We've got 3 cameras...
4k – Which is usually Rost (This camera is for everything, “Close Ups” and the ability to freely move around the and get any shot from any angle. We’ll call this the “Dynamic Camera”
Canon – Can be moved around, but mostly set up as a “Full Body” shot, only used for close ups when the 4K is not filming a close up. This way both cameras can alternate between “Full Body” and “Close Up”.
Cellphone – This has to be stationary at all times. It’s very sensitive to movement. Keeping it stationary avoids the jiggling affect it gets when being moved around.
**Cellphone Note – Make sure when you’re setting the cellphone up that it’s not sitting on a weak floor. The cellphone will pick up foot step vibration and record and jiggly image. 🙁
**Side Note – Canon and Cellphone could be switched. Example Cellphone can do the stationary “Full Shot” while the Canon is placed to the side to capture that unique angle.
Anton’s SONY Wide Angle Camera – Idea. Set is up behind the model or in a corner behind the model. Since it can capture the entire room, it would be a very unique BTS camera able to see everybody and everything.
**Also, perfect for “stalking” footage. It get great “worm’s eye view” angles, can get very low, and easily go to a “bird’s eye view”. AND….pretty sweet “selfie” camera for “POV” shots.
Nikon – for BTS purposes, to capture everything for Patreon.
Filming different angles...
If we capture the same action from vastly unique angles, then that same footage will be like a different scene.
Camera 1 – should be straight on capturing mostly close up shots, but has the ability to do full body and move around. (Dynamic Camera)
Camera 2 – should be set up catty corner to the action, capturing a “full body” shot.
Camera 3 – should be set up to the side or even slightly behind, creating a unique scene.
Let these be the basics we can work from. I think it’s very important to be as creative with our angles as possible so that we create unique footage from the same scene.
With this set up, as outlined above, I believe the editing could be done with Camera 1 & 2 mixed together to make the scene. Since those two angle will work together making sure to capture the “Close Ups” and “Full Body”.
That leaves Camera 3 it’s own unique scene.
See below how Anton’s camera can be used as a unique BTS camera.
Multiple Camera Shoot Notes...
When possible, and most optimal for multiple camera shoots, try your best to keep the cameras rolling for the same amount of time.
Example; don’t have the “dynamic camera” shooting short clips, 3o seconds, 1 minute, 45 seconds, 1 minute 50 seconds, 3 minutes, while the other camera, or cameras, filming for 18 minutes. Have all cameras continue filming so the footage can be lined up easier when editing clips.
Get all the camera rolling and have the model clap her hands so the editor knows when the scene has started. This will help him sync up the videos to the same start time.
Examples of 2 camera shoot angles that are perfect. These are examples and you can play with the angles as long as you’re capturing the footage like this.
Easy reminder….One camera gets “Full Body” shot (Head to Heels) and the other camera “Dynamic Camera” films close ups (Waist to Heels).
Upper Body Close Ups and Full Body Shots...
This is a little trickier, but just a minor limitation that can be worked around rather easily.
First and foremost remember the Legs are the star, not the face or upper body. Yes! We would like those things, but that is never the focus.
This means in order to get the models face or upper body, you need to keep the legs in the picture. Preferably heels to waist, but that’s not always possible and it’s alright as long as the calves are fully visible.
Examples of creative ways to capture the face/upper body while keeping the legs as the focus.
Top row keeps the face in the picture while the calves are the focus.
Examples of panning the legs to capture the full body/face.
First one, is fine, HOWEVER, there’s too much time spent on her face/upper body. Our auditory wont care about such things.
Second one is better, but as you can see the legs aren’t quite in the frame when the upper body is the focus.
Optimal panning procedure would be to start at the waist/butt and pan down the legs to the heels, then pull back to capture a perspective shot with the models face/upper body.
Then you could adjust focus between upper body to the legs. But remember the upper body is secondary. So, it would be quick adjustments.
This is a brilliant use of the frame to pan Elena’s legs. If Serge kept recording and stopped on the full body and focused the camera this would be a perfect pan to full body shot.
Don’t chase the Leg Movements. Pull back and film all the action.
Here are two examples of how to and not to film the same action.
The first is how NOT to do it.
This was very well done. But be careful not to get caught up in the camera movement so much. Every once in awhile is fine, but not a lot.
These rules aren’t here to contain your creativity, they’re here as guidelines to our style. All rules can be broken. However, when breaking the rules you’ll need to be super creative to make sure that the legs are still the focus point of every moment and special moment.
Furthermore….Doing lots of “special moments” such as panning to full body, etc, etc. You don’t need to do so many. Think of it like this. In a band, the drummer’s job is to keep the beat. He can then do fills “special moments” as builds to the next rhythmic jump. However, if the drummer is doing fills all over the place, it can throw off the rest of the band and muddy the overall production of the song.
Lastly, don’t worry about the other cameras. We have an editor to edit out any spots where you will be in the other camera’s view. Example; Anton’s panoramic camera. It’s alright, this can be used for BTS footage as well.
As for the remaining cameras. Just tell everybody you’re going in for a “special moment” whatever you want to call it, and leave it up to them to move the camera angles or not. Again, we’ve got an editor.