zoom in its tiny, 180g body, as well as a shock- and waterproof SD camcorder called the SW20 ($769).

JVC joined the trend with the colourful Everio G Series range of camcorders ($799) that can record to SD memory cards or a built-in 30GB hard disk drive, and Samsung released three new pint-sized camcorders, two of which record to SDHC memory cards or MMC cards ($1199 and $749).

Sanyo last year released a handheld high-definition camcorder called the HD1000 ($999) and Sony recently joined them, releasing the tiny HDRTG1 Handycam ($1599) which they claim is the smallest full-HD camcorder yet. It features a titanium body, face detection feature, zoom microphone and records images to a Memory Stick.

Sony also launched a second flash-memory camera, the HDRUX20 Handycam ($1599), that can record high-definition footage to a Memory Stick, a built-in 8GB flash memory or an AVCHD DVD disc.

And it's into this increasingly crowded market that Canon will launch its first flash-based video cameras in five days.

Canon's new range will feature three new flash-based cameras, all of which have tiny bodies that will record video to SD and SDHC memory cards. Two of these cameras will also boast a hidden surprise: 16GB of internal flash-based memory.

Canon digital video product manager Tamara Hohnberg says the camcorders' record-breaking internal memories will set the cameras apart from the crowded pack, and let consumers capture hours of video without spending a cent on recording media.

One of the new cameras, for example, can record up to 12 hours of full high-definition video on to its internal flash memory — something that would have taken 23 8cm DVD discs.

"Canon has been good at bringing high-quality goods to market, but often we're not the first to do so," Ms Hohnberg said.

"This is a first for us."

From home to the screen
The Canon HF10 ($1699) tops the new range, and can capture full high-definition video (1080p) as well as 3.1-megapixel still photos. It also features a 12x optical zoom, optical image stabiliser, Instant AutoFocus feature, HDMI connection, built-in light, and a 16GB internal flash memory in its 430g body.

Canon will also launch the FS11 camcorder ($899), with a 16GB built-in flash memory and image stabliser, and the FS100 ($699) that records directly to SDHC memory cards and weighs a tiny 310g.

An editing software package, Pixela ImageMixer 3 SE, will be included with all three cameras, to help consumers edit their videos and take some of the fear out of selecting a software suite.

Elissa Down, writer and director of the recent Australian feature film Black Balloon, believes these new flash-based video cameras will be a boon for documentary makers and home-video enthusiasts alike.

Down, who tested Canon's HF10 during a recent trip to Byron Bay, said the size of the cameras makes them unobtrusive and less likely to startle subjects, while their flash-based memory is easy on batteries and can capture a lot more footage than the average videotape.

"That's great, especially for docos," she said.

"When you're filming and you're getting good stuff you don't want to have to change the tape."

Down said new features like the ability to capture photos and videos simultaneously, and optical image stabilisation that "makes it look like you're not quite so drunk" will also prove handy for many users.

It could, however, mean a lot more drunken Australians feature on YouTube this year.

How to Panning Effectively?

Moving the camera across a scene is called panning. You’ll often see home videos that are shot while the person holding the camcorder pans the camera back-and-forth and up-and-down, either to follow a moving subject or to show a lot of things that don’t fit in a single shot. This technique (if you can call it that) is called firehosing — usually not a good idea. Practice these rules when panning:

• Pan only once per shot.
• Start panning slowly, gradually speed up, and slow down again before stopping.
• Slow down! Panning too quickly — say, over a landscape — is a common mistake.
• If you have a cheap tripod, you may find it difficult to pan smoothly.
• Try lubricating the tripod’s swivel head with WD-40 or silicon spray lubricant. If that doesn’t work, limit tripod use to stationary shots. Ideally you should use a higher-quality tripod with a fluid head for smooth .
• If you’re shooting a moving subject, try moving the camera with the subject, rather than panning across a scene. Doing so reduces out-offocus issues with the camera lens, and helps keep the subject in-frame.

Shooting Video

Once your camcorder is configured and set up the way you want it, it’s time to start shooting some video. Yay! One of the most important things you’ll want to work on as you shoot video is to keep the image as stable as possible. Your camcorder probably has an image stabilization feature built in, but image stabilization can do only so much. I recommend using a tripod for all static shots, and a monopod or sling for moving shots.
Pay special attention to the camera’s perspective. As I mentioned the angle of the camera greatly affects the look and feel of the video you shoot. I often find that lowering the level of the camera greatly improves the image. Some high-end camcorders have handles on top that make shooting from a lower level easier. Virtually all digital camcorders have LCD panels that can be swiveled up so you can easily see what you’re recording, even if you’re holding the camera down low. Be especially careful to avoid letting the camera roll to one side or the other. This skews the video, which is extremely disorienting to the viewer. Try to keep the camera level with the horizon at all times. The following sections give additional recommendations for shooting better video. If you’re shooting a person in a studio-like situation, complete with a backdrop and fancy lighting, provide a stool for your subject to sit on. A stool will help your subject remain both still and relaxed during a long shoot, and (unlike a chair) a stool will also help the subject maintain a more erect posture.

Setting Up Your Camcorder

Perhaps the most important tip I can give you before you shoot your video is this: Know your camera. Even today’s least expensive digital camcorders are packed with features that were wildly advanced (and expensive) just a few years ago. Most digital camcorders include image stabilization, in-camera effects, and the ability to record 16-bit stereo audio. But these advanced features won’t do you much good if they aren’t turned on or configured properly. Spend a few hours reviewing the manual that came with your camcorder, and practice using every feature and setting. In particular, check the following:

• Audio: Many new camcorders are set by default to record only 12-bit audio, also sometimes called the 32-KHz (kilohertz) setting. Fire up your camcorder right now and make sure that it is set to 16-bit (48KHz) audio instead, and never change it back. 16-bit audio is higher quality, and it won’t cause any problems later on when you want to capture video into your computer (or do pretty much anything else with it). For more on working with audio and understanding the bit and kilohertz settings.
• Focus and exposure: In the previous section, I mention those times when you want to control focus and exposure manually. If you use manual focus or exposure control, switch them back to automatic before you turn off the camcorder. That way, the camcorder is ready for quick use later on when Bigfoot momentarily stumbles into your camp.
• Special effects and exposure modes: As with manual focus and exposure, if for some reason you use any of the built-in effects in your camera, make sure you disable them before turning off the camcorder so that it will be ready to go the next time you use it. The same thing goes for special exposure modes.
• Stow the lens cap securely: It seems obvious, I know, but if there is a clip or something that allows you to securely stow the camcorder’s lens cap, use it. If you let the cap hang loose on its string, it will probably bang into the microphone and other parts periodically, making a lot of noise you don’t want to record.
• Use a new tape: Even though digital video doesn’t suffer from the same generational loss problems as analog video (where each play of the tape degrades the recording quality), various problems can still occur if you reuse digital tapes. Potential problems include timecode breaks (described later in this chapter) and physical troubles with the tape itself. Keep the camcorder manual in your gear bag when you hit the road. It may provide you with an invaluable reference when you’re shooting on location. Also, review the manual from time to time: Your camcorder no doubt has some useful or cool features that you forgot all about. If you’ve lost your manual, check the manufacturer’s Web site. You might be able to download a replacement manual.