Video Techniques

Tutorial: Video Techniques

Introduction

People invariably make the same sets of mistakes when they first start shooting video:

• Trees or telephone poles sticking out of the back of someone’s head
• Interview subjects who are just darkened blurs because there was bright light in the background
• Boring shots of buildings with no action

Here are some shooting tips to help you avoid some of these common mistakes.
We recommend that you go out and shoot some video first, and then read through these tips while reviewing your footage to drive home what you need to avoid.

Planning Your Shoot

Talk over your shoot with other members of the production team and make sure you’re clear on what shots you need to tell the story.
If you’re on your own, write up a list of shots you need. Write the story beforehand in your head, and list the elements you want to get video of to do that story.
Think about what’s going to look good visually, and how your shots are going to come together sequentially.
Try viewing your piece as a skeleton, and you’re shooting the flesh for all those bones.

Roll Blank Tape Before You Shoot

Before you start shooting, roll your tape for 30 seconds at the beginning of your tape with the lens cap on (or with color bars – see your camera manual for setting your camera to display color bars).
This will avoid having any crinkles at the start of the tape appearing in the video you want to shoot.

Check Your Audio

Be sure to plug a set of headphones into the camera and check your audio to make sure you’re getting an audio feed.
It’s easy to forget to plug an audio cord into the camera or to properly set the audio level – and wind up with great video but no audio to accompany it. Audio is just as important for your final film as your video.

Shoot Selectively

Think before you shoot and don’t waste tape. Be aware of what you’re shooting and when the tape is rolling. Don’t roll tape unless you’re taking a shot.
For example, don’t roll tape when you’re changing from one shot to another or focusing. Wait until you have the shot you want to roll tape.
That way you’ll save a huge amount of time later when you’re capturing your video into a computer and you won’t have to go through a hour-long tape with a lot of junk to find the 20 minutes of shots you want.
And you’ll save money by using less tape.

Shut Up When You Shoot

When you press the record button, shut up already!
Keep in mind that when the camera is rolling it picks up all the ambient sound, not just what you’re focusing on. And you won’t be able to separate the unwanted audio out in the editing process.
Don’t talk while the camera is rolling, either to yourself or with other members of your team, and no humming.
This is especially important when you’re shooting B-roll like natural sound, such as the noise of a busy street or a nature scene, where the sound is critical to the shot.

Hold Your Shots

Hold your shots for at least 15 seconds, before you pan, zoom or go onto another shot.
That way you’ll be sure you have enough video of a scene to work with later when you do your editing.
When you’re starting out, silently count out the 15 seconds to yourself – “1,000 and one, 1,000 and two, 1,000 and three…” – to make sure you’ve held a shot long enough.
Remember that you can always take a 15-second clip and make it a 2-second clip during editing, but you can’t take a 2-second clip and make it into a 15-second clip.

Excessive Panning and Zooming

Don’t constantly pan from side to side or zoom in and out with the camera – hold your shots and look for the one moment that’s really captivating.
If you’re constantly panning and zooming, the one shot you’ll really want to use will lose its impact with all the movement by the camera.
Instead start with a static, wide angle shot, and hold it for 15 seconds.
Then make your move to zoom in or pan, and hold the next static shot for an additional 15 seconds.
This will give you three useable shots – the wide-angle, the close-up and the zoom in between – to choose from in the edit room.
This is especially important for video you’re using on a Web site because video with a lot of movement – such as what’s created with panning and zooming – doesn’t display well on the Web. Video clips need to be compressed to play on the Web, and that means if there’s lots of movement in your clip – such as pans and zooms – it will appear choppy and slow.
Similarly, to get a close-up it’s better to keep your camera set to a more wide-angle view and move the camera closer to the subject of your shot, than to have the camera farther away and zoom in for the close-up. A telephoto shot using the zoom feature will accentuate movement by the subject and make the shot appear shaky.

Shoot in Sequences

This is especially true when shooting B-roll such as crowd scenes or nature shots, rather than a static shot of an interview with someone.
Remember that you will be determining what the viewer sees and how the story unfolds, so try to shoot discrete segments that you then can assemble into that story when you’re editing.
Here’s an example:
Think of different scenes, as in a movie. Each of those scenes is made up of sequences. In each sequence, you need to follow the action, and shoot wide, medium and close-up.
Say you want to capture a person arriving at work in the morning on her bicycle — that’s one sequence. It could be made up of the following shots: the person pulling up to the building, getting off the bicycle, chaining the bicycle to the bicycle stand, taking off gloves, taking off her helmet, tucking gloves into the helmet, and walking into the building. Every little detail is important. You can’t shoot enough details.
In fact, a good ratio to shoot for (literally) is 50 percent closeups and extreme closeups, 25 percent medium shots, and 25 percent wide shots.
It might break down like this: a wide shot of her arriving. A medium shot of her getting off the bicycle. A close-up of her pushing the front wheel of the bike into the bike stand. A close-up of her chaining the bike to the stand. An extreme closeup of her taking off her gloves. An extreme close-up of her eyes as she looks at her hands while she’s taking off her gloves. A close-up of her taking off her helmet and tucking the gloves into it. A close-up of her straightening her hair and looking at the building. A medium and wide shots of her walking into the building with the helmet tucked under her arm.

Framing and Composing Your Shots

Be aware of composition in your shots and how you frame your shots, particularly with interviews.
For example, avoid a shot of a person with a plant or pole in back of them. It will look like the plant or pole is growing out of the back of the person’s head.

This interview setup had a distracting plant coming out of the anonymous source’s head.
When shooting interviews pay attention to your surroundings and don’t be reticent or shy about rearranging furniture, moving things on a desk, pushing plants out of the frame of your shot,. etc. to improve the setting, or asking the subject of your shoot to change positions so you properly frame the shot.
And if you’re having technical problems, don’t be afraid to take charge and stop the interview until you can properly set up the shot.

Headroom and Noseroom

Leave the proper amount of noseroom and headroom in front of and above the person you’re shooting.
For example, don’t have a shot where there’s excessive empty space above a person’s head. That’s just dead space. There should be just a little room above a person’s head in a shot.
It’s better to have that room below the person’s face, space you then could use when you’re editing the video to add a title with the person’s name.
But don’t have the shot too low where you crop the top of the person’s head.
And if you’re shooting a person standing, don’t chop them off at the knees – get their entire body in the shot..
One approach is the rule of thirds:

• one third of the frame should be above the person’s eyes
• one third of the frame should be the person’s face and shoulder area
• one third of the frame should be the person’s lower torso.

And if the person is looking to the side, add space in the direction in which the person is looking, in front of their nose.

Depth of Field

Be aware of ways to increase the sense of depth within your shot, since video images are inherently flat.
If you’re shooting someone, try to include other objects in the background or foreground that give the viewer a sense of depth. That way the interview subject won’t appear to be just a two-dimensional object on the screen.
Also remember that a wide angle shot will provide a much better depth of field than a telephoto shot where you’ve zoomed in on your subject.

Change Angles and Perspectives

Try to change point and/or angle of view after every shot. Look for interesting perspectives.
Don’t shoot everything from eye level – it’s boring.
Especially try shots where you hold your camera close to the ground and shoot up toward your subject. The small size of digital video cameras makes these shots very easy to take.
For example, if you’re shooting a scene like people walking on a sidewalk, hold the camera low to show their feet moving, rather than straight-on shots of their faces.
Or if you’re shooting someone working at a computer terminal, take one shot from over their shoulder, then another that is a close-up of their hands and fingers using the keyboard and mouse, then a shot from over the person’s other shoulder, then a low angle shot looking up at them and then a facial shot.
Or hold your camera above your head to get a different perspective on a scene.
Do a close up shot, because that often provides a more intimate view of a person. This is especially important with video on the Web, because the video viewers use small windows and wide-angle shots won’t display much detail.
Don’t just rely on zooms to get these different perspectives – move the camera closer or farther away.
If you take shots from these different perspectives, when you edit your video you’ll be able to put together a sequence of 4- or 5-second shots of your subject, rather than one 20-second shot from a single perspective.

Get People in Your Scenes

Try to get people in your shots, which almost always makes the video more interesting.
Don’t do a static shot of the front of a building – try to include people walking in and out to animate the scene.

Tripods for Steady Shots

Use a tripod to get a steady shot, particularly if you’re shooting something that is not moving or a formal interview.
If you don’t have a tripod or you’re doing a shot where you’ll have to move quickly, then find something to steady your camera – i.e. lean against a tree, put the camera on top of a trashcan, etc.
If you must shoot without a tripod or other support, shoot a wider angle shot. The wider the focal length, the steadier the shot.

Anticipate Action

Anticipate action by trying to predict where the subject/action will go, and then be ready to shoot it when it moves into the frame of your shot. Think ahead and get positioned for the action that’s to come.
Let action happen within the frame. Don’t constantly move the camera in an futile attempt to catch everything.
And don’t be afraid to allow your subject to move out of frame, rather than trying to follow them with your camera.
This is especially important if you’re taking a shot of a person who is walking and then later another shot of the person sitting down.
If you follow the person while they walk with your first shot and always keep them in frame, and then cut to second shot of the person sitting down, it can create a mental disconnect for the viewer as to how the person got to the second position.
If instead you show them walking out of the frame in the first shot, then it’s logical to the viewer that the person would be seen in the next shot sitting somewhere else.

Interviews

Ask the person you’re interviewing to look at you, not at the camera.
Try to avoid a straight-on shot – shoot the person from a slight angle to the left or right.
Don’t use the zoom feature to get a close-up shot of the person – that accentuates movement. Instead, move the camera a little closer to the subject.
Don’t have your interviewee sit in a chair with wheels or that squeaks.
And watch out for nervous activity that creates noise – like someone jangling change or keys in their pocket. Stop your shoot, point it out to them, and then start shooting again.
Don’t do a pre-interview off camera where you tell them the questions you’ll be asking beforehand. It makes them sound stilted and canned in their responses when the real interview begins. Just give them a general idea of what you’ll be discussing.
When you start the interview, have the camera roll for a few seconds before you ask your first question.
And during the interview, relax and listen. Don’t nod or make gestures.

Sit-Down Interviews

When doing a sit-down interview with a subject where the reporter will be asking questions of the person, start with a set-up shot from behind and to one side or the other of the reporter that focuses on the person talking while the questions are asked.
Because this shot will show the person at an angle, leave extra room in the shot in the direction the person is looking (rather than centering the person in the middle of the frame).
Then do a wider angle shot from the same position that includes the reporter while the subject of the interview is responding to a question.
Finally, move your camera to get a frontal shot of the reporter listening to the person – which is called a reverse shot or cut-away. This is shot from behind the person being interviewed. And again get both a close-up and a wider angle shot.
It’s important that in this reverse or cut-away shot, you position the camera on the same side of the room as it was when you did the first shot from behind the reporter.
So visualize that there’s an axis that runs from the interviewee to the reporter. When you are taking your first shot from behind and to one side of the reporter, stay on the same side of that axis when you move the camera to do the front-on shot of the reporter.
You generally do not film the reporter actually asking the questions – just the answers of the interviewee and/or the reporter listening while the questions are answered.

Microphones

If you’re using a handheld microphone, you usually should hold it about 5-6 inches below the interview subject’s mouth.
Don’t hold the mic right in front of the person’s mouth, but slightly off to the side and tilted toward the mouth. This will help avoid picking up “popping” noises from a person’s lips as he/she speaks.
Tell the interview subject to try to ignore the mic and concentrate on the camera.
If it’s noisy, then use a lavalier clip-on microphone to reduce the ambient sound.
But watch for necklaces or chains on a person’s neck, or buttons on a shirt, that could rub against the lav mic and create noise.
With a lav mic, you’ll need to “dress the mic” – properly attach it to the person you’re interviewing
Ask the person to run the cord to the lav mic up the inside of their shirt (so the wire won’t show in your video).
Then clip the mic to the outside of their shirt, about 5-6 inches below their mouth. Try to center the mic as much as possible. If you have it too far to one side, it won’t pick up the audio well if the person then tilts his/her head to the other side while talking.
Use this same procedure if the person is wearing a t-shirt, running the cord up under the shirt and clipping the mic near the top of the shirt.
If the person has a necktie, run the wire down the back of the necktie and through the little label on the bottom back of the necktie.
If it’s windy, the lav mic will pick up the sound of the wind. In this case try to clip the mic closer to the person’s mouth, or switch to a hand-held microphone with a windscreen on it that muffles the noise of the wind.

Avoid High Contrast in Lighting Situations

Avoid shots of areas that have high contrast such as dark versus light settings, or bright sunlight and shadows.
For example, don’t place an interview subject against a bright window or white wall or with sunlight behind the person.
This back light is problematic for the automatic exposure feature of the camera. If the camera focuses on the light in the background, then the face of the subject will be darkened and indistinguisable. If the camera focuses on the person’s face, then the background will be washed out in light.
It’s usually best to shoot with the sun to your back.
If the sun is directly overhead, hold your hand over the top edge of the camera lens. This will in effect extend the sun screen and avoid having the camera misread the amount of sunlight.

Check White Balance

White balance has to do with differences in color caused by the intensity or “temperature” of light and how a video  camera compensates for these differences in color.
Sunlight is rarely pure white, but rather takes on different shades, such as a yellow or orange tinge at sunrise and sunset, or a blue tinge in a shaded area. Sunlight also has a different color temperature than artificial light.
Digital video cameras usually come with an automatic white balance meter that essentially tells the camera which intensity of the color white is in the picture, and the rest of the colors in the spectrum are adjusted accordingly to make the video look as natural as possible.
But there are cases where a video camera may misconstrue the intensity of the lighting because it is measuring the general intensity of the light it sees at the spot where the camera is located rather than the intensity of the light at the location of the subject of your shot.
The result is either a blue or orange tint to the video you shoot.
For example, if your camera is in bright light, but the subject of your shot is in the shade, the camera will be reading the light as more yellow in tone because the camera is in yellowish sunlight. The subject of your shot thus will come out looking slightly blue, because the subject is actually lit by bluish shade light.
Or your camera may be in a room where the intensity of the light is from an artificial source like fluorescent lamps, but your subject is next to a window and in sunlight. In this situation you also will have a white balance problem.
To fix this, you need to hold up a piece of white paper next to the subject of your shot, and then zoom the camera in on that white paper. Then push or select the white balance button on your camera to set the proper white balance at the position of your subject.
The camera essentially is forced to look at a true white color at the location of the piece of paper, and then balance the rest of the color spectrum around that true white that it sees.
Video cameras also usually come with white balance pre-sets, such as artificial light or natural sunlight.

Manual Exposure

The auto exposure on digital video cameras is generally very good at setting the correct lighting. And most difficult lighting situations should be solved first by changing the position of the camera or the subject – such as not shooting into direct sunlight.
But there are occasions when you’ll need to manually adjust the exposure on your camera.
One example is on a bright day where there’s lots of movement and light contrast in front of your camera, such as buses passing by with large billboards on their sides that reflect the bright sunlight. The camer then will open and close its exposure in response to these changes.
Or if you have to take a shot of a person from a certain angle, and there is bright light behind the person.
In these cases, aim your camera at the light setting you want for your shot and then switch from auto to manual exposure.
For example, if you’re shooting an interview with someone, zoom in on the person’s face, hold the shot there and then switch from auto to manual exposure.
The camera then will retain or lock in whatever setting you selected throughout your shoot, despite any changes in the lighting.

Get All the Shots You Need

Make sure you get all the requisite set-up shots, cut-aways, and so on, even if you don’t think you’ll use them. They may come in handy in the edit room.
So start with an establishing shot – such as video of the person who is the subject of your story – and then remember to get the other kinds of shots you may use to supplement that in your final film.
The latter is called B-roll, which refers to the earlier days of film when you had two rolls of film – A and B – and you had to edit them together.
A-roll is the main subject of your shot, invariably with audio such as an interview with someone. B-roll is the background video for your film, often just video over which you’ll lay an audio track (such as the person talking in the A-roll). So don’t forget to shoot a variety of B-roll.
Another type of shot to look for is natural sound (called “nat sound”). This is film that has some natural background noise – traffic on a street, birds chirping in a park, etc. This audio can add depth and impact to a two-dimensional video tape.

Labeling Your Tapes

When you are doing a shoot that requires more than one tape, be sure to label each tape at the scene. And pick a label that will make it easy to identify later.
There’s nothing more frustrating that starting to edit and not knowing which tape is of which shot or what is on each tape.
Keep each mini-DV tape in its plastic box to avoid dust getting into the tape.
You can shift the little white switch on a tape from record mode to save mode to avoid accidentally recording over a tape on which you already have video. If you want to later record over the tape, just move the little switch back to record mode.

CHURCH VIDEO PRODUCTION

Building Up Your Confidence

Many of us have limiting beliefs about ourselves in at least one area of our lives. These limiting beliefs lead to a decrease in confidence. You may be an expert and thriving in one area of your life, but in other areas you may lack confidence for a variety of reasons. Often we know that in order to be successful we must be more confident, but the question is, how can we gain confidence, and keep it?

Use Caution With Your Self-Talk
You may have gotten stuck on thinking the same things about yourself for so long that you aren’t aware of tools that make your self-talk more positive.

“Be careful how you are talking to yourself because you are listening.” —Lisa M. Hayes

Person 1: I don’t think I can do this. I failed last time. I always mess up. I’m not sure I’ll make it. Maybe I wasn’t made for this.
Person 2: I got this. I will nail it. I will succeed. I’m so proud of myself. I knew I would get this far.
Between Person 1 and Person 2, who do you think will achieve their goal? This is not a trick question. The answer is, Person 2. The messages that you repeatedly send to yourself day in and day out reflect your ability to see opportunity—the willingness to act on this seen opportunity—and ultimately your success.
Action:  Stop thoughts that are limiting and self-defeating. Cut your negative thoughts immediately and replace with words that are positive and confident. The more you repeatedly send positive messages to yourself, the more confident you will become.

Stop Comparing
At some time, we have all tried to act like someone else. The one thing that we found: we could not actually be them. Their past is different, their biology is different, and there is a lot you don’t know about what they’re portraying to the world.
Exhausting energy on trying to be something that you’re not, or fighting day in and out for someone else’s approval will minimize self-confidence. When you compare yourself, you are now set in a direct line for failure and feelings of guilt. These feelings only push away confidence.
Action:   Shift the attention—that you’re wasting in comparisons—back to you and your goals and you will instantly see an increase in self-confidence.
Step Out Of Your Comfort Zone
You have to work for your confidence. In order to do this, you have to analyze what you’d like to avoid. If you lack confidence in speaking up during business meetings, then you need to start speaking up during business meetings. Instead of just shouting something out during a meeting, go ahead and create a plan for what you want to say and have your notes in front of you. This way you will be more prepared for the uncomfortable situation ahead. The more you speak up during business meetings, the more opportunities you have to work on your confidence in this area of life.
Action:  This week, step out of your comfort zone 3 times. The more frequently you step outside your comfort zone, the quicker this type of behavior will become a habit. Life outside your comfort zone offers more opportunities—and more successes. More personal successes means more self-confidence.

Exercise
Do you want to boost your confidence? Then work out. Exercising will make you feel better about yourself, give you more energy and encourage better life choices and a better attitude. Exercising helps your body to produce endorphins. Endorphins are chemicals in the brain that make you feel good. A portion of our confidence comes from how we feel in our own skin, how we think we look and how healthy our body feels inside. Confidence is a mind and body state.
Action: If you have not already done so, plan and start an exercise routine this week. If you don’t have time to exercise, identify three areas in your life where you can cut 10 minutes. Take that 30 minutes to exercise.
Eat Right
Ninety percent of serotonin is produced in our gut. Serotonin is the chemical that makes us happy. Poor diets may encourage depressive feelings. These negative feelings only drop self-confidence. Do your best to stay away from frequenting antibiotics, processed foods and high sugar and carb diets. If you are eating healthy,  you will increase your mood toward all things, including yourself.

Dangers Of Low Self-Esteem

BUILD UP YOURSELF TO THE HEIGHT WHERE

YOU CAN SHINE BRIGHTER AND BETTER

If you’re one of the many who battle low self-esteem, your career is probably suffering as a result. Experts say that people with low self-esteem engage in subconscious behaviors that undermine their success, making them less likely to ask for or get promotions, raises and even jobs.

 “People with low self-esteem often try to remain under the radar screen because they don’t want to be noticed, but especially in this economy, that is the wrong thing to do.”

Eight Ways To Banish Low Self-Esteem For Good

1. People with low self-esteem have subconscious behaviors that hinder career advancement and sabotage their chances of getting a job. But engaging in certain behaviors can actually boost your confidence. Here are eight tips to give your self-esteem a makeover..

2. Go ahead, talk to yourself
You know that voice in your head that tells you you’re not doing a good enough job or that your boss hates you? Tell it to shut up. Seriously. It may sound crazy, but self-talk actually works to boost self-esteem, says Sharon Fountain, president of the National Association for Self-Esteem. She advises making a red stop sign and posting it on your phone, computer or office wall as a reminder to dispute negative thoughts (and exchange them for positive ones).

3.  Get an accountability partner

According to psychologist Ellen McGrath, founder of the Bridge Coaching Institute, a great way to raise your self-esteem is to set–and accomplish–new goals involving aspects of your job that make you unhappy. The best way to ensure success: Ask someone else hold you accountable–like a career coach or someone from your social network–because you’ll feel obligated to follow through with your plan.

4. Fake it until you make it”

According to Lois Frankel, Ph.D., the country’s top CEOs don’t necessarily have high self-esteem, they’re just better at masking their insecurities. Faking a high self-esteem by feigning confidence will not only make you look more effective to your superiors–which can mean a raise or promotion–but can actually lead to a real self-esteem boost. What you’re doing is tricking your mind into making certain behaviors second nature, and pretty soon, they will be.

5. Speak up, but say less

There is a time and a place for everything, but keeping mum during a meeting is highly unadvisable, as the first two to three people to speak up are seen as more self confident. Just be sure not to talk too much. Women in general use too many words to soften their message and end up looking like they lack confidence. Cut your word count by a quarter and present the most important pieces of information first.

6. Modify your behavior

It’s not easy to change behaviors that have been ingrained from a young age, but if you find yourself apologizing before you speak or engaging in “uptalk” (saying your statements as if they are questions), which are both low self-esteem giveaways, nip the behaviors in the bud. By merely acknowledging your tendency to do these things, you can begin to change them.

7. Take on more challenges

By taking on more challenges at work, you’ll transcend your comfort zone and realize that fear can’t stop you. You’ll also show your superiors that you’re confident and have leadership capabilities. Remember, nothing boosts self-esteem like a track record of success. Being successful at even one new task can do wonders for your mental health. And if you’re worried about failing, don’t be. Most successful businesspeople have fallen on their faces at one point or anther. The difference is they’ve gotten back up and started over.

8. Accept praise

Charles Healy, a professor emeritus at UCLA who has been studying self-esteem and career development for four decades, says a hallmark of people with low self-esteem is not being able to accept praise. So next time your boss tells you you’re doing a good job, accept the complement graciously. If nobody recognizes your hard work, find your own praise. Let people know what you’ve been up to. ” Don’t push it under a rock,” says Healy.

What’s worse, low self-esteem may mask positive traits in an individual. “We make assumptions about people who exhibit behaviors of low self-esteem”. “We may ascribe lower intelligence, even though that’s not true.”
Signs of Low Self-Esteem
Frankel identifies certain traits in individuals with low work self-esteem: Generally, they are people with low confidence who are risk-averse. They are less likely to speak up in meetings or to take on challenging tasks, which can lead superiors to believe they are ineffective. None of which is good when you’re fighting to stay afloat in a competitive work environment.
Low self-esteem may also manifest itself through body language and presentation. Sharon Fountain, president of the National Association for Self Esteem, points to “uptalk” as a particular culprit. That is, saying all of your statements as though they are questions, which makes you seem less confident. Speaking too quietly, which denotes fear, and not making enough gestures to emphasize points and convey energy can also betray you in important work settings, especially when it comes to landing the job.
Effects of Low Self-Esteem
These subconscious behaviors may evolve out of a fear of rejection, but they actually have the effect of being deal breakers during an interview.
It’s a double-edged sword, explains Nathaniel Branden a California-based psychologist and pioneer in the field of self-esteem, since “the fear of being rejected leads to … behaviors that ensure your fears come true.”
In fact, one of the most dangerous behaviors that people with low self-esteem tend to exhibit is pessimism.
A person with low self-esteem may ask for a raise this way: “I realize we’ve had a bad year and there have been layoffs, but I’ve been doing more work and I think I deserve a raise.”
“You just gave [your superior] ammunition to say no.
Instead of highlighting the negative, I advises a positive approach backed up by hard-core evidence: Try something like, “In the past 12 months, I’ve taken on 25% more responsibility and have been working more hours and I think I deserve to be compensated.”
“Now you haven’t set yourself up to fail.
Managing Low Self-Esteem
The concept of self-esteem has been around since about the 1940s and has been contested for almost as long. But whether or not our culture is responsible for ever-increasing self-worth issues, the fact remains that people with higher self-esteem have better work experiences than their less confident counterparts.
people with high core self evaluations, or positive self-concepts, had increased levels of job satisfaction, better job performance, higher income, higher work motivation and reduced stress and burnout.
Ironically, men are better off when it comes to self-esteem on the job, not because they don’t have self doubts, but because low confidence manifests differently for women than it does men. “Men are better at masking it,” some one said...
Some of the biggest mistakes women make include asking permission to do things and over-explaining yourself, which can belittle your message. One quick fix is trying to use 25% fewer words in conversations and e-mails so as not to dilute your point.
On the flip side, “lack of confidence can be a supreme driver, leading people to become workaholics,” says Fountain, who notes that people with low self-esteem can accomplish just as much as their more confidant counterparts. “They just may not have enjoyed the process or have as much fun doing it.”
Banishing Low Self-Esteem for Good
Unfortunately, we’re fighting a losing battle. In the past decade work has gone from being a source for self-esteem to being a self-esteem drainer. Demand for productivity has grown so much that most of us feel as if we aren’t doing enough, no matter how much we actually accomplish.
But there are things you can do to boost your self-esteem anyway. Frankel goes by the adage, “fake it until you make it.” This will not only convince your superiors, but it will also help you rejigger your thought processes.
Changing less-than-ideal-behaviors, like a propensity to stay mum in meetings, is another good idea: The first two to three people to speak during a meeting are seen as more self-confident, and “in business, that pays off.”
Fountain emphasizes that self-esteem can be learned. It may sound silly, but positive self-talk can be empowering. So when those negative thoughts telling you you’re not good enough pop into your head, recognize them and replace them with positive ones.
“What you’re doing is working with the unconscious mind,” she explains, “which is extraordinarily powerful and extremely stupid.” In other words, it is perfectly within your power to fool your unconscious mind, allowing you to banish low self-esteem for good.
It is possible.

How To Handle Your Camera

For extra credit…
Increase your height! Try holding the camera above your head for high shots. The angled LCD makes this easy!

Knowing the right way to hold a camera is just about the most important part of filming apart from knowing how to record, that is! The best shots are the steady shots and this lesson will cover some quick tips on how to keep your camera steady and get smooth movements when you are filming. All right, let’s do this!

Tips for Shooting Handheld:

• Use both hands. This is pretty self-explanatory, but super effective. If you are using a camcorder, it’s best to hold the camera from the top handle or the hand strap, and then brace it underneath with your free hand.
• Don’t tense up. This is tricky, because you want the camera to be still, but tensing your arms or locking your knees will tire you out. It is best to be loose and comfortable. Take a few deep breaths to calm down before you start recording. You also want to absorb any unevenness of the terrain you are on before hitting that record button.  
• Steady your stance. Try supporting yourself by leaning against a wall or a pillar. The more weight you can put on something else, the more you can avoid shaky camera syndrome.
• Use the LCD screen. Usually on camcorders, the LCD screen will be on a hinge. Use this element to your advantage to change the perspective and angle a bit.

• Pinkies up, elbows out. When shooting on a point & shoot or camera phone, consider this rule. This technique helps make sure your fingers don’t block the lens and keeps your arms steady.

Note: We recommend not holding the camera vertical if you are just starting out with shooting video. Editing vertical video can get a little tricky, so it is best to keep horizontal.

While shooting handheld is sufficient for most situations, using a tripod is the ideal setup for steadying shots. Want to have the steadiest shot and not shoot handheld? Check out our lesson How To Stop Shaky Camera Syndrome.

Focusing is adjusting the lens of your camera until you can see your subject in maximum detail. Professionals like to use the term “tack sharp” to describe when the subject of an image is in perfect focus. An unintentionally out-of-focus shot can be distracting to the viewer, and can remove your audience from your video or film. However, intentionally leaving areas out-of-focus can also be used as a storytelling device, bringing the audience’s attention to something specific, or obscuring the villain standing behind your main character.

When focusing, the lens element inside your camera moves closer or further from the image sensor depending on which direction you rotate the focus ring. Once the light is properly converging on the image sensor, you will have a focused image.
Shifting focus from a nearby object to a faraway object within the same shot is called “racking focus” and is commonly used to bring the audience’s attention from one subject to another. Professionals and amateurs alike do this by using something called a follow focus, and you can build one yourself to make racking focus much easier! Here’s a quick example of how racking the focus can add a little bit of drama and tell a story, all within one shot:
Most cameras today have autofocus built in, and you might be wondering why we don’t just leave it on all the time. Autofocus can be pretty good at guessing what subject you want in focus, but it may not always get it right. Lots of movement within the frame or moving the camera itself can cause a distracting “pulsing” effect as the autofocus decides what subject should be in focus.
Manual focus is the setting we need to assure all our shots are tack sharp on the subjects we want. Check out the following video showing you how to manually focus on a couple of common camera types:
Here’s the breakdown of how you can manually focus on different camera types:

• DSLR: Find the MF(manual focus) switch on the lens or front of your camera body, and use the focus or zoom assist button to get the image sharp by turning the focus ring.
• Camcorder: Set your focus to “M” near the camera lens, and use the focus assist to establish focus. Some cameras don’t have focus assist, so check your user manual first.
• Point & Shoot: While not exactly manual focus, you can lock your autofocus before taking your shot by pressing the shutter button halfway down, and then pressing the shutter all the way down to start recording.
• Touchscreen Smartphone: Tap the screen where you want to focus (depending on your phone, this may adjust the exposure too!)

One rule of thumb to focus on a video camera is to establish your shot, zoom into your subject as much as possible, focus on your subject, and zoom back out and reestablish your shot. Your subject will remain in focus as long as it’s stationary. You can try this technique with DSLR cameras, however the zoom on some lenses can throw off your focus. Most video-capable DSLRs have a “focus assist” button that will digitally zoom on a subject to help establish focus. Explore your user manual or post in our friendly Cameras and Editing Forum if you have trouble focusing with your camera.