Introduction

BBC Northwest Tonight journalist Steve Rawling has written a step-by-step guide to basic video production, with everything from the kit you will need to basic filming and editing. (Documents have been converted, modified and added too, and then changed to suit our site layout)
You can find the original step by step guide word documents http://www.mymanchester.net/videos/ , scroll to bottom of the page.

No More Home Movies!

What's the worst thing about sitting through someone else's home movie? Wobbling camera, dodgy sound, bad lighting and worst of all, they're dull, dull, dull. A home movie is half an hour of boredom surrounding a handful of interesting bits. Only the people who shot them, or who appear in them, would ever sit down and watch a home movie from start to finish.
You are not going to make a home movie.
You are going to make a video.
This means you are going to learn how to:
- shoot pictures that are well lit and don't wobble about
- record sound that is clear
- edit out all the boring bits
- write a script that explains why we're watching the interesting bits
This guide will help you produce short videos. There's nothing to say you can't produce an epic film using this advice, but for starters you should be aiming at around three minutes long. There's a lot you can say in three minutes, and anyone can spare that much time to watch a video.

This is what you'll find in this guide:

0. Getting started - what kit will you need
1. Basic filming (I) - video diaries and interviews
2. Basic filming (II) - telling a story in video
3. Basic filming (III) - Assignment 1 - film a sequence outside the classroom/study area
4. Basic editing (I) - video clips and timelines
5. Basic editing (II) - Using the timeline to tell your story
6. Basic editing (III) - Writing a script
7. Basic editing (IV) - Creating subtitles for your film
8. Getting it out there - on tape, disc, email or website
9. Important stuff - safety, consent, copyright, fairness
10. Software - Windows Movie Maker 2 & Photo Story 3

Video diary/personal account
- what story are you trying to tell
- the kit you need
- framing
- lighting
- sound
- photos/props/extra shots
- digitising onto your computer
- selecting the best bits
- adding more interesting pictures

Getting a story across
- what are you trying to say
- what are you going to film
- basic filming
- lighting
- interviews and sound
- extra shots
- FAIRNESS and balance
- SAFETY and consent
- editing
- writing a script, adding your commentary

Recording an event
- basic filming
- lighting
- interviews and sound
- filming action
- extra shots
- SAFETY and consent
- editing
- writing a script, adding your commentary.

Getting started - what kit will you need

The Basic Kit:

Camera
Tripod
Extra microphone/s
Headphones
DV Tapes
Spare batteries
Camera bag, lens cloth

Camera - £250 upwards, buy online, from a local shop or a chain - the more you can pay the better quality pictures you'll get.

What to look for when you buy:
Can I plug in an extra microphone?
Does it have a Firewire connection - sometimes called DV out?
Does it have an accessory shoe (or hot-shoe) to attach extra microphone?

(accessory shoe on top of some cameras)

Tripod - proper "video" tripods cost hundreds of pounds. The basic "photographic" tripod is good enough, and will cost around £40.

What to look for when you buy:
How high does it go? You need to be able to position your camera close to your eye level - a tripod which extends to 150cm high should be ok.

Extra microphone(s) - these little cameras are great, but fall down on the sound quality from their tiny built in microphones. You can't film outdoors without picking up wind-noise, and the sound you get indoors is often echoey.
People will put up with poor quality pictures if the story is interesting - but nobody can stand listening to poor quality sound.
Don't think of this as an optional extra - bad sound ruins films.

Personal Microphone (or Lapel Mic) - (around £20 upwards)

This is a very small microphone which you clip on to the shirt, coat or tie of the person who is going to speak. It usually has a foam cap to cut out some wind noise.

PROS - Picks up nearby sound, rather than background noise. Good for interviews and recording commentary, especially indoors.
CONS - connects by a long cable to the camera, so you can't move around too much while filming.

Camera Microphone (or Gun Mic) - (around £60 upwards)
This is a longer microphone - anything from two to six inches long - and should come with a foam cover. It attaches to the top of the camera on the accessory shoe (or hot shoe) - a small square metal plate on top of the camera.

It plugs into the camera with a short cable. This is very easy to use and means it is probably worth spending a bit extra on a camera with a hot-shoe.

PROS - foam cover cuts out a lot of wind noise (the fuzzier the cover, the better the protection). This lets you record decent sound even in windy conditions outdoors. No trailing cables, so easier to move about while filming.

CONS - not as good as lapel mics for interviews, but still better than nothing. Decide which type of mic suits the kind of filming you want to do. If you've got the budget, buy both - use the gun mic for most filming and the lapel mic for interviews.

Caution! Almost all extra microphones rely on their own batteries - often something small like a watch battery. The batteries should come supplied with the mic, but they will run down quickly if left switched on.

SO DON'T FORGET TO SWITCH OFF THE MIC BATTERY WHEN YOU'VE FINISHED FILMING!

Caution! If you plug in an extra microphone, it will over-ride the built in camera mic. This is good, but only if you have switched your extra microphone on. If you plug in a mic, but leave it switched off, or the battery runs flat, you won't record any sound at all!!!!

Headphones
Nothing flash - just an ordinary pair of music headphones will do.

On more expensive cameras, you will be able to plug these in while you are filming, so you can listen to the quality of the sound as you record it.
On cheaper cameras, you plug them in to the same socket as the extra microphone, so you can't listen as you film, but you can listen back to what you have just recorded.
It's a good idea to listen back to what you have filmed. If the audio on your all important interview sounds terrible, film it again - it won't sound any better by the time you get to the edit stage.

Tapes - Lots of cameras now use mini-DV tapes, which are cheap, decent quality and can record between 30-60 minutes per tape. There are other tape formats around -it shouldn't matter which you pick so long as they are digital quality. You can now get cameras which record direct on to DVD, but this is not essential. After all, you are going to edit what you film, not watch the whole thing over and over again on DVD.

Spare Camera Battery - absolutely essential, nothing worse than getting to the good bit of your filming and running out of juice, then waiting 2 hours while the battery recharges.
Your camera should come with a charger - make sure you put your camera batteries on to charge as soon as you finish filming. If you start each shoot with two fully charged batteries, you will be a happy film-maker.
Good idea to always have a spare battery for your microphone too.

Camera bag + lens cloth - cheap accessories to complete the picture, you should get both for £15-£25.
Get into the habit of regularly wiping the camera lens. There's nothing worse than dirt and grime on your lens catching the sun and distorting your lovely shots.

If you are buying for the first time, it may be better to go into a shop and talk it through with a sales assistant. Explain what you want to use the camera kit for. Shop around. Don't be baffled with jargon.

Basic filming (I) - video diaries and interviews

Video diary/personal story - this is the easiest type of video to make. You could even shoot this by yourself, although you may find it easier to have someone to help. This is simply recording your thoughts and views on camera, and adding some other relevant pictures.
1. What kind of story do you want to tell?
Work out in advance the kind of things you want to talk about. Don't write a script and try to learn it, as this will sound stilted. Much better to make a few notes as prompts and ad-lib around them. It might help you to have someone else asking questions to prompt you. Remember, you don't have to get it all right first time - you will edit out any bits you're not happy with.
2. The kit
You'll need a camera, tripod, tape and lapel microphone. You can work with another person operating the camera, or you can work by yourself. Most cameras allow you to flip the LCD screen right over so you can see how you are framed up while sitting or standing in front of the camera. If you are working by yourself, make sure you are in a safe environment before starting to film.
3. Framing your shot
Most of your filming will be of a single person talking to the camera. You should try to get head and shoulders in the frame, with the eyes about two-thirds of the way up the screen. If you're in doubt, look at how most newsreaders are framed in TV news programmes.

This means you will have to put the camera on the tripod three or four feet from the person who will be speaking, with the camera at about the same height as their eyes. If they're going to be talking for several minutes, it may be best to sit them down, and drop the height of the tripod so the camera is still level with the eyes.

4. Sound
All of the small cameras you can buy have very small built-in microphones, but these aren't much good. Proper camera crews always use big microphones because they produce good sound. But they are expensive and bulky, so not an option.
Using a lapel mic will make a big difference to the quality of the sound you record. But you must also help yourself by limiting distracting background noise. So think twice before recording what you want to say in a noisy street or an echoing school hall filled with chattering kids.
If you have headphones, record the person speaking then play it back and listen. Can you clearly hear what is being said? If the lapel mic is too far away from the person's mouth, it will pick up a lot of background noise. If it is too close, then certain sounds will make the mic pop or hiss.
Caution - most lapel mics are powered by a small battery. Don't forget to switch it on, or you will record absolutely nothing. And don't forget to switch it off afterwards, or you will quickly run down the battery.

5. Lighting
After dodgy sound, dodgy lighting is the next biggest problem for first-time film-makers. These cameras are very clever, and like the human eye, will change to let more or less light into the camera depending on how bright or dark the surrounding area is. But this can sometimes mean the camera makes the important part of the shot - the person's face - too dark, if there is a lot of bright light also in the shot.

(light behind the subject)

(face too dark)

If there is a strong light source behind the person you are filming - and that could be the sun, a window in a dimly lit room, a street lamp at night, or a light in a room - then the camera will compensate, and underexpose the face. Too dark, and the shot becomes unusable.

(light behind the camera)

(face brighter)

You must try and switch the camera and the subject around, so that the strongest source of light is behind the camera and shining onto the person's face. Play around with camera positions and you will soon see the difference this makes.

6. Photos, props and extra shots
What else could you use to help tell your story? What about photographs of family, friends, places? Do these prompt memories or stories? Do they help you illustrate your story.

Filming a photograph:
Use a bit of blu-tack to stick your picture on a wall where there is plenty of light. Set the camera up on the tripod right in front of it. Zoom in so that the photograph fills most of the frame. Record for about ten seconds. Zoom again so you get in close enough to see details on the photograph. Record these shots for 10secs.

(wide shot)

(close up 1)

(close up 2)

So in this case, we can see a boy with a goat, some detail of the boy's face and some detail of the goat. If you want to see the story that was inspired by this photograph, click on ……
If you've got digital photographs on a disc, you can use them in the video editing process too.
And now……
You've recorded what you have to say, and got some extra pictures to go with it - you're ready to edit. Read the next chapter about more advanced filming or skip ahead to the first chapter on basic editing.

Basic filming (II) - telling a story in video

How to film
When you start filming people doing something, it is tempting to switch on, hit record and try and shoot everything in one go, swinging the camera from side to side and zooming in and out.
STOP! This is how you shoot home movies.
From now on you are going to shoot selectively.
Put the camera on the tripod. Frame up the shot you want. Press Record. Count ten seconds (in your head). Press Pause.
Frame up the next shot you want - by moving the camera or using the zoom. When you are happy with the shot, press record. Count to ten. Press stop. And so on.

What to film
Video is like any other medium - if you're telling a story, you need to get across:
- who
- what
- where
- when
- why

You must combine the pictures you film, the interviews you record and the script you write to get this information across to people.
Your first assignment (you'll need 2 people for this)
Look around where you are now - think of how you would film what's going on. There are people, doing something, somewhere - working at a computer for example. Now break this down into a series of camera shots (a sequence):
Start by setting the camera on the tripod about 3 feet from the person you're filming and frame up this kind of shot:
This is a close up - and it's great for seeing WHO we're looking at.

Record this shot for ten seconds, then pause and reframe the camera for another shot. Don't record while you're moving the camera and tripod.
These kind of shots tell us WHAT that person is doing.

The first is a mid-close up, the second and third are close ups of what the hands are doing and what the eyes are looking at.
Now take the camera and tripod to the back of the room you're in. This lets you get a wide shot which tells us WHERE the action is taking place.

So by now you have got shots to help you explain WHERE you are, WHO is here and WHAT they are doing.
Now in this shot, the person you're filming tells us HOW or WHY they're doing it. This is your interview shot.

(notice the lapel mic is clipped on for good quality sound)

Tripod vs hand-held
To get this range of shots, you will have to move yourself and the camera around your subject. This could mean picking the tripod up and setting it down in a new location each time, then reframing the shot you want. So long as the camera is on a steady tripod, you can use the zoom without the shot wobbling.
Or you could go hand-held. The best way to hold a small camcorder is NOT up to your eye, as this is very hard to hold steady (picture to follow).
It's much easier to cradle the camera with both hands at chest height, with your elbows tucked in to your body (pic to follow).
Standing like this, you can hold a shot pretty steady so long as you DON'T ZOOM! The minute you start zooming in, the shot will start to wobble. So DON'T ZOOM, MOVE THE CAMERA!
When to use a tripod, when to go hand-held
Tripods take time and space to set up. If you've got time and space, use a tripod. You will always get steady shots.
But if you're filming in a busy area, you're less likely to get in the way if you go hand-held. You will just have to try hard to hold your shots steady for ten seconds.
Try both and see which works best.
Tip - many camcorders now have a function called SIS, which artificially stabilises the image. If you've got it, use it - it will be in the camera manual somewhere. SIS will help to make your hand-held shots steadier, but still DON'T ZOOM!
Review of your first Assignment
Look back at the tapes. Are the shots steady?
Are you happy with the framing?
Is it clear WHO we're looking at, WHERE they are and WHAT they're doing?
Can you hear the sound on the interview clearly?
KEY POINTS
- HOLD THE CAMERA STEADY wobbly shots distract the eye
- VARY THE SHOTS don't just get wide shots, go for close ups too.
- DON'T ZOOM IN if you're filming hand held, but move the camera closer to your subject.
And now - if you want to see how these shots work in the edit, and how you use them to tell a story, go on to the chapters on Basic Editing.
If you want to try more advanced filming, go on to the next chapter.

Basic filming (III) - Assignment 1

Assignment 1 - film a sequence outside the classroom/study area
BEFORE YOU GO ANY FURTHER - THINK SAFETY!
If you haven't already done so, go to the chapter on safety and read through the guidance. Here's a reminder of the main points:
Always work in pairs.
Always look around for potential hazards before starting to film.
- traffic and vehicles
- water/rivers/lakes
- machinery
- other people who want to nick your camera
- so THINK "is it safe to film here?"
Keep an eye on your partner when he/she is filming.
Don't walk backwards with the camera.
Don't get in the way of people you're filming.
Don't distract someone who is operating machinery or driving.
If you're not sure, STOP! No shot is worth injuring yourself or anyone else.
NOW:
Go out of the classroom. Find a subject who is willing to be filmed. Try to get:
- two or three different shots to show WHO he/she is
(close up and mid close ups)
- two or three different shots of WHAT he/she is doing
(close ups of hands or objects)
- two or three different shots to show WHERE he/she is
(wide shots from different angles).
- decide if it's best to use the tripod, or go hand-held
Pick a fairly quiet spot to get an interview.
Frame up an interview shot (usually a mid close up on a tripod).
Clip on the lapel mic. Ask your subject some questions:
- WHY are you doing this
- What's the best/worst thing about this job
- what makes it hard/easy
TIP: If your interviewee talks about something or someone interesting, then once you've finished the interview, try and get some shots of that thing or person.
Review of Assignment 3
You should have enough shots for a sequence which allows you to explain in a script
- WHO your subject is
- WHAT he/she is doing and
- WHERE he/she is.
This leads you naturally to the bit where your subject talks about WHY he/she is doing this.
KEY POINTS:
- THINK ABOUT SAFETY before and during the shoot
- KEEP THE CAMERA STEADY
- VARY THE SHOTS
- DON'T ZOOM IN, MOVE THE CAMERA IN
- ASK OPEN ENDED QUESTIONS like "How do you do that....." or "Why is that difficult....." rather than questions than can be answered by a YES or a NO.
- REMEMBER "stupid" questions can get the best answers... "what do you mean?".... "can you explain?"
You have now got all you need to tell a short story in television. You're ready to go on to the chapters on editing, or carry on with this chapter looking at filming action.
Filming action
Television is a great medium for showing people doing things. Some of your best shots will come from activities.
But this is where safety is really important. You have to think about your own safety, but you might also have to think about the safety of the people you are filming.
Directing action vs observing action
If you direct action while you are filming - in other words, tell people what to do so you can get your shots - then YOU are responsible for THEIR safety. YOU could be liable if they have an accident while they are performing for your camera. You must consider all the aspects of safety listed in the Safety Guidance in Chapter 9.
If you are observing action - that is, simply filming an activity that is already taking place - the people you're filming are responsible for their own safety. Obviously this is much easier for you.
Types of shots
You are still trying to get shots to show WHO is involved in this activity, WHAT they are doing and WHERE they are. The difference now is that everyone is moving around. Where you stand is going to be crucial.

TYPES OF SHOTS for ACTION

WIDE SHOTS
Keep the camera steady.
Let the action move inside the frame.
MID SHOT:
Get closer or use Zoom if you can keep the camera steady.
Let the action move inside the frame.
POINT OF VIEW SHOT:
If it's SAFE, get behind the person involved in the action and see if you can film from their point of view. Use a mid shot or wide, so the action stays roughly in frame.
CUT-AWAY SHOTS:
Get shots AWAY from the action, for example:
- people watching the action
- other action nearby
These shots allow you to shorten the action when you get to the edit stage. They also help to show WHERE the action happens and WHO's watching

TYPES OF SHOTS for WHO, WHAT and WHERE

TYPES OF SHOTS for GROUPS & CONVERSATIONS

Basic editing (I) - video clips and timelines

Basic editing - Windows Movie Maker (this is based on the latest version of Movie Maker. If you haven't got this on your PC, download it for free, get link from the software section.

1. DIGITISING - Getting your pictures onto a computer with FIREWIRE Plug the Firewire cable in to the slot on your camera marked "DV" Plug the other end into a Firewire socket on your PC or laptop

Switch the camera on, turn it to Player mode Rewind to the start of your tape.
Open Windows Movie Maker (click on the Start button, click on Programmes, click on Accessories, click on Entertainment, click on the icon for Windows Movie Maker)
Click on Capture from Video Device, give your file a name, click NEXT

Choose the picture quality you want to record

If you are going to play this film on your computer, send it by email or put it on a website, then tick the first box "Best quality for playback on my computer". This will put lower quality images into the computer, and produce a film which takes up much less memory.
If you are going to put this film onto VHS or DVD to watch on a TV, click the second option "Digital device format". But beware - better quality images take up much more memory on your computer. One minute of video at this setting can eat up 178Mb or memory space, so you could very quickly run out of space if you have 30-40 minutes of pictures recorded in your camera. The finished film will also take up much more memory, so will be very hard to fit onto an email and will take ages to download from a website.
(NOTE - If you want to put your film on a website AND watch it on DVD, there is a way to do this - have a look at the Tips and Tricks section at the end of this file)
Choose your best option and click NEXT
Choose how you want to record or Capture your pictures. It is usually best to opt for

"Capture parts of the tape manually" so that you can fast forward through any parts of the film you know you definitely don't want to digitise. Click NEXT
Video capture - digitising your film

Step 1 - click Start Capture. The camera should start playing and your pictures appear in the Preview window.
Step 2 - when you reach a good place to pause, click Stop Capture. This could mean when you get to the end of an interview or series of similar shots, before going on to a different series of shots. Breaking what you have shot up into shorter scenes will help when you get to the editing stage.
Step 3 - repeat this to capture more video clips
Step 4 - if you have reached a section of the film which you definitely do not want to digitise, use the fast forward button underneath the Preview panel to spool the tape forward in the camera until you reach a bit you do want to digitise.
While you are digitising your clips, it gives you a chance to review what you've shot. So if you see a really good shot or hear a really good soundbite, make a note of it on a piece of paper. This will help you later on. When you have digitised all the clips you might need, click on Finish.

2. DIGITISING - Getting your pictures onto a computer with USB

Plug the USB cable in to the slot on your camera marked with USB symbol Plug the other end into a USB socket on your PC or laptop Switch the camera on, turn it to Player mode Rewind to the start of your tape.
Open Windows Movie Maker (click on the Start button, click on Programmes, click on Accessories, click on Entertainment, click on the icon for Windows Movie Maker)
Click on Capture from Video Device

Click on the icon for your camera then click on Next.

Give the file a name - this will be the name of this Collection of images, click Next.

Because USB is much slower than Firewire, you don't get the choice of recording high quality video.

So click on "Best quality for playback on my computer" then click Next.

Put the camera in to Player mode - rewind the tape to the first section you want to digitise.
Press Pause on the camera at the point where you want to start.
Click on "Start Capture" in Movie Maker
Press play on your camera, and your pictures will start to record into the computer. Play two or three minutes of video til you get to an obvious place to pause (like the end of an interview or a change of scene).
Press pause on the camera.
Click Stop Capture.
Click Start Capture to digitise your next clip, press play on the camera, click Stop Capture when you have recorded another two or three minutes.
If you have shots on the tape that you definitely don't want, then fast forward past them and start capturing again when you reach the shots you do want. Make sure you don't accidentally miss off the very beginning or very end of the shots you do want.
When you have digitised all the shots you want, click Finish.

3. Starting to edit - putting clips on the timeline.

Think of editing video like working with long strips of paper. Each video clip you have digitised is one strip of paper. Some are longer than others.
Editing lets you chop the strips of paper as long or as short as you like, and line them up in any order you like. This line of CLIPS is called the TIMELINE.
Windows Movie Maker will by now have arranged all the clips you have digitised into a Collection, arranging them as "thumbnails":

If you click on one of the thumbnails, that video clip should appear in the large window on the right hand side of the screen.
Click on the little play button at the bottom of the screen to watch the clip.
Find the first video clip you want to use from your collection, click on it and drag it down to the grey "timeline" in the bottom third of the screen.

The clip should appear as two strips - a line of video on top of a line of audio. If you only see one line, click on the little + sign next to the word Video.
Click on the next clip you want to use, and drag that down to the timeline:

The second video clip will appear next to the first clip, as a line of video and a line of audio. If you want the second picture to play after the first, drop it to the right. If you want it to play before the first clip, drop it to the left.

4. Selecting the best bits from your clips

You will only want to use the best parts of each video clip in your collection. The rest will be EDITED OUT. In the timeline, click at the start of the clip you want to edit. Press Play on the Preview window. As the clip plays, the blue cursor line moves along the timeline.
When you get to the START of the bit you want, press Pause. The blue cursor line should now be somewhere in the middle of the clip you are editing.

If you haven't paused at exactly the right place, use the Frame Left or Frame Right buttons to move the cursor slightly to the left or right.

When you've got the right place to start, you need to make a cut.
On the right hand side of the preview window is the CUT button. Click on it.
Your video clip should now split into two clips:

Press Play again in the preview window. When you get to the END of the bit you want, click PAUSE, then click on CUT again.
You should now have three video clips where you previously had just one.

The one in the middle is the one you want to keep. The other two can be deleted. Click on the each clip you want to delete and hit the Delete button on the keyboard. Don't worry, you haven't deleted anything permanently - those shots will still exist in your Collection window if you should need them again.
Remember, if you delete the wrong bit, press Ctrl and Z to undo your mistake.
If you want to check what you have cut, click the cursor at the start of a clip you have made and press play on the preview window.
If there is more than one bit you want to use from the same clip on the timeline, just keep moving along the clip - playing until you reach the start of the bit you want, make a CUT, play until the end, make a CUT.
Now drag down the next bit of video you want from your collection.
Repeat the cutting process with each of the video clips you dragged down from the Collection onto the timeline. When you finish, you will have a timeline made up of clips you want to use.

5.Trimming clips

There is another way of shortening video clips on the timeline. Click on the little black triangle at the edge of the clip:

Hold the mouse button down and drag the mouse to the left or the right, to make the clip shorter. This is called TRIMMING a clip.
Again, click at the on the timeline and press play to check what you've done.
If the clips on your timeline are too small for you to see exactly what you're doing, you can zoom in for a better view by clicking on the magnifying glass symbol at the left hand side of the timeline. You can reverse this by clicking on the minus symbol.

6. Moving clips around the timeline

If you want to change the order of your video clips, just click on a clip and drag it to where you want it.

The video and the audio for this clip will now move to the left and become the first clip in the timeline. If you make a mistake, press the ctrl key and the Z key to go back to where you started.

Basic editing (II) - Using the timeline to tell your story

You're learning to edit for a reason - to tell your story in video. This means getting information across as clearly and as quickly as you can.
You have got to do two things:
- pick the most important parts of what you filmed
- put them across in a way so that the viewer doesn't lose interest

Structuring A Story

At the most basic, this means structuring a video diary, where a single interviewee tells their story straight to camera.
Pick the best, clearest clips from the interview. Line them up on the timeline one after another. Play the whole sequence through from start to finish.
Is the message clear? Will someone who has never met your video diary interviewee know what they are talking about?
How can you make the video diary more interesting? After all, the viewer might not want to sit and look at the same person talking all the way through a 3 minute film. This is when you need to think about overlaying.

Overlaying different pictures and sound

Your interviewee has talked about something they do - a job, or favourite hobby. You got some shots of them doing the thing they are talking about - working on a computer, playing football, and so on.
Or perhaps they have shown you some photographs or an item of special significance to them. In the interview, they talk about these items. You film close up shots of these photographs or items.
Now you want to show pictures of the activity, the item or photograph while hearing the interview - this is called overlaying.
Put the interview clip onto the timeline. Cut or trim it so that it starts and ends where you want it to. Now put the pictures you want to overlay onto the timeline after the interview clip.

In this example, Jim is talking about Agnes, the lady who he has been teaching how to use a computer. Agnes has just earned a certificate to show she has completed the first part of a computer course.
Now decide where you want the overlay to start. Click the blue line to that point and click on the CUT button. This will split your interview clip into two sections.

Now drag the overlay clip to the place you have just cut. The timeline will now look like this:

Now drag the second interview clip left and DOWN onto the line below the overlay clip - it should look like this:

Notice that the video bar for this interview clip has now disappeared. Don't worry!
Now click the blue cursor bar onto the end of the overlay clip, and hit CUT:

The clip at the bottom of the timeline should now be two clips. Drag the second clip up on to the top line like this:

You'll notice that the video bar re-appears. Click the blue line back to the beginning of the first interview clip and press play to check what you have done. The interview should run continuously, while the overlay pictures start then stop.
BUT - the audio from the overlay pictures will be fighting against the audio from your interview, making it harder to hear what the person is saying.
Go back to the timeline and RIGHT CLICK (with the right-hand mouse button) on the audio clip underneath the overlay pictures:

A menu pops up - click on the Volume option.

Slide the adjuster about halfway to the left. This will drop the volume but not kill it altogether. Go back to the timeline and play the sequence you have just edited. Does it sound right? Is the background noise on the overlay clip still too loud or too quiet? Can you hear the interview? You can go back and adjust the volume as often as you like. You can also adjust the volume on any other clips in the same way.

Keep on Overlaying

If you have got more pictures that you want to use, you can keep on overlaying, so that most of the audio of the interview is covered with shots of the thing that the person is talking about.
Drag a new video clip down onto the timeline from your collection. Cut it down to the size you want. Move it to where you want. Eventually, your timeline will look like this:

Overlaying photographs

The same process can be applied to photographs you have filmed, or digital photographs you have imported as jpeg files from your computer. Again, you want to hear an interviewee talking about an important photograph, while seeing the photograph itself.

Click on Import Pictures in the Movie Tasks menu.
Choose the photo you want and click Import. A thumbnail of the photograph will now appear in your collection. Drag it down on to your timeline.

Notice that no audio clip appears - this is normal.
Play the interview clip until you reach the point where you want the overlay to start. Click pause, then click cut:

The interview will now be split into two clips.
Drag the photograph clip to the point where you have just cut:

Now drag the second part of the interview clip back so it starts at the same place as the photograph starts, but on the line underneath. The timeline should look like this:

Notice again that the video bar of this clip has disappeared. Don't worry. Position the blue cursor line at the end of the photograph clip, and hit cut:

Now drag the tail end of the interview audio clip directly up on to the next line above. The video bar will now reappear:

Click the blue cursor back to the start of the interview and press play. Does it work? Does the photograph appear at the right place, and disappear at the right place?
You can add other photographs in the same way, overlaying more - or even all - of the interview audio.

BUT DOES IT MAKE SENSE?

There's no point overlaying pictures for the sake of it. If the interview is talking about one thing, and you're showing pictures of something completely different, the viewer will just get confused. Keep it relevant!

Basic editing (III) - Writing a script

Remember - telling a story is about getting across the WHO, WHAT, WHERE, WHEN and WHY.
Your pictures should help you tell the viewer WHO your film is about, WHERE that person is and WHAT they are doing.
Your interviews and your script will tell the viewer WHY this is important.
When you start to think about writing a script, a storyboard might come in handy - there's an example at the end of this document.
This helps you work out what order you will arrange your pictures and what you will say in your script.
Or you might find it easier to cut a sequence of your best pictures - maybe for 30 seconds - then work out what you can say in your script over those 30 seconds of pictures.
KEEP YOUR WORDS CLOSE TO THE PICTURES, BUT NOT TOO CLOSE:
Example - opening scene is kids from Broughton Anglers Club setting up to fish a lake.
Script could say - "this is Broughton Anglers Club, kids come here from all over Salford to practise fishing."
It would be hard to go on and say "they also go mountain-biking on Sundays, orienteering and rock-climbing on Tuesday nights, and go to the cinema on Friday evening" if you haven't got pictures of any of these activities.
But also, there's no point writing a script that's too close to the pictures - "Joe is tying on his hook, he's putting bait on the hook, he's using maggots for bait"
The pictures show us what Joe is doing, so tell us something extra, something about Joe that we can't see:
"Joe has been coming to the Anglers club for two years, he's showing real promise, and he really enjoys it"
It's a tricky balance - getting the information across that you want to communicate, without being too literal and without letting your script drift too away from your pictures.
Think of your script as a line following the pictures.

If the line sticks too close to the pictures, your script goes like this:
"here is a girl working on a computer at the Amp youth project in East Manchester. She is typing. Here is another girl working on a computer, she is using a mouse. Now she is reading a book. Here is the book she is reading."
By the end of this script, your viewers will be very bored.

But if the script veers too far away from the pictures, it could be like this:
"the Amp youth project is based in East Manchester. The project has been running since 1999 with funding from the government's New Deal. The New Deal was set up to help the economic and social regeneration of areas like Ardwick and Miles Platting"
There's nothing wrong with writing about New Deal, but it has nothing to do with the pictures we're seeing. By the end of the script, your viewers will be confused, as you are expecting them to watch one thing and listen to another.

A

better script goes like this:
"These kids are working at the Amp youth project in East Manchester, which was set up with New Deal funding in 1999.
This is Aimee, who has been coming here for a year now.
She helped produce this booklet, all about life in Ardwick and Miles Platting."
Phrases like "these kids"…."this is" …… "here" … "this booklet" all help to tie the script back to the pictures.
So you can talk about things you can't see, so long as you regularly tie your script back to the things you can see.
STORYBOARD EXAMPLE:
Sketch each scene in the topline, outline script ideas for what you will say in the box below:

Basic editing (IV) - Creating subtitles for your film

When you have edited your sequence of clips on the timeline, you can start to create subtitles.
Click the blue cursor line to the place on the timeline where you want your first subtitle to appear.
Click on the "Make titles or credits" option in the menu panel.

Click on the third option which appears "Add title on selected clip"
A text box appears - write your subtitle words in here. Usually you can fit up to ten or twelve words fairly easily on each subtitle.
When you have written your subtitle, click on "Change the title animation". Scroll down the option list til you find "Subtitle with strap?"

The subtitle should now appear in the bottom of the preview screen. If you're happy with that click "Done, add title to movie"
The subtitle appears on the timeline as a clip in the very bottom of the line.

You can click in the middle of it and drag it along the timeline to make it start earlier or later. If you click in the little black triangle at either end of the subtitle clip, you can drag it left or right to make the clip longer or shorter. This will mean the subtitle is on the screen for a longer or shorter time.
Click the cursor to the start of the clip and watch it through. Does the subtitle start and end at the right place? Can it be adjusted?

Getting it out there - on tape, disc, email or website

Windows Movie Maker has a section on the left of the screen called Finish Movie:

This gives you several options. In each case, Movie Maker will save a version of your film, then send it to the destination you've chosen. Just follow the on-screen instructions.

HIGH RES vs LOW RES

Right at the start of editing, you had to choose whether to digitise your pictures at high resolution or low resolution. You'll now see what the difference is - if you have made a three minute film at low resolution, it will create a video file of about 9Mb. If you digitised in high resolution, the file will be huge - a three minute film could be up to 1Gb.
It's much easier to get smaller files to download, email or burn to disc. Very large files take ages, even over broadband connections. And large files quickly clog up your computer, so you'll have to delete projects once they're finished.
BUT if you want to send your film to the BBC or any other TV broadcaster - then you should edit at high resolution and then record your film back on to a mini-DV tape in your camera.
Unless you've got absolutely stunning footage (like shots of Lord Lucan riding Shergar), no-one is going to broadcast grainy low-res films on TV.
You can still get your high-resolution film onto a website - Movie Maker2 allows you to compress the film so that it's small enough.
(If you have a DVD burner, you will probably need to save the movie file on your computer (in the My Videos folder for example) before burning it onto your DVD with the relevant software.)

Internet Publishing

There are lots of websites out there for people interested in video. If you can't find the right one, put the video on your own website.
Here are some examples:
www.ourvideo.org
http://www.mymanchester.net\videos
And of course you can send it to the BBC's Community Video page, where we will show it for a limited time: http://www.bbc.co.uk\manchester\videos

Targetting Local Media

If you think your story deserves an audience through traditional media - local radio, tv or newspapers - then get the right email address and send it off. It's best to ring ahead first and check if the organisation you are contacting can accept large email files. If not, then get a postal address, burn your film to a CD and send it direct.

Targetting Local Decision Makers

Video is a great campaigning tool. Again, you should do your homework before sending you film. Who is going to take interest? Who should do something in response? Can they accept emails with large files, or would they rather have a CD copy of your film?

How to be taken seriously

To some extent, your film will do the talking for you - if you have told an interesting story clearly, people will take notice. If you have produced a poor quality film that only you want to watch (in other words, a home movie) then don't be surprised when it is ignored.
You can help yourself if you:

Present your film well:

- write a short, punchy intro for the film, no more than 50 words, saying what it's about and why it's good. Attach this intro to the film if you put it on a website, email or press release.
- have a look at how other people present their films. How do they describe their work? Does it make you want to watch? Look at other people's websites like the BBC's Video Nation archive for examples
Show you have dealt with the issues of Fairness, Safety, Consent properly (see the next chapter "Important Stuff" for more details)
- explain to your audience a bit about HOW you made the film and who you spoke to, so people can see that you've thought about the issues.
- if you are putting across a one-sided argument, let people know where you are coming from
- make it clear that everyone who took part gave their consent, and you can prove it if you need to.
- make it clear you have permission to use any photos or music included in the film.

Important stuff - safety, consent, copyright, fairness

This might seem like the boring bit, but dealing with these issues properly sets you apart from home-movie makers.

FAIRNESS

This is really important if you are making a factual film. Get it wrong, and no-one will trust your films again. Worse still, you could find yourself in court for libel or defamation.
There aren't any hard and fast rules about fairness. It's more a gut feeling, and a case of asking yourself a few questions:
Is my story one-sided?
There's nothing wrong with presenting a story based on your personal views and opinions, so long as the audience knows this is what you're doing. Very early on in the story you have to make it absolutely clear that this is your opinion not hard fact.
Can I prove what I'm saying?
If you're telling your audience facts about a situation, can you support what you're saying with hard evidence? Does what you filmed back you up? Do you have letters, documents or photographs to prove what you're saying. Do your interviewees support your story?
Have I been fair to people with other views?
Have you included the views of people who disagree with you? If you don't, you must make it clear that your film is a one-sided account, containing your opinion alone. And you must let people know where you're coming from - don't pretend to be neutral if you're not.
Did everyone who took part in my film really know what they were doing?
If you filmed or interviewed somebody, did they understand why you were filming and how their contribution was likely to be used? You don't have to agree a script or questions in advance with them, but you shouldn't be trying to fool somebody in order to film them. They should know before you start recording what kind of film you're making and how they fit in.
What about the right to reply?
If your film accuses an individual or an organisation of doing something wrong, have you given that person or organisation a chance to answer back? Have you offered them the chance to be interviewed or to give you a statement? Have you edited that response to give a fair version of their reply? This is absolutely essential if you want your film to be taken seriously.

SAFETY - You are responsible for your own health and safety.

Here are some questions you need to ask yourself before starting to film.
1. Should you work alone or in pairs? If you are filming outside your own home or some other safe environment, do you need someone to watch your back while you are concentrating on getting the shots.
2. Think about safety before you start filming. Where will you be? What are the potential hazards?
3. If the situation turns out to be less safe than you first thought, stop and think again.
If in doubt STOP FILMING. No shot is worth injuring yourself or someone else.
4. Are you observing a situation or directing the action? As soon as you start telling people what to do while you film them, YOU are responsible for THEIR safety. If you are simply filming what is happening anyway, they are responsible for their own safety.
5. Think about where you're standing and movements you might make - especially if you are:
- filming near traffic or moving vehicles
- filming from heights
- filming on or near water (for example; on boats, by lakes, rivers or streams)
- filming near working machinery
- moving over uneven/slippery ground or other trip hazards
- filming in crowded areas
- using a lapel microphone with a long trailing cable
- SHOULD YOU BE USING A TRIPOD OR GOING HAND-HELD?
6. Be realistic about street crime. You are carrying several hundred pounds worth of camera kit. Are you making yourself a target for thieves? How would you get help if you needed to?
And here are some useful tips for any filming situation:
NEVER walk backwards while filming. You will trip up or walk into somebody.
NEVER hold the camera out of the window of a moving vehicle.
NEVER distract or get in the way of someone who is driving or operating machinery.
ALWAYS make sure someone knows where you are and what time to expect you back.
ALWAYS carry a mobile phone in case of emergency.

Consent and Copyright

Questions to ask yourself about these important legal issues:
- Does everyone who is interviewed or featured in any detail in my video understand why I am filming? Have they given their consent to be filmed?
(With adult interviewees, it is alright to get this consent while filming, by asking "Are you ok to be filmed?" and recording the answer. For children under 16, you should get written consent from their parent/guardian.)
- Am I filming on public land or on private property?
(You may film on private property with the owner's consent. You may film in any public area. You shouldn't try to hide the fact that you are filming.)
- Have I got permission to use anybody else's film or TV footage, photographs or music in my film?
(If you use somebody else's film, photographs or music without their permission you will probably be in breach of copyright. Broadcasters and reputable websites will not show your film if they think you have broken copyright rules. You could also find yourself being taken to court).

Software - Windows Movie Maker 2 & Photo Story 3

IMPORTANT: You will need a legal copy of windows XP to be able to use this software

Windows Movie Maker

Movie Maker is the wonderful easy-to-use entry-level video editing app that's included in all versions of Windows XP... you can be up and running in a couple hours, mixing your still pictures, video clips, music and audio into amazing home movies, and topping them off with a wide assortment of titles, text overlays, and credits. Your movie can go wherever your creativity and imagination takes it.

Windows Movie Maker v2.1 for XP - Windows Movie Maker makes home movies amazingly fun. With Movie Maker, you can create, edit, and share your home movies right on your PC. Build your movie with a few simple drag-and-drops.

Windows Movie Maker v2.6 for Vista Only - This version is for Windows Vista users only.

http://www.papajohn.org/ - excellent information, tips, Tutorials etc on using Windows Movie Maker

WindowsMovieMakers.NET - for Microsoft Windows Movie Maker 2 Enthusiasts.

Did you know Windows Movie Maker v2.1 also comes installed with Windows XP Service Pack 2.

Windows Photo Story 3

Photo Story 3 compliments Movie Maker by letting you pan and zoom using all the pixels in your high resolution still pictures... not included in XP, it's a free download from Microsoft.

System Requirements

Supported Operating Systems: Windows XP; Windows XP Home Edition ; Windows XP Media Center Edition; Windows XP Professional Edition ; Windows XP Service Pack 1; Windows XP Service Pack 2

Processor Required: Intel P3 700-megahertz (MHz)
or equivalent processor, an Intel P4 1.7-gigahertz (GHz) or equivalent processor recommended.
Memory: 256 megabytes (MB) of RAM, 512 MB of RAM or more recommended.
Disk space: 400 MB of available hard disk space.
Monitor: Super VGA (800 x 600) or higher-resolution video adapter and monitor.

Windows Genuine Advantage
Microsoft Windows Media Player 10
Microsoft DirectX 9.0 or later

Windows XP–compatible sound card and speakers
Keyboard and Microsoft Mouse or compatible pointing device
Microphone to record narration