Shooting sequences is the key to capturing editable footage. I’ve talked about this a number of times in previous posts and I have used this example before, but a number of readers have asked for a bit more detail, so I have broken it down into a series of stills.
In some ways, that’s what a video sequence is and apart from the audio and movement, you can get a good idea of what I’m talking about by looking at these stills.
Remember, sequences are not about the order you shoot in – that’s governed by what’s happening around you. This is about having a shopping list of shots so that when you get to the edit, you’ve got enough footage to tell the story.
Aid project in Cambodia
I was filming a group of high school students visiting an aid project called ‘Seeds of Hope’ in a Cambodian village. Wayne, the guy in the blue polo shirt, is explaining how the project helps the families involved. The students were also given information sheets.
There are nine separate shots in this sequence and they can be edited in any number of ways, depending on what story you want to tell. The numbers indicate the order in which they were shot.
The video at the end includes the finished sequence as well as a narration explaining how it was shot.
Sequences in shooting order.
1. This was the first shot. Once I had Wayne miked up I held this shot for about two minutes, listening to make sure I had enough sync to set up this scene.
2. After I had enough of (1) above, I tightened up to give some variety. I could have done this also in the edit, seeing as I was shooting high definition.
3. After I had enough of Wayne in mid-shot and close-up, I shot this mid-shot of the students listening.
4. This is another cutaway shot on the other side of the circle of listeners.
5. This is a tighter shot of the students. Because they are now looking at the information sheets, I then got a close-up of those in the next shot.
6. This is a close up of the information sheet to go with (5).
7. This wide shot shows how the students are standing around Wayne as he explains the project. At all times I had sync of Wayne via a radio mic, so if he said something I wanted to use in this wide shot, I could use the audio (although not necessarily over this vision). The distance means you cannot see if Wayne is in sync or not – which is very helpful.
8. I didn’t end up using this shot in the final edit, but it is similar to (7) above in that it shows the whole scene.
9. This is the last shot I took after I knew I had enough sync from Wayne and all the B roll or cutaways. I chose to frame this wide shot with the timber fence in the foreground to help give the shot depth.
This is the actual footage with some narration first and then the whole sequence.
Excellent advice. It’s easy when you think about the word “sequence”, to think that you have to shoot them in order – at least for me. I like the idea of thinking of it as a shopping list of shots you need, so that you can make sure you have everything and not feel obligated to follow any specific order.
Hi
Yes – for documentary shooting you really need to be guided by what is happening around you whilst at the same time, making sure you tick off that shopping list. Sometimes I do ask those I am filming to ‘do that again’ so I can get a better shot.
Martin
Love this! What’s your process for determining which shots you want?
Hi,
Experience and practice. Plus, editing your own footage also highlights any shots you missed. The shopping list is also a good place to start.
Martin
Amen! The shopping list metaphor is perfect. I never worry with shooting in sequence, just knowing what I need is key. If you go in prepared, you don’t have to worry about doing anything in order, because editing will piece it all together later.
For documentary style shooting, you can never shoot in order. Even feature films don’t do that. Collecting usable shots and sequences means you can put it all in order in the edit.
Martin