Railfan Technology > Videography Tips To Share?

Anybody got any videography tips to share when shooting trains? I thought that this would be a good thread to start, as I would like to take my videos to the next level, and this could help others too.

My tips: Even though they can be pretty expensive, and tripod with a 2 way fluid head is your BEST friend when videoing. I myself, like to have my shot zoomed in a good amount on the train, and then I slowly zoom out and pan on the train to keep it as the main subject, until I am all the way zoomed out and the train is going by. This can be a very hard technique to master, but practice makes perfect! If you don't really understand what I'm talking about, go on YouTube and look at some of 'o00o00ozy's videos, he is the best at that.

Lighting: Before the train comes, I like to 'imagine' what the lighting will be when it comes by. This can be a little hard to work with in some locations, as the sunlight is to 'hard' and will cause the engine to reflect the light back at your camera, trust me, it doesn't look good pretty. It is almost just as bad as shooting into the sun. When I see this is going to happen, I just move to a different location, there really isn't much you can do about this. Sometimes in the morning light, you can shoot into the light, well, kinda. If you lower all of your tripod's legs or kneel on the ground, you can make your own natural backlight with the train. I have used this technique a few times and it comes out really nice looking, especially with the soft light of the morning or evening sun. So it won't cast a deep shadow if the lighting is 'soft', you'll realize the situation when you see it.

That is all I have to say in this post, I hope that others can share their wisdom. Thanks for reading!

You can also share your photography tips too. I see video as photography but at 30 frames per second with sound, both are very closely related, so feel free to share photography tips also!

Mark



Edited 1 time(s). Last edit at 05/13/14 04:40 by Necer149.

Oh, maybe minor stuff: Continue recording a few seconds after the action is perceived to have ended. Timing is everything, and when you get to the editing point of view, sometimes the lingering seconds help make the final perception what you want, as well as having some extra frames for transitions, fade outs, etc.

Don't zoom in and out. Use the zoom to frame your shot and then leave it there. Pan slowly if possible. If you are going to pan be sure your camera is level before the train appears.
If you do have to zoom do it slowly. Plan your shot before shooting the scene.

One of my best video tips is to step back and shoot the scene. I have plenty of 3/4 angle videos, but it is the wide scenes that best allow one to take in the sights AND sounds of the trains. Get away from the station platforms where people congregate and get off the beaten path, it will serve you well.

Also, just like your DSLR, learn to use the manual settings on your camcorder. It leads to a superior product in the end.

Edit: I somehow forgot to mention talking. Shut up and let us hear the train(added narration can be ok later). If people around you talk, beat them with your tripod!

Anthony Randall
Now residing in Moberly, Missouri
www.youtube.com/user/ARandall70



Edited 1 time(s). Last edit at 05/13/14 17:11 by ARandall70.

I'll use this opportunity to add a "peeve" of mine when shooting video of trains where other railfans are nearby. Please turn off the shutter sound on your digital cameras...it's pretty annoying to be shooting video and have the sounds of cameras "clicking" in the background. There is absolutely no reason to have your digital camera making noise while firing off still photos of a train!
Most of today's cameras have the option to turn off the shutter sound...check the menu. It's akin to having your cellphone ring in a movie theatre.

Turn off the "auto" exposure to manual, after letting the camera decide the exposure...prevents low level "blossoming" when shooting dark color cars next to white or aluminum cars.
Really works well if on the train and entering/exiting a tunnel

Tripod tripod tripod.
Your eyes do not zoom, and neither should your camera. Only use zoom to compose the shot.
Composition should be similar or identical to a still camera shot for most locations. Use the rule of thirds etc.
The train should exit on the left or right of the screen, not top or bottom where possible.
Use pans minimally, and when you do, make sure you practice first. They should be smooth with a ramp up and ramp down. Leave nose room.
The audio should match the shot. Directional mikes help some. Avoid taking, rustling your clothes, walking in gravel near shot. Avoid taking video around others, you are just asking for your audio to go downhill. Avoid roads in background (where possible), unless road is part of shot.
Record extra time (at least 5 seconds) before shot and after shot. This will help in post.
Lighting makes all the difference, no matter how fancy a camcorder you think you have. If you do not have good lighting, then you do not have a good shot.

I agree with most of what you've written, but not this part:

etts Wrote:
-------------------------------------------------------
> Your eyes do not zoom, and neither should your
> camera. Only use zoom to compose the shot.

If done well, zooming and panning will enhance video. They only detract if you have bad technique, unsuitable equipment, poor planning / visualization of your shot, or a camera that is not level. A good fluid head (with a ball-leveler on the tripod) and practice using it are critical.

> The audio should match the shot. Directional mikes
> help some. Avoid taking, rustling your clothes,
> walking in gravel near shot. Avoid taking video
> around others, you are just asking for your audio
> to go downhill. Avoid roads in background (where
> possible), unless road is part of shot.

All true. Careful attention to audio is critical to good video. Minimizing distracting sounds is important, as is picking locations that are favorable for audio. Moving around while shooting video always introduces unwanted sound. Likewise for shooting stills at the same time.

> Lighting makes all the difference, no matter how
> fancy a camcorder you think you have. If you do
> not have good lighting, then you do not have a
> good shot.

A lot of photographers/videographers avoid shooting the 'dark side' of a train or in backlit conditions. Depending on the location and sun angle/intensity, a backlit shot can be more dramatic and interesting than sun on the nose shots. Just like in still photography, familiarity with your camera combined with experience in using it will allow you to 'think outside the box' and come up with interesting video. While it's generally good to have the sun at your back, each situation is different and following strict rules can hinder your ability to make creative videos.

Video in snow, rain, fog, and overcast conditions can turn out quite well. The worst lighting is midday in the summer when the sun is directly overhead, and when the sky is bright but the train is clouded. The second situation is much harder to avoid, as the light often changes rapidly on those days as small clouds are constantly moving through the sky.

-James
http://www.steamtrainvideos.com

Thanks for all of the tips everyone, appreciate the amount of replies this thread has gotten. Next time I get into the field I'll have to try using the manual settings on my camcorder. Never really thought of trying that.

Mark

Excellent points, all. I like streetcars & especially PCC's. The problem there is that back in the 1980's it wasn't exactly practical to set up for a tripod shot in downtown Philadelphia, Liberty Street in Pittsburgh, Arborway in Boston, the platform in San Francisco's Forest Hills Station in 1982... well you get the idea. I guess I didn't even have to mention safety, robbery, etc.

Here's an example. Cars were coming nearly continuously. It's not artistic, but it's sorta historic. You can't plan for this kind of stuff.

In any event, my early video was by necessity handheld, therefore my orientation was along those lines. So nowadays, I really have to force myself to understand and use tripods.

I bought a pro Manfrotto and am struggling to get used to it, but it'll come.

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5-15-2014
Many good suggestions here. However, please remember the *critical* importance of audio. If at all possible, for non-P&S cameras, avoid using the internal microphone. Absolutely *nothing* quality-wise comes from them. (Anything's better than nothing, of course, but plan ahead.)

A very good point was made about turning off the camera sounds, if possible. Most, if not all P&S have the ability to choose "mute". Of course, DSLR's can't mute the shutter, but the focusing beeps could be turned off. My Canon 7d has the "quiet mode", but since I'm using it for video, it's a non-issue.

If an external mike is available, utilize "Dual Sound", which involves separately recording the audio and then syncing it and video in post. A popular program for this is "PluralEyes". Ideally, a "clapper" would be used, which causes a sharp "crack". This sudden, intense sound shows up well. Just align the two spikes, and you're good to go. This probably wouldn't win you any friends in the line for a photo runby. :-)

Using a preamp like JuicedLink produces terrific results. I run my mike's output through my JuicedLink RA333 to my 7d. The RA333 has meters, *locking* XLR connectors and an earphone jack. Cables and connectors MUST be lockable. Otherwise, they WILL disconnect.

I have no interest of any kind in JuicedLink, but feel it has superior products. I've interacted via email with the owner, and found him to be very helpful. Here's the first paragraph at www.JuicedLink.com:

"What you should do while visiting this website ...

Download the Free eBook of the Field Guide to Audio Production. Then, follow along with the numerous tutorial videos in the Audio University. Enter your email address on this page to subscribe to the juicedLink Blog, to get notified on updates to the eBook, new entries in the tutorial video series, and new product introductions.
About juicedLink

While you may have been more focused on the art of image capture, quality audio production is an art form unto itself. Are you struggling selecting a mic, deciding on a production flow, keeping withing your budget, and/or improving your audio quality? Don't go it alone. Contact me directly with your questions and let me help ..."

Regarding shotgun mikes--remember, they don't act like a telephoto lens-they just reduce sounds from the side. Consider using lapel mikes if possible when working with people. Another method is to take a field recorder (Zoom H4n) and place it beside the tracks while you do your shots/video from a distance.

Remember, video with bad audio is just awful. Hopefully, these hints will be helpful.

For a good external mic, look at the Shure AT25 stereo condenser mic (you will need a "condenser" mic, I.e. Has it's own power supply). Studio mics are phantom powered. For out of the studio you'll need a mic that has its own power, I,e, a condensed mic,

The Shure mic I recommend is good for the money, less than 100 bucks. Make sure you use the windscreen, perhaps a rubber band around it to keep it from coming off.

And I used a desktop mic stand with a little clamp to hold the mic, but short of that you cN usually find a tuft of grass or something like that in which to position your mic. Best to keep it at least 10-15 feet away from tracks. If it's stereo, it will give you a nice Doppler effect as the train passes..

Ps: as a VoiceOver artist and broadcast Audi producer for better than 30 years, I know a bit about mic placement and technique. Good luck.

typebangin Wrote:
-------------------------------------------------------

> If done well, zooming and panning will enhance
> video. They only detract if you have bad
> technique, unsuitable equipment, poor planning /
> visualization of your shot, or a camera that is
> not level. A good fluid head (with a ball-leveler
> on the tripod) and practice using it are
> critical.

Any camera movement should be used sparingly, be it pan, tilt, and especially zoom, or Motorzooming as Videographer magazine calls it: http://www.videomaker.com/tips-to-get-started
The first thing many video production classes will do is break your zoom finger. The second is teaching you to use camera movement sparingly (rule of thumb is no more than 1 in 5 shots). A constantly recomposing frame tires the eyes very quickly. Zooms should be considered an art shot, used only rarely.


> A lot of photographers/videographers avoid
> shooting the 'dark side' of a train or in backlit
> conditions. Depending on the location and sun
> angle/intensity, a backlit shot can be more
> dramatic and interesting than sun on the nose
> shots. Just like in still photography,
> familiarity with your camera combined with
> experience in using it will allow you to 'think
> outside the box' and come up with interesting
> video. While it's generally good to have the sun
> at your back, each situation is different and
> following strict rules can hinder your ability to
> make creative videos.

Agreed. Black-lit shots should be done rarely, but in the right circumstances can make for much better composition. Having the sun right to your back is often not as good as having it to the back and slightly to the side, as it helps with the contrast of the scene.


>
> Video in snow, rain, fog, and overcast conditions
> can turn out quite well. The worst lighting is
> midday in the summer when the sun is directly
> overhead, and when the sky is bright but the train
> is clouded. The second situation is much harder
> to avoid, as the light often changes rapidly on
> those days as small clouds are constantly moving
> through the sky.
>

Absolutely. Usually the worst lighting is where the sky is blown out because the subject is unlit, but the sky is bright. And snow rain and fog often produce the most dramatic results. My all-time favorite video shot was done on a very dark, very rainy and slightly foggy fall day. It was almost dusk. But the danging of the light in the fog, the drops of water, the vibrant fall colors, and sheer mood of the scene could never be done on a sunny day. Lighting is everything, but that does not always mean direct sunlight.

I'm also of the belief that a good zoom pan can enhance a video. A bad one, well, just doesn't work. You don't necessarily always want a shot of a train in the distance - sometimes you want to keep it in the frame. And your eyes can't zoom? Depends on if you wear glasses.

Also, tripod tripod tripod. Don't go cheap and get one from Best Buy for videos - go get a Manfrotto that has a fluid head. Not a "fluid-like" head or "fluid-type" head. An actual fluid head. Trust me, you'll be much better off for it. I've ruined once-in-a-blue-moon shots with a crappy tripod - never again.

All in all, just have fun!

Jim Lipnitz
Morrisville, PA
Big Jim Video Productions

DTrainshooter Wrote:
-------------------------------------------------------
> I'll use this opportunity to add a "peeve" of mine
> when shooting video of trains where other railfans
> are nearby. Please turn off the shutter sound on
> your digital cameras...it's pretty annoying to be
> shooting video and have the sounds of cameras
> "clicking" in the background. There is absolutely
> no reason to have your digital camera making noise
> while firing off still photos of a train!
> Most of today's cameras have the option to turn
> off the shutter sound...check the menu. It's akin
> to having your cellphone ring in a movie theatre.

While point and shoot camera's use sound for the shutter, my DSLR has the real thing. The click it makes is mirror moving inside the camera and the mechanical planes of the shutter moving. It's a little hard to turn that noise off. It's just something to keep in mind even though I do understand your frustration.


Cass Telles
"Slow-Approach-Slow" - 'Go by way of the B&O'
Railroads of NW Ohio
http://www.trainweb.org/rrnwoh
My photostream on Flickr - http://www.flickr.com/photos/ctelles/

SlwApprSlw Wrote:
-------------------------------------------------------
> DTrainshooter Wrote:
> --------------------------------------------------

> > Please turn off the shutter sound

> While point and shoot camera's use sound for the
> shutter, my DSLR has the real thing. The click it
> makes is mirror moving inside the camera and the
> mechanical planes of the shutter moving. It's a
> little hard to turn that noise off.

The Canon 70D has a mirror lock-up mode which is said to have fast autofocus. It's designed for video, but should work for stills too. I can't say first-hand how well it works, but maybe there's hope.

Are you using a DSLR or camcorder?

I'll second everyone else's comment that audio is just as important as the image. Here' a few things I've learned over the years..
• If you are in or near a group of people, get away from them and don't expect those around you to be considerate of you and your video setup. Best to get away.
• Get a shotgun mike and use it - the on-camera mikes are most always useless for getting decent sound, and more often pick up all sorts of unwanted sound around you. A shotgun will limit sound from the back and sides.
• Use a second, independent audio recording source if possible. I use a Zoom H1 digital recorder (under $100) that can either be patched through into the camera audio as it records, or I set it up on its own, but then you would need to sync the sound in editing. The portable recorder is handy in those crowd situations - you can place it away from people.
• If your camera has an exposure lock, set up your shot for the conditions and lock it down. A passing train will have many different colors of cars, and if you are on auto setting, the camera will try to readjust when you don't want it to - like when a white car passes.
• Remove filters if shooting straight at a train, or in low light. The headlight's reflection on a filter is not as noticeable in a still photo, but when it pans across a video as the headlight moves, it's hard not to notice.
• If you can't use, or afford a tripod, a monopod is your next best bet - it will reduce camera movement significantly and is light and portable. But…use a tripod if you can.

These are all great tips and I hope to put them to good use. My pet peeve which
has already been mentioned is keeping the intro short and to the point. I rarely if ever start recording more than six seconds before the train gets to me. So may times I have to fast forward
through the two minutes of nothing but train horn to get to the good stuff. Six seconds works great for me to allow enough time for captions, fade in/out, etc....


Jay