CHAPTER 10

Planning Video Content

In This Chapter

•  What are the picture message layer and supporting layers?

•  How do you plan video production?

•  What’s the best way to handle project administration?

The secret to producing engaging video without wasting time is planning. But planning video content and production is much more complex than planning audio because you need to juggle many tasks. On one hand, you have the editorial decisions, which involve balancing multiple message layers to ensure your learning objective is met. On the other, you have the production tasks, which have many moving parts.

Instructional video starts its life much as audio does. You identify the learning objective, then ask the modality question: Is video the best modality for this topic? Assuming it is, you then break the content into chunks and form a structure, possibly using the ROPS model.

It’s after this initial work has been done that the production tasks specific to video need to be addressed. These include turning your structure into a visual sequence, using a storyboard, and adding supporting message layers to fill in the gaps. Once this is done, it’s down to production logistics that ensure filming and editing are done efficiently and minimize the risk of disruption when filming.

In this chapter, we will start by exploring the editorial dimensions of planning video content, which revolve around the pictures. Then we’ll look at issues for production planning and project administration.

Objective and Structure

Chapter 5 discussed what a learning objective is and why having one is so important for digital content production. It looked at breaking the learning objective into chunks and using the ROPS model as a template to plan the sequence. However, ROPS is not the only way to structure your learning. Traditional story structures work really well too. For example, if you need to teach the value of mentoring programs, you could bring your video to life by showing the story of a new recruit who is mentored by a senior manager and works through some professional trials with the manager’s support and guidance, going on to build a successful career. This beats a sterile presentation on why mentoring is good and how it works because stories organize the information in a way that’s easy to remember; when we see someone else, we’re drawn to it.

Storytelling has flourished as an art in every culture since ancient times. Aristotle and Plato were probably the earliest philosophers to talk about plot and characterization. As an overview of four different digital modalities, this book does not have the space to explore storytelling and do it justice. As such, the ROPS template is the vehicle we use to consider how to structure digital learning. However, you can explore the details of storytelling in some excellent books. Robert McKee wrote the classic Story for cinema, which has influenced numerous Hollywood films and suggests there are 21 major plots. Christopher Booker wrote The Seven Basic Plots, which at 700 pages provides incredible depth. More recently, Lisa Cron wrote Wired for Story, which draws on cognitive neuroscience.

The Picture Message Layer

Chapter 9 broke down the value of drawing the storyboard before you write the script. Doing it in this order surprises some people, especially those who have traditionally penned their script first and then gone hunting for pictures. But learners will remember the pictures in your video more than the words. So it makes sense to start with pictures and invest most of your time deliberating on the pictures rather than the words.

The video storyboard sets out each individual shot that you will use to convey the story. The bigger the production, the more detail it will provide. Once complete, you will refer to it to select the supporting message layers, such as the spoken word, music, and sound effects.

The storyboard is not used only by the producer and writer. The camera operator will also use it on location to be sure he is getting pictures the way the writer intends, and the editor will work from it to ensure she cuts the pictures together in a way that is faithful to the story.

Before you draw a storyboard, it is helpful to understand some of the dynamics about how to use pictures to tell stories. When videographers plan their pictures they consider how different shot sizes, camera angles, and camera movements can help make their message clearer.

Shot Sizes

Shot sizes describe how close the camera (and as a result the learner) is to the person or object in your video. They balance the amount of context and intimacy in your shot. All in all, there are about nine shot sizes and each one falls into one of the following three categories (Table 10-1):

•  wide shot, also known as long shot

•  mid shot

•  close-up.

Table 10-1. Examples of Shot Sizes

Camera Angles

The camera angle determines who has power between the object or person in shot and the viewer. When the camera looks up at an object or person, that object or person will seem big and more powerful. This is known as a low-angle shot because we look up at the person from a low angle. If the camera looks down at the person, the viewer has the power and the person in shot looks more vulnerable. This is known as a high-angle shot. If the camera angle looks directly across at the person, the viewer will feel on equal footing, which is known as an eye-level shot.

Camera angles save us adding information about status to other message layers. For example, if you shoot a leadership video, you can use a low-angle shot to imply someone is a leader and avoid the need to include a caption that says “boss.”

The illustrations in Table 10-2 are slightly exaggerated for effect. However, when using them in your video, keep them subtle so they won’t distract the learner from the content.

Table 10-2. Examples of Camera Angles

Camera Movement

Camera movements can make your shots more interesting and add narrative value. For example, if there’s no action in your shot, such as a talking head video, a slow zoom may create the effect of change and keep the viewer engaged. Camera movements can tell part of the story too. To create the effect that you are traveling somewhere, you might use a dolly shot. Camera moves do not play smoothly over the Internet and if you use too many, they can be distracting.

Table 10-3 describes the common terms for camera movement.

Table 10-3. Terms for Camera Movement

Planning Your Shots and the Storyboard

When you draw your storyboard, you will be thinking of each shot in terms of its shot size, the camera angle, and any camera movement. You will also be thinking about what action takes place in the shot. Drawing a storyboard can be intimidating if you don’t draw well. But it’s a valuable process because it trains the brain to think in pictures.

The storyboard process is especially important if you’ve spent most of your life writing content because your natural bias will be to use words to communicate. In video, you need to use pictures. Drawing each shot will force you to think about that picture, how it works with other pictures, and the movement the viewer will see. If you’re worried about your artistic skills, don’t fret. Storyboards are not art and will work just as effectively with stick figures.

Working with a storyboard saves you time. It helps you be more directed on location, saving you from guessing what shots you think may be important. Without a storyboard, you will find yourself shooting much more footage than you would ever use.

Many learning professionals use storyboards in e-learning development. However, these are different from video storyboards, which require each frame to be drawn out with a description of shot size, camera angle, and camera movement.

Putting Pictures in Order

Think carefully about the order in which your shots will appear. This affects the ease with which your viewer will be able to follow your message. Start by considering the order that creates a logical flow. Then think about shot changes to keep the viewer’s attention.

As a general rule, you should start with a wide shot to establish the context. This is a common technique used across television. If you have ever watched an episode of the TV series Seinfeld, you’ll see that before any scene in the coffee shop, they show an external wide shot of the coffee shop to establish where the scene takes place.

Some people plan their action sequences using shot formulas. The most common are the three-shot and five-shot formulas. Many news camera operators follow the three-shot formula. When they are on scene, they shoot three takes of the same action from three different positions. Usually the positions will be:

•  wide shot

•  close-up

•  mid shot.

If you are shooting a sequence where a woman walks into a room and sits at her desk, you might shoot a wide shot of her entering the room, walking to her desk, and sitting down. You’ll then repeat the action and film a close-up of her face walking toward the camera, and then a mid shot from the side as she sits at her desk. When you get to the edit, you will cut these three shots together so it’s not simply a boring wide shot.

The five-shot formula follows the same principles, only it includes two additional shots. This technique, often used in digital documentaries, creates more visual interest but takes longer to shoot. The shots are:

•  wide shot

•  extreme close-up

•  close-up

•  mid shot

•  creative shot.

The creative shot should be unexpected or unconventional to attract the viewer’s eye. If the sequence is in an office, the creative shot may show the action taking place through the window. Once again, the editor will cut these five shots together to create a sequence that is interesting.

Supporting Message Layers

The principle of starting with your pictures is based on the assumption that people remember what they see more than what they hear. So it’s important to pack as much of the message into the picture as you can. That means planning the backdrop to convey part of the message, adding props, wearing appropriate clothes, and directing body language and movement.

But no matter how good you are at exploiting every opportunity a picture offers, there will be some messages you just need extra help with. And that’s where the supporting layers come in. Their role is to fill in the narrative gaps the picture can’t fill. Let’s quickly look at supporting message layers and then the mechanics of the script, which captures all the information needed to shoot your video.

The Spoken Word

Video writing conventions are very similar to those discussed in chapter 5 about audio writing. You will make your content quicker and easier to understand if you adopt a conversational tone; use short, concrete words; and construct short sentences. But there’s an added dimension to video writing that doesn’t apply to audio, generally referred to as “writing to picture.” Don’t repeat the picture in your script; rather, add what’s not clear.

Let’s say you are shooting an onboarding video and plan a sequence where a young woman walks into the main lobby of your organization. Adding the voice-over, “This woman is walking into the lobby,” is redundant because we can already see that. However, it’s not obvious who she is or why she is in the lobby. So rather than repeat what’s obvious, your voice-over should be something like, “Meghan’s first day.”

Music

Music is good for influencing mood, creating atmosphere, and adding energy. It can also provide narrative detail. For example, if you want to portray someone as busily running around, you could use Rimsky-Korsakov’s well-known orchestral piece, “The Flight of the Bumblebee,” behind a sequence of fast-motion videos—perhaps a character frantically getting ready for work. As powerful as music is, resist the temptation to run the same piece of music for the entire video because it will lose its effect after a short while. And be careful about the criteria you use to select music. It’s easy to choose music based on your personal preferences. But music in an instructional video is not for enjoyment or entertainment. It has a narrative purpose, so choose music in terms of what mood, atmosphere, and energy it will bring to your video.

Sound Effects

In cinema and high-end television drama, the sounds you hear are generally added on during the edit. If you hear a car door closing, it is most likely not the real door. This is because the microphones are usually positioned to pick up the characters’ voices, not the sounds given off by objects. Dubbing sound effects will certainly add to your video. If you choose to, plan time to either find the sound effects from a library or record them yourself.

Graphics

Graphics are still images that support the pictures. They may be diagrams, text, or photographs that are manipulated to convey a message. Text graphics can display keywords or points you want to reinforce, helping with creative repetition in the learning video. Graphics work best when they are simple.

Script Mechanics

When you have finished the storyboard and determined what additional message layers you will use, it’s time to write the script. It doesn’t really matter how you lay out your script so long as anyone working with you can understand it.

A common approach to script layout is the three-column format (Figure 10-1). The first column lists the shot number, which relates to the shot plan (discussed in the next section). The second column describes what’s on the screen; for example, “Wide shot of Freda Bloomsbury lifting boxes onto shelf in aisle 47.” The third column contains the audio, which includes spoken word content, music, and sound effects.

Production Planning

When you’ve done the storyboard and script, it’s time to plan the production. Here are some of the important things to consider.

Shot Plan

Before you pick up your camera and head out to film your script, plan the order in which you will film each shot. The best approach is to film all scenes from one location at the same time, even if the video does not run in that order. For example, if you have a five-minute video and three scenes are in the lobby of a building, four scenes in the parking lot, and four in a restaurant, you should shoot all the lobby shots together, all the parking lot scenes together, and all the restaurant shots together. The only times you will change this is if you need to shoot them at different times of day, such as one scene in the early morning and the others at dusk.

Your shot plan can follow any format that works for you and your team. But you might want to consider including the following information (Figure 10-2):

•  location

•  shot number—this is from the first column of the script

•  time scheduled for filming

•  actors required and how they should be dressed

•  crew required

•  additional notes.

Location Plan

Before you film at any location, check if you need permission. You don’t want to arrive with all your equipment and be asked to leave by a security officer. Many public venues require a permit from the city or town. If you are filming in a school where minors may be caught on camera, you should contact the school administration first. If you want to film in a public space within an office building where members of the public walk by, or in a factory where staff are busy at work, inform facilities management of your intentions. They can coordinate your shoot and work with security if necessary. Some organizations, such as health companies, government agencies, and hospitals, need to protect confidential information and the identities of people they care for, so they are very strict when someone turns up to film without permission.

In addition, before you start filming, go out and scout the location. Walk around and look at where you will position actors and what backdrops will help convey the message. Make sure you visit at the same time of day you plan to shoot because it will give you a sense of how it will look with the position of the sun and any other factors that might affect filming, like traffic. You don’t want to plan a powerful shot and then find out that you’re shooting into the sun or that students from the local high school take a shortcut through your set at 3 p.m. every day.

When you scout the location, take note of anything that might cause problems. What could go wrong and either cause you bodily harm or damage your equipment? Conducting a basic risk assessment means thinking through what risks exist and avoiding them.

Project Administration

Your production experience will go much quicker if you establish some basic administrative practices and follow them consistently. You should have a system to manage files, which chapter 13 will discuss. If you work with a team you should agree with team members on the best way to communicate and keep everyone up-to-date with progress.

Responsibility Chart

Be clear about who is responsible for the various tasks that need to be performed in your video project. The bigger your team, the more important this clarity is. If working with one or two people, you can assign responsibilities in a simple email. But for larger groups that may also involve stakeholders like subject matter experts, people from the legal department, and even branding or marketing staff, draw up a responsibility chart (Figure 10-3).

Communication Plan

The bigger your team, the more communication can become a point of contention. Put together a list of who needs to know what. There’s an old adage that you can never communicate too much, but that’s simply an overreaction to people who fail to communicate enough. People are too busy today to be bombarded with emails that are not immediately relevant. So agree at the outset what you will send out and who will receive it.

Agreements With Stakeholders

If you are working with subject matter experts, establish a sign-off policy. As the producer, your responsibility is to produce the video and make it quick and easy for the viewer to understand. But unless you’re also the SME, you’re not responsible for the accuracy of its content. That belongs to the SME.

Working with SMEs can be challenging at times; they tend to be very passionate about putting in as much information as they can but might not understand how to communicate with video. So establish clear boundaries for what they have a say on and what they don’t.

Another problem that often crops up when working with subject matter experts is that they ask for changes at a stage of the production process that is disruptive and time-consuming. For example, as they sit with you while you edit, they notice an object in a shot that should not be there and demand you go back and reshoot it. To avoid this, have your subject matter expert sign off on content at critical stages of production. Agree with your SME that once that stage has been signed off on, you will not go back. If the project can’t go forward without re-filming something, it needs to become a new project and start in line after your other upcoming projects.

Here are some key stages to consider having your SME sign off on:

•  learning objectives

•  breakdown of the content and how it is structured

•  storyboard

•  script

•  filming—have them on location with you and get them to sign off on each shot

•  the accuracy of the edit—not the style.

Remember that the SME’s job is to ensure accuracy, not style and form. Your job is to take the content and make it quick and easy to understand. By all means encourage their input on style, but be clear that you have the final say on how it’s shot and how it looks.

Summary

The more you plan, the quicker and easier your shoot will be. You’ll shoot the footage faster because everything is ready to go. You’ll have less distractions from last-minute things that pop up, which could have been prevented with basic planning, that take your focus away from setting up the shots correctly. And, you’ll have the mental space to be creative. Winging it can cost you extra time and lead to much frustration.

Proper planning is not the only thing you need to do to rapidly produce learning video; you also need to use your video equipment properly. But before we get into using video equipment, we need to consider the equipment you need. That’s what we’ll focus on in the next chapter. Then, in chapter 12, we’ll look at how to save time by using your video equipment properly.