60 Videography MSCI brand guidelines SHOOTING USE A TWO-CAMERA SETUP Most subjects are real people and some might even be first-time interviewees. Using a two-camera setup will give you much more flexibility in post-production to piece together the best parts of all your subjects’ answers while cutting out all the “ummms” and awkward pauses. Cameras should be set at two different focal lengths (generally a wide or medium shot and a closeup shot) approaching the subject from similar angles. Subjects, generally, should look slightly off-screen as if speaking to an interviewer, but this rule can be bent if the project warrants it. The story you’re trying to tell should drive what camera angles you choose, rather than hard and fast rules. HIDE YOUR LAPEL MIC Videos will appear more professional the lapel mic is hidden. This can be achieved by applying gaff tape to the wire and asking your subject to run it up their shirt to hide it completely from view. BRING EXTRA CLOTHES Always ask your subjects to bring two extra shirts and ties/ outfits to the shoot. The purpose of this request is to be prepared in case a subject wears clothing that causes moiré patterns on screen or colors that blend in with the background. RECORDING AUDIO Ensure you record in the highest-quality audio possible. Low- grade video is explicable in a way that low-grade audio is not. If you can, use an external recorder and avoid running audio directly into cameras. If possible, use multiple microphones, such as a lavalier microphone coupled with an overhead shotgun mic. LIGHTING Corporate videos should be shot with flattering lighting that helps subjects look their best. Lean towards flatter lighting versus high-contrast, dramatic lighting. Pay attention to shadows under the eyes and cast by the nose. When a face is poorly lit, the shadows will break the subject’s connection with the viewer. A properly lit subject will also stand out from the background, rather than blend in. 3 POINT LIGHTING SETUP 3 point lighting is one of the standard method for lighting a video. The primary goal of 3 point lighting is to give a nice even spread of light across the subject, while ensuring that they stand out from their background. This is achieved by using three different lights: the key light, fill light and backlight. KEY LIGHT A key light is the primary light of the scene. It is the most intense and direct light source for the entire scene. It will be the first light to set up, and will be used to illuminate the subject. • Avoid placing your key light close to the camera. It will cause your lighting to become flat and featureless. The best place to set up your key light is 45 degrees from the camera. • A key light positioned to the side of the subject will create a mysterious/dramatic mood. Placing the key light behind the subject is not advised, unless you’d like your subject to be an anonymous silhouette. Not, generally, a good look for corporate videos. FILL LIGHT A fill light illuminates the shadows that are created by the key light. The placement of the fill light is 45 degrees from the camera, opposite the key light. The fill light should not completely eliminate shadows on the face, but should fill them in enough to give the face a softer and more natural appearance. • While the primary function of the fill is to remove shadows created by the key, it’s important that the fill remains indistinctive and does not create shadows or it’s own characteristics. The closer the fill light is to the camera, the fewer shadows it will create. • You can use natural sources of light, such as window or reflectors that bounce the key light, as fill lights as well. To use a reflector, place it on the opposite 3/4 to the key and angle to the subject. BACKLIGHT Place a backlight, or hair light, behind the subject and above them, angled slightly down. The idea is to create a rim of light around the shoulders and the head of the subject. This makes the subject distinct from the background and give them a three- dimensional look. • Non-diffused sunlight can often be too harsh to light your subject as a key light, but as a backlight, the sun can make your subject stand out. Just be careful they don’t become a silhouette. • With the sun as a backlight, you can use a reflector or a foam board to bounce the sun at a lesser intensity back up to the subject. EYE LIGHT If possible, use a bounce board or reflector to redirect light into the eyes of your subject. For close shots at desks and tables, even a white sheet of copy paper under your subject’s chin will often work. This will create a reflection on their eyes that gives them depth and intensity. Be careful – don’t overdo it and don’t blind your subject!