Reading & Writing

This week, I planned, produced, and edited my first how-to video. For proper guidance on creating my video, I reviewed chapters 3 and 4 of Tom Schroeppel’s The Bare Bones Camera Course for Film and Video, which covered Basic Sequence and Screen Direction. Here are my takeaways.

Chapter 3: Basic Sequence

Basic sequences consist of breaking down one long scene into numerous shorter scenes. This breakdown makes it easier for viewers to process the information within the video. It also makes the overall story more interesting. 

Most sequences start with a wide shot, also known as an establishing shot. Wide shots, medium shots, and close-ups are all subjective, depending on the subject and the cameraperson’s point of view. Cutaways allow you to change the length and order of a sequence. These shots are “most often forgotten by camerapersons and most often needed by editors.” 

When shooting a basic sequence, each new shot should be unique, involving a change in camera angle and image size. The combination of changing the angle and image alters viewers’ perspective and creates interest and versatility in shots. Cutting on the action is a good way to create smooth transitions between shots. Cutting on the action requires the last action of the first shot to be repeated at the start of the next shot. 

Finally, in editing, clean entrances and exits create flexibility. They are helpful in quickly getting subjects from one place to another.

Chapter 4: Screen Direction

“Screen direction is the direction people and things face when viewed through the camera.” Reverse screen direction occurs when a camera person crosses the line and everything seen through the camera is reversed. Moving back and forth across the line confuses your viewers. To cross the line without confusing your viewers, have your subject change direction on camera within the frame. You can also cross the line if you stop on it. This is accomplished by including a neutral shot with no screen direction in the middle of your shots with varied directions. Sidewalks, hallways, cars, roads, etc. also serve as a valid reason to cross the line. Additionally, the line can be crossed if your shots are also cutting on the action. 

Research to Inform

Continuity in Action

Sherlock

One of the easiest ways for me to pick up on continuity is through the observation of dialogue. This scene from Sherlock starts with an establishing shot with Sherlock and Moriarty in the frame. We then switch back and forth between the two characters as they speak to one another, with Moriarty’s close up featuring himself and a bit of Sherlock’s hand holding the gun, while Sherlock’s medium shot includes the back of Moriarty’s head. These two shots occur on separate cameras at separate times, yet the entire sequence feels seamless. Once Moriarty exits the scene, we switch to a wider shot at a greater distance that now includes John Watson. Eventually, John and Sherlock share a shot while having individual shots until Moriarty returns, which results in individual extreme close-ups and corporate shots at varying distances. 

Action Scenes

Action sequences always fascinate me, especially ones that involve fighting. These scenes are shot numerous times from varied angles and vantage points. Characters travel all over the set and various stunts and props come into play. These sequences are easily chaotic, yet the final shots always merge smoothly. 

Interviews and Documentaries

https://www.youtube.com/watch?v=vhMZSAMBSLE&t=487s

Interviews and documentaries often take a different approach to continuity by capturing multiple shots at one time. This allows the editor to cycle between various shots without disrupting the flow of the video. Some of these videos may even include other details such as hand movements.

Continuity Mistakes

Continuity mistakes happen frequently and are often fairly easy for observant viewers to point out. This week, I came across a website called moviemistakes.com. This site serves as a forum in which viewers can submit mistakes they have noticed in movies and shows, including continuity errors. Movie mistakes revealed a continuity mistake in one of my favorite movies.

Holes is one of my favorite Disney movies. I know most of the lines and watched it almost every evening of my senior year of high school. However, I never noticed this continuity mistake until this week. From 0:26 forward, Stanley Yelnats I converses with Madam Zeroni who is initially wearing a gold top, blue overcoat, and gold and peach head wrap. However, as the conversation progresses, Madame Zeroni’s outfit drastically changes by 2:27. Her overcoat switches to a gold/tan color with white stripes and her headwrap is now gold, black and red.

Create

How To Draw a Hand

This week I created a how-to video that incorporated continuity, featuring my husband. Aideh, also known as @Written.Vision, is an artist, illustrator, and animator. One of his passions is to one day share some of his creative knowledge with his audience through a YouTube channel. This week’s project presented the perfect opportunity to try out being Aideh’s personal videographer and editor and shooting a continuous tutorial video for YouTube. I planned for five distinct shots but, ultimately, left one particular shot out, as it crossed the line and did not blend well with the rest of my shots.

To capture both shots of Aideh talking, I utilized two Sony a6400s simultaneously. Both cameras recorded Aideh’s audio, but I attached a Rode shotgun microphone to one to test which audio would work better. While capturing these shots, we also recorded the third track of Aideh’s narration with an iPhone placed in his lap. After these shots were complete, we played back the iPhone audio and recorded an aerial shot of Aideh drawing the hand again while listening to his narration. At the same time, I shot the iPad screen over Aideh’s shoulder. These shots were a bit more challenging to pull off because the tripod legs for the aerial shot were directly behind Aideh’s iPad, so I had to be careful with my framing and adjust the scale of the over-the-shoulder shots in post. My final shot was a wide shot featuring Aideh simply drawing on his iPad. This shot served as the second clip in my video. 

Editing my video was fairly straightforward. Aideh suggested that I clap at the start of recording my first couple of shots, which served as a way to synchronize my footage and audio in post-production. From there, I edited between my two shots of Aideh with my overall pace in mind. I paid attention to Aideh’s pencil movements and inserted clips of him drawing from my second set of shots where appropriate. 

The audio that worked best turned out to be the iPhone audio because it sounded like I was in the room with Aideh the most as he walked through the tutorial. I edited the audio to make Aideh’s track sound as clean and professional as possible and balanced it with my selected soundtrack. Next, I added fading transitions to the music and video clips and then incorporated text to help guide the viewers through the video. Finally, I gave color grading another try and decided to be generous with my alterations. This time around, I like how the color turned out.

This was my favorite video thus far because it was fairly simple and fun to edit. I also got the chance to experiment with capturing various types of audio and shots at the same time. Moving forward, I would like to fine-tune my white balance and exposure for darker/dimmer settings, as this is something I struggled with. I have also learned not to record with my camera set to continuous autofocus, because it can cause jumpy, shaky, and unfocused footage. Finally, in future videos, I’ll be sure to pay close attention to my subject’s hand and object placements so that my shots can be as identical as possible.

In my previous blog post, I covered my pre-production process of creating a video montage. For my location, I selected the Howard Peters Rawlings Conservatory & Botanic Garden in Baltimore, Maryland, and visited the conservatory, capturing photos and creating a shot list of various visual compositions to develop familiarity with my camera and practice what I learned from my readings. I also created a storyboard and script to prepare for this week’s video montage. 

Reading & Writing

Last week, I read chapters 1, 2, and 5 of Tom Schroeppel’s The Bare Bones Camera Course for Film and Video, which covered the Basics, Composition, and Camera Moves. Here’s what I revisited to prepare for shooting video for my montage.

Chapter 1: Basics

• Exposure describes the amount of light that comes through the camera’s lens. The f/stop ring determines the size of the aperture, so if the aperture is small, it lets in little light and vice versa. 
• Professional cameras have built-in color filters, which you can change in accordance with the light you are shooting under.
• Before shooting any video, it is important to set the exposure on your video camera. This is done by selecting the proper filter and adjusting your white balance. “Ideally, you’ll be able to record detail in both the bright (highlight) areas and the dark (shadowed).” You can turn on zebra stripes to help highlight areas that are overexposed.
• Every camera has a normal lens, which replicates what the human eye typically sees. Additional lens types include wide-angle lenses, which capture larger areas than the normal eye can see, and telephoto lenses, which capture smaller areas. 
• The automatic focus does not always work well. If possible, it’s best to focus your camera manually.

Chapter 2: Composition

• Making use of a tripod mitigates camera jiggle, which is caused by “shaky handholding of the camera.” If a tripod is not accessible, there are ways to get tripod-like support, including using a monopod or shoulder brace. 

Chapter 5: Camera Moves

• Camera moves include zooms, pans, tilts, and combinations of all three. Each camera movement is capable of revealing new information to the viewer.
• When making camera moves, camerapeople should always move from an uncomfortable position to a comfortable one and not the opposite.

This week, to prepare for editing my montage, I read the final chapter. I learned that the human eye automatically edits by focusing on things that interest it. I also completed an editing experiment which helped me understand how the mind responds to edits and how different bits of information are delivered through various editing techniques. Schroeppel uses this experiment to emphasize that “choices of pictures and sounds determine how well your message gets across, and how the viewers react to it.” Here are some additional tips I picked up from chapter 10.

Chapter 10: After the Shoot – Editing

• Try not to begin your video with a surprise. Instead, use an establishing shot. 
• Reveal new images and sounds slowly so that they have time to process the new information.
• Give viewers a little extra time to absorb totally new information and feel comfortable.
• If you want to create tension and send muddled messages, you can use quick cuts, fast movements, unfamiliar images and sounds, unsteady frames, etc. These kinds of editing techniques should be intentional inclusions and not accidental ones. 
• Read your script first! Your script will inform your editing. 
• Be comfortable with tossing shots that don’t move your viewers the way they are supposed to.
• Include basic sequences to mimic how your viewers see life. This is a better way to communicate information than piecing together unrelated scenes.
• “Each new shot should be clearly different – in content, framing, or both from the previous shot.”
• Lead your viewers from shot to shot smoothly. Try not to distract them from the content they are viewing. You should only change your pictures and sounds to better communicate your message or keep your viewers’ interest. 
• New and/or complex information requires slower cuts to keep from confusing your viewers.
• “Your editing style is determined by the pictures and sounds you select, the order in which you present them to your viewers, and how fast you change from one picture or sound to the next – pacing.”
• Your editing style should complement your script.
• Across various cuts, sound can be used as a connecting method. Narration and dialogue help establish sequences. Ambient sounds and sound effects help further establish sequences.
• Background music is a key component of editing. It helps reinforce your message and convey an overall mood. Background music can also create cohesion and provide momentum. If your background music is not noticed or remembered by your viewers, it’s most effective. 
• It is best to divide your sound elements between as many separate audio tracks as possible. This helps you have maximum control over your sound elements. 
• If time permits, once you finish editing, shelf your project. Try to come back to it later to judge it properly. If this isn’t possible, try judging your piece by this standard: “does it deliver my message to my viewers? Will they react to this the way I want them to?” Get rid of any aspects of your project that do not meet your standard.
• Progression in video production comes from being willing to receive criticism and being willing to criticize yourself. Evaluate your successes and failures and learn from them.

Research to Inform

Editing Techniques within Travel Vlogs

Sam Kolder

Sam is an experienced videographer that started his craft at a young age. His videos consist of his travels around the world with his friends throughout different seasons of his life. His editing and transitions styles are distinct and unique, so much so that he has garnered a following of over 1.26 Million YouTube subscribers. 

In his videos, Sam Kolder prefers using short 1-5 second clips of different angles and shots of his location or subjects in short bursts. He rarely includes clips that are over 5 seconds long. For his transitions, he uses frames and objects within a shot to mask out subsequent clips. He also uses basic quick/jump cuts and manipulates scale, rotation, and position at once. This editing style works perfectly for his videos as most of his videos are meant to evoke emotions of excitement, joy, and energy. Using short clips and quick cuts helps keep viewers alert and maintain their attention. When Sam utilizes masking transitions, it ties two clips together in a seamless way, which somehow conveys that you are smoothly traveling from one location to another. Overall, Sam Kolder’s clip lengths and transition styles create fairly fast-paced videos. 

Rory Kramer

Rory Kramer is also an accomplished videographer who has produced music videos for industry artists, including Justin Beiber. His personal YouTube videos feature lessons from his travels throughout the world. Rory’s edits are less quick and dynamic than Sams’s, with shots that can span 10 seconds or more. His videos lean toward storytelling, as he takes viewers along on a specific adventure from start to finish, stopping from time to time to incorporate shots in which he narrates what is happening in his traveling clips. These narrative videos serve as breaks, slowing down the pace of the entire video from time to time. Rory’s transitions style is pretty standard for travel vlogs. He uses jump cuts to transition from one scene to the next. This editing style works well for his videos because the overall purpose isn’t to solely enjoy the video, but also to take in the experiences and the lessons he shares. Rory’s editing style results in even-paced videos; they’re not too slow and not too fast. 

Jordan Taylor Wright

Just like the previous two videographers, Jordan Taylor Wright of TaylorCutFilms documents his travels through video. Most of his videos are similar to Sam Kolder’s, as he uses short clips to evoke excitement. However, Jordan also mixes in slow motion clips that range from 5 to 10 seconds long to generate a sense of calm, allowing viewers to contemplate and absorb the overall message of the video. Unlike the other videographers, in addition to jump cuts, Jordan uses a lot of distinct crossfades and dissolves in his film work, along with subtle combinations of scale, rotation, and position changes. Fades are wonderful for his style of video because they are not abrupt, giving the viewer room to breathe and anticipate the next shot. Fades aren’t as high energy as jump cuts but are a softer way to transition from scene to scene. Jordan’s videos start off at a slow pace and eventually ramp up to an even pace with a few quick bursts of footage.

Create

Video Montage: The Howard Peters Rawlings Conservatory & Botanic Garden

This week I returned to Baltimore’s Howard Peters Rawlings Conservatory in Druid Hill Park to scout out my chosen location for shots. The following day, I went back to shoot. Although I am fairly happy with how my video turned out, this project was no joke! Working with video and audio at the same time presented a few challenges and I have learned a few things to take into my next project. Here’s what I learned:

• Shooting in a location that relies heavily on sunlight may present challenges with exposure, brightness, and shadows.
• Always use a sturdy tripod. (I ordered one in preparation for this video, but the box was ginormous and I was intimated, considering my timeline for shooting my video. I opted for my old, basic, easily transportable tripod and later regretted it in post-production).
• Pay attention to your location’s floor level. Some locations may have uneven floors or ramps, which will not provide stable support for a tripod. Unstable floors = unstable shots.
• Listen back to all your recorded audio shortly after you record it. If there’s popping, cracking, or other defects in your audio clips, you can go back and re-record those clips in the same setting and around the same time of day. Learning of sound defects later may require a lot of patchwork, or prompt new recordings clips on a different day or within a different setting, which will sound noticeably different.
• Some ambient nature sounds like breezes can end up sounding like white noise when paired with recorded narration. Ensure that ambient sounds are identifiable and won’t be mistaken for something else.
• Be generous with your color correction. Subtle color correction may end up looking like raw footage (lol).
• Altogether, it’s okay to improvise! Your script and storyboards a subject to change in post.

Reading & Writing

Preparing for Video

Chapters 1, 2, 5, and 6 of The Bare Bones Camera Course for Film and Video cover the Basics, Composition, Camera Moves, and Montages within Film and Video. In preparation for creating a video montage, here are my takeaways from each chapter.

Chapter 1: Basics

Chapter 1 of Schroeppel’s book provides a thorough introduction to cameras. Schroeppel continues by detailing how cameras work, exposure, color temperature, setting exposure, and lenses. The part of the chapter that resonated with me the most covers depth of field, which can be found on page 23. 

“Depth of field is simply the area in front of your camera where everything looks sharp and in focus.” 

Objects within the depth of field appear to be sharp, while objects outside of the depth of field have a soft appearance. Manipulating a camera’s focal length has a direct impact on the depth of field. If the focal length increases, the depth of field decreases. If the focal length decreases, the depth of field increases. Additionally, the depth of field increases as the camera’s aperture is made smaller or closes down. The depth of field also increases as the subject gets further away. Lastly, there is always more depth of field behind a subject than in front of it.

Chapter 2: Composition

This chapter reinforced the fact that making use of a tripod mitigates camera jiggle, which is caused by “shaky handholding of the camera.” If a tripod is not accessible, there are ways to get tripod-like support, including using a monopod or shoulder brace. Chapter 2 goes on to cover various visual composition techniques:

• Rule of thirds: mentally dividing the frame into thirds both horizontally and vertically and then placing the subject/elements along the division lines.
• Balance: 
  • Leading looks: ensuring that the frame includes room on either side of the subject to create a more comfortable composition. This space is known as head room or lead room.
  • Masses: shots featuring a mass that feel visually off-balance can be corrected by introducing a second, smaller object some distance away from the first object within the frame.
  • Color: Color contains weight and intensity. The color of one object can be balanced by introducing an additional object that has a similar or heavier weight, brightness, or intensity into the frame. 
• Angles: In a two-dimensional environment, angles introduce depth.
• Frames within the frame: Using elements of your location to create a full or partial frame makes your shots more interesting.
• Leading Lines: Using lines within your shots helps direct your viewer’s eye toward your subject. 
• Backgrounds: Repositioning your camera, subject, or both helps keep the background in its place.

Chapter 5: Camera Moves

Camera moves include zooms, pans, tilts, and combinations of the three. Each kind of camera movement has the potential to reveal new information to the viewer. The best practices for implementing camera moves include beginning and ending every camera move with a well-established static shot. Secondly, filmmakers and videographers should always move from an uncomfortable position to a comfortable one. 

Chapter 6: Montages

This final chapter covers montages. “A montage is a series of related shots used to condense time or distance, set a mood, or summarize information.” It’s best that each shot within a montage is unique and distinctly identifiable from other shots within the piece. This can be accomplished by shooting various angles and image sizes.

Research to Inform

Shows Depicting Visual Composition Guidelines

The Handmaid’s Tale: Frames

https://youtu.be/g2sKnKBTozM?t=8

This show contains multiple visual composition guidelines that are utilized throughout every scene. The most common and identifiable one is a shallow depth of field, followed by angles. However, in this particular scene, I love the innovative utilization of Offred’s bonnet as a frame.

Inventing Anna, The Cleaner: Frames

Additionally, shows including scenes of characters in jail often incorporate shots utilizing the bars from the cell as a frame. This creates a distinct boundary, giving viewers a sense that they are free, on the outside of the cell, while the character they are following is confined within a cell. 

Grey’s Anatomy: Leading Lines

This scene of Grey’s Anatomy takes a unique approach to leading lines. To support a patient and (quite literally) stand in solidarity against domestic violence, hospital staff members form two lines on either side of a hospital hallway as the patient is guided to the operating room. The leading lines formed by the staff first direct viewers and the patient toward the elevator until the camera orientation shifts to face the patient, centered by the lines. This scene takes a unique approach to leading lines. To support a patient by literally standing in solidarity against domestic violence, hospital staff forms two lines on either side of a hallway as the patient is guided to the operating room. The leading lines formed by the staff first lead toward the elevator until the camera orientation shifts to face the patient, centered by the lines. 

How to Get Away With Murder, Queen of the South: Panning & Angles

Often times if you’re watching a show with a protagonist who is tough, independent, and driven, scenes that highlight these characteristics may include shots of the protagonist from numerous angles. Here, both shows include close shots that pair panning with angles which introduces depth, adds interest, increases tension, and directs the focus of the viewer to the main character. These shots can also serve as a way to transition scenes quickly while keeping the viewer’s attention.

Dream Home Makeover, The American Barbecue Showdown: Angles

Another approach to angles and depth can be seen in reality TV shows. These kinds of shows, especially ones that involve working on a specific project such as home renovations or food competitions, often feature a final result (the renovated house, the fully cooked recipe, etc). The reveals of these finished products typically depict the product from varied angles to highlight fine details and give viewers a complete look.

Create

The Rawlings Conservatory

This week I visited Baltimore’s Howard Peters Rawlings Conservatory in Druid Hill Park. Toward the end of 2020, I moved to Baltimore County. While searching for items to help decorate my new space, I developed a new appreciation for houseplants and swiftly become a plant mom and enthusiast. Rawlings Conservatory was initially a location I considered renting for my impromptu quarantine wedding, but, over time, it became a location I desired to visit as a fellow Baltimore County resident and plant lover.

Creating a Visual Composition Shot List

My dream of visiting the conservatory became a reality this past week. Accompanied by my husband and puppy, I took my Sony A6400 camera along with me to visit the conservatory and capture various shots with the guidance of a shot list template. Although I had to get creative with some of the shots, considering that the plants within the conservatory are stationary and my husband is currently on crutches, I was able to capture various shots for a few of the shot list categories covered:

• Composition – Rule of Thirds
• Balance
• Balance – Color
• Angles (Depth)
• Frames in the Scene
• Leading Lines
• Backgrounds
• Basic Shots (Shot Framing)
• Perspective
• Shallow Depth of Field

This experience helped me practice what I learned about depth of field, composition, and camera movements in Schroeppel’s book. 

Below are a few of my favorite shots. (The final two shots are unedited):

View the entire shot list:

Planning for a Video Montage

Next week, I’ll be implementing what I learned in Chapter 6 and creating my own video montage of Rawlings Conservatory. In preparation for my montage, I created a script and storyboarded my potential shots. I will have to visit the conservatory a couple of times before shooting the video to tighten up my script, as I plan to refer to some of the plants in each room by name. I would also like to walk through the location and make sure my current navigation plan makes sense. Overall, I look forward to building upon my shot list exercise and developing a montage that features wide and medium shots, close-ups, music, ambient audio, and subtle sound effects. 

View the montage pre-production document:

A video of Rawlings Conservatory that serves an inspiration for my Montage:

Reading & Writing

Quick Tips for Recording Audio

This week, in preparation for recording my first podcast episode, I revisited Chapter 8 of The Bare Bones Camera Course for Film and Video. I own a few different types of microphones and did not know which would be best for this kind of production. In chapter 8, Schroeppel explains the benefits of using various kinds of microphones. I learned that “the surest way to get good, clean sound from one person talking is to use a lavalier mike.” Additionally, lavalier mics can be clipped on the chest and placed close to the sound source, therefore, they produce very strong sound signals. So I decided to use a lavalier mic to capture a soundbite of my mom talking about motherhood and Sickle Cell.

Unfortunately, the lavalier did not work well for my own audio, so I switched to a Blue Snowball microphone, which has a cardioid polar pattern. According to Schroeppel, “a cardioid pickup pattern looks like a heart, with the pointed end indicating the area of greatest sensitivity, directly in front of the microphone.” Unlike the lapel mic, using this microphone helped me experiment with its sensitivity and adjust accordingly. I also used a pop filter which assisted me in toning down my “Ps” and “Ts,” capturing clearer audio. This chapter was great to reference, as it helped inform my decision and select the appropriate equipment for this assignment.

Another article I read, entitled “7 Secrets for Getting Pro-Sounding Vocals on Home Recordings,” supported me in creating the right environment to record my podcast episode. Although the microphone and equipment are important while recording audio, the vibe and environment are just as important. Secrets 1, 2, 5, and 6 resonated with me the most:

(1) Get in the zone: It’s important to record audio in a relaxed environment. If you’re not comfortable, your recording will capture it. Therefore, you should make it a priority to “set the right ambiance” so that your recording picks up your relaxed temperament.

(2) Hack your bedroom: Recording in dry, neutral rooms are key. Large rooms with tons of space and reverb can impact audio negatively. Therefore, choosing a space like a bedroom with objects and surfaces that can absorb sound will likely result in clear, balanced audio with minimal echoes. Building a booth is even better.

(5) Do several takes: When recording audio we often think “one and done.” Conversely, practicing, giving yourself time to warm up, and recording multiple takes will give you multiple recordings to choose from. Furthermore, the final result will be a well-rounded recording that you’ll likely be pleased with.

(6) Be careful with your vocal editing: Don’t overuse or become too dependent on plugins or editing tools. Additionally, select one recorded take and try to make use of large portions of that take. This helps maintain the nature and essence of the entire piece. Only include small portions of additional takes where necessary.

A final article, “Sound Advice: Editing Audio for Video,” drove home the importance of maintaining a storyline with a beginning, middle, and end, even when working with audio. Once your story is complete, it is important to listen closely to the whole recording paying attention to any parts that may seem excessive or unnecessary. These things can be edited out. During this process, you can also smooth rough edges and clean up anything that does not blend well. If there are any other parts that seem a little off, adding in background music may help mask errors and blend everything together nicely.

Research to Inform

Movies Comprised of Well-Produced Audio

These next few videos may give you insight into the kind of movies and shows I enjoy. I love watching things that involve, action, suspense, and thrill, not only because this type of content is attention-grabbing and exciting, but also because video productions of this kind often include seamless, well-executed audio. Here are a few clips I’ve watched in which the audio played a significant role in both enhancing the footage and keeping me on the edge of my seat.

A Quiet Place

In this minimal-dialogue horror film, people must live in silence to avoid being hunted by strange creatures that find their prey through sound. The use and existence of silence in A Quiet Place communicate a higher likelihood of safety for the characters, while accidental sounds equate to potential danger. Because there is such little dialogue, the movie introduces various aspects of sound to support the story, including the ambient sounds of nature as the characters walk through the forest, the sounds of each characters’ footsteps on different surfaces, music that sets the tone and cues things to come, and sound effects to match on-screen occurrences. Additionally, the creatures have distinct, audible outcries, footsteps, and clicking noises. 

The movie also follows a character that is hearing impaired, meaning that she cannot hear when others are making noise and often learns about danger later than the rest of her family. Her impairment, however, becomes a benefit to her family’s predicament, as she learns that using her cochlear implant to create feedback disorients the creatures. The absence of dialogue in this movie and the unique and intricate approach to sound create new avenues of expression and communication for the characters. In scenes where viewers would expect to hear crying, yelling, or screaming, we are met with muted or muffled sounds and silence. Through its audio, A Quiet Place teaches its viewers to value silence.

Dunkirk

Dunkirk is another low-dialog movie that signals its audience through the use of sound. The ambient audio in the opening scene is subtle, yet present, exhibiting a moment of calm before we hear chaotic gunfire that causes the characters to frantically run away, seeking an escape. We then hear clicks of the main character’s shotgun as he attempts to reload his shotgun, followed by the sound of more gunfire and his quick footsteps. Once he runs further away from the battlefield, the sound of his footsteps increases as the gunfire fades into the background. As he reaches the beach, we hear more ambient audio and some music. Although this scene includes minimal dialogue, the movie does a great job of incorporating sound effects, music, and ambient audio that overlap and occur at the same time yet exist independently and transition between the foreground and the background. The audio helps the viewer identify what to focus on at any given moment.

1917

The front line scene of 1917, another war movie, incorporates competing levels of music, ambient audio, dialogue, and sound effects. However, as the main character travels past and communicates with numerous soldiers and commanding officers, the audio, music, and sound effects help escalate the action of the scene. With headphones, you’ll hear an officer yelling on the right, followed by another commander giving orders on the left. The explosions and debris also alternate between the left and right, however, the dialogue and music occur within all channels. The use of the left and right stereo channels in this movie helps viewers further determine the general location of specific occurrences in reference to the main character’s location. It brings order as the character quickly pushes his way through a tumultuous and dangerous scene. 

Top Boy (Warning: this video contains explicit language and graphic violence)

This video from Top Boy includes sounds of the street at night, motorcycle engines revving, gunshots, people screaming and running, tires screeching, car doors slamming, weapons in use, punches landing, police sirens approaching and fading, dialogue inside and outside of the car, reactions of bystanders, and so much more. The first scene starts off calmly but quickly escalates, jumping to the next scene, a crazy series of events marked by jumbled audio elements, imbalanced camera angles, and disorder. All of the mayhem is led by a soundtrack that gives off feelings of deep thrill and suspense. The audio is intended to be all over the place, which works for a scene that is just as lawless.

Euphoria

https://www.youtube.com/watch?v=6yyDI8-H3b8

A large portion of season 2, episode 5 of Euphoria follows Rue on the run as she attempts to escape being checked into rehab and evade the police. Rue trespasses on various properties within the community, which are all unique settings. Each place she runs through contains distinct audio, hinting at what may be occurring in that specific space. Here are some of the things you’ll hear: dogs growling and barking, live sports on a TV, whirring machines in a repair shop, music at a family gathering, Lakmé’s Flower Duet, chickens clucking, a glass table breaking as Rue lands on it, pop music, and police radio chatter. Her running is linked to a fast-paced, animated soundtrack which comes to an end once she stops running. The chase is beautifully shot and its accompanying audio is well-thought-out, with consecutive moments of disarray that never clash.

Create

Using Sound to Elevate my Podcast

I recently recorded the pilot episode of my podcast, called Feel My Pain. The podcast topic is health-related, and this first episode is an introduction to Sickle Cell Disease. In pre-production, I quickly learned that a serious topic like this has the potential to easily become dry or boring. Therefore, this week, I sought ways to keep my listeners engaged.

Although I plan to incorporate more sound elements into future episodes, I was able to gather sound bites, sound effects, and ambient audio to introduce at the beginning of this first episode, giving my listeners a sneak peek into what they can expect to hear in future episodes. I struggled with where to place these audio clips but figured they could be compiled together, serving as a hook to grab my listeners’ attention. Moving forward, I hope to find more creative ways to include audio elements that will help embellish future episodes.

To give my first episode a listen, check out the SoundCloud link below:

Reading & Writing

Introduction to Sound

Chapter 8 of The Bare Bones Camera Course for Film and Video covers all aspects of sound, microphones, and best practices for recording audio. Schroeppel begins this chapter by explaining how sound is created. “Every sound, whether it be a human voice or a tree falling in the forest, is caused by something vibrating.” Similarly, our eardrums vibrate when sound waves reach our ears and, once sent to the brain, these vibrations are translated into audible sounds. Microphones are crafted in such a way that mimics the ear, with the diaphragm serving as the eardrum. Conversely, loudspeakers work in reverse, creating sound waves as electric signals vibrate a diaphragm. Various microphone types are utilized within film and video productions, providing unique benefits:

• Lavalier microphones are small in size and typically placed close to a sound source. They are often clipped to a speaker’s chest and tend to produce a strong signal. 
• Hand microphones are the most versatile mics used in film and video. They can pick up either cardioid or omnidirectional sound and are widely used throughout the industry. 
• Shotgun microphones pick up omnidirectional sound and are great for capturing distant sounds.

When selecting a microphone, remember your audience! It’s always best to use the type of microphone that will adequately capture the sound you want your audience to hear. Furthermore, it is important to record clean, crisp sound, identify noticeable sound effects and record them close up, and aim to keep all recorded voices consistent. 

Schroeppel’s final tip: “record your voices, sound effects, and presence separately and cleanly. This will give you maximum flexibility in your mix.”

Scripting a Podcast

From microphones to software, to scripts and more, starting a podcast can easily become overwhelming. Luckily the team at, The Podcast Host has published a detailed series on Creating Powerful Podcast Content. Here are some of the takeaways I plan to utilize as I prepare to record the first episode of my podcast:

• Create an invisible podcast script by mapping the structure of the podcast out step by step. 
• The best podcasts are conversational in nature, so write like you talk.
• “Be yourself, be authentic and have fun.”
• Whether you script your podcast word-for-word or list simple bullet points, most successful podcasts are built upon some sort of script. 
• The podcast scripting approach you choose is fully up to you. Do what works!
• Continue to refine your script until it flows naturally.
• Taglines add a special spark to your brand. Don’t take them for granted.
• Include hooks to help listeners transition and navigate your podcast.
• Outline, write, and edit your podcast content independently.
• Read, rehearse, rewrite or remove, markup your script.
• Slow down your delivery and vary your tone. Break your show down into bite-size chunks and plan on doing two or three takes of each element.

Research to Inform

Podcasts I Enjoy

There are a number of podcasts I have listened to that I thoroughly enjoy for various reasons. Here are five podcasts that I hope to draw inspiration from for my first podcast episode:

1. The Realness, hosted by Mary Harris and Christopher Johnson. In this podcast series, Harris and Johnson narrate the life of the rapper Prodigy adding in the context of his lifelong battle with Sickle Cell Disease. They converse with one another, interview individuals connected to the story, insert clips of Prodigy speaking, and incorporate his music, all while detailing Prodigy’s impact and legacy. Although Harris and Johnson are WNYC health reporters, through their script, ambient sound, sound effects, and music, the podcast becomes much more than a health-focused resource. It’s easily relatable and engaging for any listener. 
2. Radiolab, hosted by Jad Abumrad. This podcast “asks deep questions and uses investigative journalism to get the answers.” As a listener, you’ll never be bored because this podcast creatively weaves music and sound effects into its stories, creating a rich audio experience for listeners. This podcast includes narration and dialogue.
3. Passing Through, hosted by Nneka Julia. Through this podcast, Nneka Julia shares her personal revelations while passing through various places and spaces. Each episode includes a number of audio clips, sound effects, and more audible stimulation that transports the listener to the place or space she is covering.
4. Crime Junkie, hosted by Ashley Flowers and Brit Prawat. In this popular storytelling podcast, Ashley and Brit recount and narrate true crime occurrences, incorporating their own thoughts and dialogue, crime-related knowledge, tips for listeners, and a little bit of drama and suspense to keep the listener on the edge of their seat.
5. The Sickle Cell Podcast, hosted by Dr. Stephen Boateng and Cass Trimnell. This podcast is comprised of dialogue between two hosts living with Sickle Cell Disease and their guests. It covers various topics within the context of Sickle Cell Disease, including Racial Injustice, Mental Health, Gene Therapy, and more. It provides a very human approach and viewpoint of the daily experiences of people with Sickle Cell Disease.

Create

Feel My Pain: S1E0

Since 2020, I’ve had the desire to create a podcast that details some of my life experiences as an individual diagnosed with Sickle Cell Disease. Although I have had this idea for a while, I have not yet had the chance to make headway with scripting and producing my podcast. This week’s pre-production podcast assignment finally gave me the chance to work on my first episode of Feel My Pain.

Feel My Pain will serve as a podcast dedicated to providing an inside look into the daily experiences of individuals diagnosed with a rare blood disorder called Sickle Cell Disease, which causes chronic pain. As Feel My Pain develops, I hope to invite people with Sickle Cell and those directly connected to individuals with the disease to share their personal stories through an anonymous submission form. These submissions will be transformed into a storytelling experience in which the listener is granted the opportunity to assimilate the world of those with Sickle Cell and feel their pain. My ultimate goal for this podcast is to provide insight, increase understanding, and raise awareness for a medical condition affecting millions of people of color worldwide, including myself and my loved ones.

Possible Challenges 

Creating a health-related podcast may present some challenges including keeping the listener engaged. Although I plan to incorporate music, sound effects, and ambient audio, my first episode will likely be informative. Therefore, I am seeking innovative ways to keep the podcast episodes from becoming boring and stale. 

I would also like to strike a balance between incorporating interesting personal accounts and experiences as well as facts related to Sickle Cell Disease. I hope my storytelling approach will suffice in future episodes, but I am open to suggestions on how to make my pilot episode just as engaging.