It’s very common among nature filmmakers to wake up very early. Often around 2-3 hours before the actual sunrise as you still need time to get to the location, and the good light already starts about 30-60 minutes before sunrise.

BLUE HOUR

You will always get the most magical light a few minutes before sunrise and after sunset. At this time of the day, you can get great silhouetted shots of protagonists and capture evenly lit and glowing landscapes.

GOLDEN HOUR

This is the time just after sunrise and before sunset. The sun enlightens the sky and earth with a warm glow and creates a moody atmosphere. This time of day is especially lovely to shoot in the direction of the sun or just slightly next to it. Creating a really nice depth in your image with the backlight.

AFTERNOON SUN

This is the time when you don‘t want to be shooting. The sun creates strong and harsh shadows, and it will be hard to capture details as the light creates a world of light and shadow. The only way to shoot in these conditions is to use a big diffusor to soften the light.

CLOUDY DAYS

The clouds serve as one giant diffusor and create an atmosphere of soft light that allows you to shoot all day long. This isn‘t the most „beautiful“ light, but it‘s a very reliable one to create continuity between your shots.

DONWLOAD PDF

Video is a series of still images that give the appearance of motion when viewed in order at a certain speed. Each of those images is called a “frame.” Frame rate, then, is the speed at which those images are shown. It’s usually expressed as “frames per second,” or FPS. So if a video is captured and played back at 25fps, each second of the video shows 25 different still images. The human eye can see the difference. 10 to 12 frames per second are perceived as single images. The human eye interprets the displayed images as motion when the frame rate is higher.

DOWNLOAD PDF

RESOLUTION is how much information/detail there is in an image. There are a few resolution standards that a videographer must be aware of:

Full High Definition 1080p: 1920x1080

Ultra High definition 4K: 3840x2160

ASPECT RATIO is the relationship between the width and height of an image. It‘s usually written as two numbers separated by a colon, as in 16:9.

Youtube Videos usually have an aspect ratio of 16:9, and Instagram stories have an aspect ratio of 9:16.

DOWNLOAD PDF

Aperture, shutter speed, and ISO work together to produce a properly exposed image.

The APERTURE refers to the size of the opening in the lens that lets in light. The bigger the opening, the more light reaches the sensor. As most phones have a fixed aperture built in that can’t be changed, you use the shutter speed and ISO to affect your exposure.

The SHUTTER SPEED is the time the light is allowed to hit the sensor. A fast shutter speed creates a shorter exposure. In a dimmer environment, you can use a slow shutter speed, so your frame has a longer exposure to light. The ISO is your camera’s sensitivity to light. Choosing a higher ISO boosts the camera’s sensitivity to light.

DOWNLOAD PDF

Setting the white balance manually is essential to determine your shot’s colours and get some consistency. If your Kelvin value is set too low, your videos will look very cold/blue; if the value is too high, the videos will look too warm / orange. The ideal white balance for shooting outside usually ranges from 5000-6500 kelvin.

DOWNLOAD PDF

While filming, we’re often focused on our subject in the foreground. Thereby completely ignoring the background and its contribution to the composition. That’s why it’s always important to ask yourself:

• Do the background colours match or enhance my subject?

• Are there any distracting elements in the background?

• Is the background brighter or darker than my subject?

• Is the horizon line levelled?

DOWNLOAD PDF

The focal length of your digital camera lens dictates how much of the scene your camera will be able to capture. Smaller numbers have a wider angle of view and show more of the scene, while larger numbers have a narrower angle of view and show less. Focal length impacts the look and quality of photographs and videos in several ways:

• Field of view

• Depth of field

• Compression

• Image shake

DOWNLOAD PDF

Using a tripod can be annoying, we know. Constantly moving it around, setting it up, adjusting the legs. But in some cases, you’ll be thankful for the shots you used the tripod for. If you don’t have a tripod or are too lazy to carry one, bring your arms close to your body and stand apart to get more stable handheld shots. Only if you shoot calmly you’ll be able to stabilize in postproduction.

DOWNLOAD PDF

Try to think of shots as a scene instead of individual takes, and always capture at least three shots per scene. This can be a wide, medium, close or beginning, middle, and end shot. Dividing an action into individual shots makes it much more engaging for the viewer.

DOWNLOAD PDF

To create well-composed shots, you can follow the RULE OF THIRD. This guideline places your subject in the left or right third of an image, leaving the other two-thirds more open.

Different PERSPECTIVES can be used to make the visual impression of your film more exciting and diverse. Raise or lower your phone camera to create different angles to make a character look bigger or smaller.

The POINT-OF-VIEW perspective gives the viewer a unique insight into the perception of your protagonist. Humans love to see symmetry. It looks appealing to us, and it’s always worth it. We know the word BOKEH sounds very fancy, but it’s the expression for the aesthetic blur produced in the parts of an image that are out of focus.

DOWNLOAD PDF

Audio is a crucial element of your film. Sound contributes to a realistic perception and amplifies cinematic reality. It emphasises what‘s on the screen and is used to indicate mood. Try to get close to the source of the sound you want to record. And check your sound levels. Deafening sounds can be distorted, and quiet sounds can have hiss. An easy rule to remember is that your audio level should never peak higher than 0 dB. As wind can cause noise in your recordings, use a windshield if possible.

You can use your camera’s (or phone’s) internal microphone to record sound during the shoot. But to have a higher sound quality, we recommend using an external microphone that you attach to your camera. You can use a Lavalier microphone you clip on your protagonist or a shotgun microphone for documentaries. This directional microphone must be pointed directly at its target sound source for proper recording.

DOWNLOAD PDF

Shooting an engaging interview is one of the most challenging tasks in filmmaking. Besides the technical requirements of getting good visuals and clean audio, you will also need to create a comfortable atmosphere for a conversation.

Here’s a checklist for a successful interview:

1. Find a quiet environment where you won’t be disturbed by traffic noise or big crowds.

2. Be very conversational (don’t just tick questions off your list but have an honest conversation).

3. Ask questions that prompt more than a yes or no answer.

4. Ask your protagonist to include parts of your question in their answer or give context.

5. Ensure your interview partner feels comfortable and warm and has enough water.

6. Find a place with consistent lighting.

7. Try not to interrupt during the conversations to make editing easier.

8. Your protagonist is a reflection of you. If you want them to smile, try to smile yourself.

9. Tell your protagonist where to look (at you - more passive / into the camera - more direct).

10. Listen carefully to what your protagonist is telling you. If new questions arise, ask. Sometimes your story takes turns that you never imagined.

DOWNLOAD PDF

Protected places are the last refuge for wildlife and nature to thrive. As filmmakers, we always try to find the best angle, but it should never come at the cost of nature. Make sure you know the rules of the protected area you’re in and stick to these rules.

DOWNLOAD PDF

Match cuts are the method to create seamless edits within your film. They are used to create a connection between different recordings that are separated in time or space. A match cut is a transition based on something that matches between one shot and the next, focusing on an element that’s the same or similar between the two shots. You can use similar shapes, actions or movements to create match cuts.

DOWNLOAD PDF

A gimbal is an excellent tool for getting steady movements. When you use a gimbal, ensure your smartphone is well-balanced on it.

5 TIPS FOR FILMING WITH A GIMBAL:

• Walk slowly with your knees bent. Often it helps to walk backwards to keep your eyes on the subject and keep the subject centred in the frame.

• Lock exposure and white balance as they might change a lot while walking.

• Guide your gimbal with your body. Instead of twisting and turning the gimbal to get the shot, turn your body and guide the gimbal. Keep the gimbal close to your body.

• Plan your shots, think about the start and stop points of your movement

• Practice. It takes a bit of time to get super smooth movements, but the more you do it, the better you get and the more creative you can be.

DOWNLOAD PDF

Filming in slow motion allows us to capture fast-moving objects like falling leaves or water and playback at a much slower speed, which reveals a much greater detail of the movement. To film in slow motion, you must go into your camera settings and select a frame rate of at least 50 frames per second. The more frames per second, the slower the motion.

DOWNLOAD PDF

We often think of vast landscapes and fantastic sceneries when we think of videos and photos. But the real magic is often hidden in the details of a meadow. You’ll only discover it if you take a closer look. Don’t only shoot from head height. Move your body around to find the best angle. If you have to crawl in the mud for the shot, do not hesitate to do it.

DOWNLOAD PDF

A timelapse allows us to visualise processes that happen over extended periods in just a few seconds. This can be the movement of clouds, stars or the sun. Pay attention to the following requirements while capturing your timelapse:

• Use a tripod

• Set all settings to manual (focus, white balance, etc.)

• loc
  

DOWNLOAD PDF

Polarizing filters can increase colour saturation and decrease reflections — and are one of the only lens filters which cannot be replicated using digital photo editing.

Neutral Density (ND) filters reduce the intensity of light entering the camera. This allows the photographer more control in selecting the shutter speed and creating desired motion blur.

DOWNLOAD PDF

Shooting great wildlife footage may seem like something anyone can do, but to do it right, you need to do more than walk into the woods with a camera and hope you find something. Wildlife videographers are the best because they have the right gear, study their subjects with extreme patience, and put themselves and the animals in the best position.

DOWNLOAD PDF

A common mistake beginners often make is to go out and create an abundance of footage. Later in post-production, you’ll spend too many days sorting and screening this footage before you even start the creative editing.

DOWNLOAD PDF

Outside filming, the moment often seems much longer than it is. We tend to take videos just like we take photos. Only to realise later in post-production that the shot only allows for a quick cut, even if we’d like to show it longer.

DOWNLOAD PDF

Confidence is one of the most critical skills of a filmmaker. You’ll often find yourself in a situation where many things are going wrong and might not be how you imagined them. Especially in these moments, it is crucial to stand your ground and stick to your plan.

Most moments in nature only happen once. You need to be aware of this and always get the shot when it’s there - even when it might not be perfect. Don’t fix it in the post. Don’t do it on another day. Do it now as best as possible in the given circumstances.

DOWNLOAD PDF