Proper Claboard Use

The clapboard is also known as a clapstick, sound stick or slate board.  I’ve been on two television shoots recently for national, professional productions where the crew did not use the clapboard properly.

There are many types of clapboards.  Some are made of blackboard material, some are wipe boards and some are digital. The iPad has a clapboard app that I don’t like very much.  Most of them have a place where you can write in information about the production or takes.  It is common to see spaces that allow the user to add the name of the project, the take number, the scene name and some crew names.  I particularly like the digital ones that allow you to jam sync time code to each camera.

By far, the most important role of the clapboard is to allow the footage from each camera on a multi-camera shoot to be easily synced up in the edit room. The loud “clap” sound that is made when the stick slams against the board creates a visual waveform on the audio line of the editing system.  This allows the editor to easily line up all of the footage saving both time and money.  In order for this to really work, ALL CAMERAS must simultaneously shoot the clapboard when it makes the “clap.”  If you find yourself without a clapboard, you can just clap your hands together or slap a clipboard loudly.  As long as it makes a loud, sharp noise and all of the cameras are rolling on it at the same time, it will work.  If you need to “slate” the shot, in other words, share the written information on the clip board, you can verbally say whatever information needs to go with the take.

One common mistake are just showing one camera the clapboard.  Although each camera can hear the “clap” sound, seeing the visual of the stick hit the board on each piece of footage can really speed things up in edit.  Another mistake is clapping the board to each camera individually.  I’m not sure what that is supposed to accomplish.  I supposed if the clapboard has digital time code, it could help line up the footage but you will still miss that synchronized “clap.”  Either way, you end up frustrating your editor more than anything.  A frustrated editor is not creative nor very fun.

A word about the iPad clapboard app.  It doesn’t work very well for two reasons.  One, to make the clap sound, you have to push a little button. By doing so, you cover up the iPad screen which takes away your visual.  Two, the clap just isn’t that loud.  Sometime there can be too much technology.  An old-fashioned hand clap works better.

In some instances when the cameras are in shooting position, they are unable to see the clapboard at the same time.  For instance, one camera may be shooting an arrival from outside a house and one from inside the house. In that case, bring the cameras together, start rolling and “clap” the clapboard.  Then move back into position while the cameras are still rolling.  When all else fails, do the best you can.

For more production insights, visit the How To category.

Script Sample and Template

Look for other templates and samples in Templates Category.

You can purchase this downloadable Cut Sheet template for ONLY $0.99!

This template can be changed to fit any scripting needs. Purchase will be emailed to you.

                        

Here is the basic format that I use for most longer scripts or for scripts where I need to communicate a lot of graphic/sound direction. In this script I only indicated the “in” time codes for each bite. I often indicate the “out” time code as well.  Check out the In Cut Sheet and Out Cut Sheet templates to see how to easily tally run times. 

Look for other templates and samples in Templates Category.

You can purchase this downloadable Cut Sheet template for ONLY $0.99!

This template can be changed to fit any scripting needs. Purchase will be emailed to you.

                        

B-roll Basics

Where would we be without B-roll – that supporting footage that helps visually demonstrates the theme or thought of a piece and bridges interview bites, ideas and cuts?  If you’ve watched the news, you’ve seen B-roll.  Here is a funny video called “We Got That B-Roll” that makes fun of B-roll that is often over used in commercials: http://www.youtube.com/watch?v=SItFvB0Upb8&feature=player_embedded.

In most non-fiction productions, good B-roll is crucial to building a visually exciting and meaningful video.  I have been in the unfortunate position of getting into the edit suite and not have enough B-roll footage to cover the cuts. Or, not having enough to cover long, visually uninteresting interviews.  I’ve long since learned that whatever B-roll you think you may need, get it and then some. 

Before any shoot, I like to think about B-roll possibilities and list them out on the taping itinerary.  Locations scout helps tremendously. But even when a scout is not possible, a nice B-roll options list can be created from talking to the interview subjects and other people at the location.  I like to list out B-roll possibilities that directly speak to the subject at hand and then list out general shots that will work with the overall theme.  For example, if I am taping an interview about creating a family budget, I’ll specifically get a member of the family working on a spread or paying bills.  General B-roll might include family interaction like cooking together or walking the dog.  Now I have both specific and general shots that will cover whatever is mentioned in the script.  For a short 5-minute piece, I’ll get a minimum of 3 topic-specific and 3 generic activities.

As a producer, it is my job to communicate my B-roll wants and needs to the camera operator.  Freelance cameraman Matt Martin (www.mattmartin.tv) likes producers to give him as much information as possible about the projects as well as share any specific ideas prior to shooting.  That way, he can use the shoot time shooting rather than standing around trying to figure things out.  He likes to know the type of project, the length, the style and even the audience.  “If the piece is for a younger audience, I may use a lot of snap zooms and whip pans.  If it is long form, I may hold the shots longer.”  Matt likes to create a visual sequence by starting with an establishing shot, moving in to follow the action and then getting tight, detailed shots.  He also likes to know how much time will be covered by the B-roll.  “Needing 30 seconds of B-roll is very different from needing 3 minutes.”

Martin adds “A 30-second edit or b-roll cover time may need as many as ten shots to fill the time and tell the story. As a Director of Photography you can capture footage at 7-second intervals and have your producer covered if you have at least twelve clips in the camera. I try to cover my clients by putting heads and tails on the ends of each clip. This is done by adding 5 seconds of static (not moving the camera) at the beginning and ending of each shoot.  It’s very important and the editors will love you for it.”

Getting a variety of types of shots is important. I like to get different angles from bird’s eye to worm’s eye views.  If I am covering Marine Corps training, following the troops then letting them march out of frame can create the feeling of orderly movement.  A nice low angle of boots marching through the mud or an extreme close up of the Sergeant’s mouth barking orders with spittle flying all over can bring the audience into the moment. 

Sound is also important.  Many times, visual don’t make as much sense without the corresponding audio.  What’s a police car tearing down the street without the sound of screeching wheels?  A couple of common mistakes are forgetting to turn on the camera mic or talking while the camera is rolling.  In some cases, you may want to use a more power microphone to make sure you get strong, clean audio.

Now that the footage, including B-roll is shot, it is time to edit.  Having enough varied B-roll will help any edit run smoother.  As an editor, Gemal Woods (www.parktriangle.com), feels that you can never have too much B-roll.  “Get all the B-roll you can.” He says.  “You never know what the creative process will call for in an edit suite.”  After that, what he looks for in B-roll is project specific.  “If it’s long form, longer shots are good.  If I’m working on a promo piece, I’m looking for options over length. In that case, short impactful visuals work well.”  Woods, who is also a cameraman, believes some of the best B-roll is spontaneous and urges producers to leave enough time in the schedule to get those unplanned moments.

When you can’t get the B-roll yourself, you can always purchase some from archival footage houses or news outlets.  This is particularly helpful in demonstrating things that have happened in the past.  But whatever your project, spend some time before going into the edit suite to determine what you need and the best way to get it.

For more b-roll sources and information, visit the B-roll category.

TV Reality Snobs

Oh come off it!  Stop giving me dirty looks when I say that I am a documentary producer who enjoys Reality TV.  I don’t enjoy ALL Reality TV shows just like I don’t enjoy all Documentaries or Sitcoms.  I have my particular poisons – Amazing Race and Survivor are long time favorites.  I love Amazing Race because I love international backdrops. I also like to see what happens to team communication when there is a lack of rest and nutrition as well as a lot of stress.  Okay, that IS a bit intellectual.

Concerning Survivor, I’ve watched every episode since season one when someone I knew appeared as a contestant. (Well, there is one season where I missed half of the shows because I was pregnant and had a toddler at home. I fell asleep in front of the TV a lot.) I admit I get sucked in emotionally. I really CARE about who wins or losses and get mad when the people I am routing against find a way to make it another day.  I go to bed imagining what I would have done .  There was a time when I didn’t have to imagine that hard because my job felt a lot like the show – cut throat politics and high school cliques.

Moving from a viewer stand point on to a professional one, I like to see what techniques are being used on the most popular shows. (My husband gets tired for me “working” while watching TV). I like to see what is going on with character development, editing, sound and story line.  Survivor, by the way, has great intro pieces and a wonderful use of low angles with wide lenses. They could back off the sound effects during challenges though.

What a blessing to be able to learn and grow in my profession while relaxing with my friends and family in the living room. It doesn’t really matter if it is high-brow or low-brow.  If borrowed techniques make it into a documentary or segment that I producing and it works, I just may have Reality TV to thank. I know a graphic artist who would get very upset if you so much as said “hello” to him during his lunch break while he was studying the commercials that were being played in the break room.

Is it hypocritical of me to develop a career around educational and informational programming and then go home and watch highly sensational shows? Perhaps. But at the end of the day I am a proud fan of TV.  Now excuse me. The DVR is calling with a new episode of Run’s House.

 

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