What are the shooting skills of corporate promotional videos?

The way of thinking about lens assembly is logical. The combination of promotional film lenses should conform to the audience's way of thinking and the laws of film and television performance, and the assembly of lenses should conform to the logic of thinking. The theme and thinking expressed in film and television programs must be clear, and on this basis, we can confirm the psychological requirements of the audience and use appropriate lens combinations to express accurate content.

Keep the axis side. The shooting direction in the lens assembly is consistent and the axis is regular. Avoid "crashing" the main object of the picture.

The so-called "axis law" refers to whether the captured picture has the phenomenon of "jumping axis". When shooting, the position of the camera is always on the unified side of the main motion axis, so the direction of movement and placement of the picture are the same, otherwise the "jump axis", the picture of the jump axis can not be assembled except for special needs. The lens connection should be smooth.

If the movements of the unified subject or different subjects in the picture are coherent, they can be moved to achieve the purpose of smooth and concise transition, which we refer to as "dynamic connection". The length of time of lens assembly, when filming film and television programs, the stagnation time of each shot is determined by the difficulty of the content to be expressed, the audience's receptivity, and secondly, factors such as picture composition should be considered. For example, because of the different scenery selected in the screen, the content included in the screen is also different.

Pictures with large lenses such as the foreground and middle ground contain more content, and the audience needs to see the content on these screens clearly, and the time required is relatively longer, while for close-ups, close-ups and other small shots, the content contains less, and the audience only needs a short time to see clearly, so the screen stay time can be shorter. Generally speaking, when shooting a corporate scene, the development of the "scene" should not be too drastic, otherwise it will not be easy to connect. On the contrary, the "scene" does not change much, and at the same time, the shooting angle does not change much, and the shots are not easily assembled.

Because of the above reasons, we need to take a step-by-step approach to the development and change of the "scene" when shooting. Gradually changing the shots at different visual intervals can create a smooth connection and form a variety of montage sentence patterns.

Flat: that is, the camera (picture) is required to be horizontal and cannot be tilted (except for special requirements), otherwise the vertical objects in the picture will be tilted, such as the horizon, buildings, trees, etc., which does not conform to the norm. This is especially true when shooting with a handheld camera.

Steady: That is, the camera does not shake or shake while moving. If there is jitter, it can make the viewer look uncomfortable or even misinterpret its content.

If the picture is stable, it is mostly necessary to use some related equipment and methods, such as using a tripod, Steadicam or holding your breath when it is critical. Accurate: Be accurate in the composition, rise or fall of the shooting screen, and do not hesitate.

There is hesitation or a brief pause in the middle of the cut, which will allow the audience to see the flaws. To be accurate, you can do it a few times before the actual shoot to find a feeling.

First of all, determine the best objects are the owners, peers, superiors, and what are the publicity points, such as the company's products, technology, talents, etc. Then determine the narrative style of **. Whether it's a flat story, or a story to tell the propaganda point, and so on.

After these aspects are determined, the copywriting is implemented, the script is determined, the shooting scene is implemented, the characters are exported, and a large amount of material is absorbed. If it's an outdoor scene, be sure to shoot it in the summer. High efficiency, no haze.

In the end, editing, subtitling, translating the English version, and dubbing will have to be painstakingly carved repeatedly. The capture of copywriting and footage is where it is easier to shine. With a depth-of-field lens.

Because the depth-of-field lens has a foreground, theme, and background, it is very layered, and it can also explain the master-slave relationship, guide the line of sight, create an artistic conception, and evoke a movie-like picture.

What are the shooting skills of corporate promotional videos? 1. Determine the first framework of publicity, which is the first step in making a script. Here, it is necessary to determine the framework of the script and the characters, and divide the structure of the promotional film into four parts: the main role, the secondary characters and the wild according to the script.

2.Determine the overall visual style, because no matter what kind of style the promotional video of the promotional video production company is, once the overall visual style is determined, the visual elements and content of each part cannot be ignored. 3.

Determine the content of the promotional video, because most of the short ** is to explain the corporate repentance and corporate theme. Therefore, the promotional video copy of each film is the idea of the overall promotion, and then the style of the overall promotion is a combination of these styles and content. 4.

1. Shoot for the sake of editing.

From the perspective of continuity and narrative of the mirror studio, we should determine the field of view as much as possible and capture interesting shots. If the script mentions a definite location or landscape, capture it as much as possible. At the same time, it is also important to consider that the number of lenses should not be too small.

2. Keep the shooting going.

There are often some useless shots in the shooting, such as the impact of the lens, the framing is not satisfactory, and the "bad shots" that look inconspicuous at the time may have another role for the editor.

3. Set the camera parameters.

Make sure that the color temperature and white balance settings are correct, as this is not only the most basic requirement for videographers, but also the focus of the entire shoot. These settings are difficult to adjust at a later stage, especially in the context of special lighting.

4. Shoot a little longer.

Keeping the length of the shot, Du Stool Hail will never be too short to be used for editing. Even if you think that this shot is well shot, it doesn't mean that the length of this shot is enough for editing.

5. Don't be aimless when shooting.

When shooting, there is a focus, the lens language is clear, and the storytelling is displayed in an orderly and orderly manner. Follow the script to highlight what needs to be highlighted, and don't be aimless, resulting in a lot of shots and very few clips that can be used.