More and more people are now using their smartphones to shoot and create stories whether they are for a short film, multimedia/journalism or corporate content.

This workshop is a hands-on experience which you take you through how to record video and audio, edit your footage and export the content online or social media. During the course you will also get a chance to use a variety of microphones, grips and tripods.

The workshop will cover the following:

• Learn how to record audio and use a microphone to get the best sound
• Shoot video interviews and learn how to frame the subject correctly using well established cinematography techniques
• Shoot voxpops, point-of-view shots, action shots
• Use your smartphone to film establishing shots and cutaway shots
• Learn how to use natural lighting as a key light to model and illuminate the subject
• Use good interview technique and learn how to edit for the sound
• Take photographs and learn how to use picture composition and rule of thirds
• Learn how to edit your clips on the smartphone and create a video news story
• Launch video news stories online and blogs using social media sites.

Before the course, we will contact participants to find out what type of smartphone they’ll bring to the course and to provide a list of apps to download before the workshop. The majority of these are free, but the list may include a couple of paid-for apps. These should not come to more that £20 in total.

About the trainer:
The course tutor, Bill Shepherd teaches mobile and video journalism using smartphones and mirrorless cameras at billshepherdmedia.com. He is a member of the National Union of Journalists, the Guild of Television Camera Professionals and he is also a production editor at The Guardian and The Observer.

Image: via Shutterstock / drpnncpptak

The panel consisted of award-winning filmmakers Liam Saint-Pierre, Chloe White, Marc Silver, and Gemma Atkinson, with documentary programmer and DocHouse producer Jenny Horwell moderating the discussion. 

The discussion began with an overview of techniques and inspirations from each filmmaker – and it was soon evident that the speakers did not stick to any unchangeable formula in their work.

“There is no process for when I’m making films,” Silver said, with White adding that he views himself as “more of a spontaneous filmmaker.”

Atkinson said: “I let the character dictate what direction the film goes in, rather than going into it with a big plan, which means it can go in any direction.”

“It has been quite nice to hear the others tonight, often I thought it was just me who was so haphazard!,”commented Saint-Pierre.

Great to see such a talented, eloquent bunch of documentary makers at @frontlineclub. Time I dusted off the camera. pic.twitter.com/JXSRVQbox4

— Peter Yeung (@ptr_yeung) February 15, 2016

Although there was a general consensus that the creative process should not be formulaic, three elements were highlighted for their significance at the start of a project: inspiration by way of specific characters, places, and issues.

“I like characters who are really passionate about something, and they are kind of on the edge of society,” said Saint-Pierre, as he explained how he found the shopkeeper around whom his first film centred.

Silver added: “for me, the place is a character. It’s not just the people, but also the essence of a place.”

Each of the panellists agreed that they aimed to spend as much time as possible with their subjects. Silver explained that on a five-day shoot, he would try and spend the first two days with his subjects without his camera. “I might take a stills camera, just for fun. But I’ve learnt from the past that I don’t need to over-shoot – and also I need to get past the first layer with that person and gain trust.”

However, the panel also reflected on how working with tight budgets and shorter timelines meant that the aim of spending significant time with their subjects was often unrealistic.

Horwell then moved the discussion onto one of the final stages of short documentary production: the editing process.

She asked the filmmakers to comment on their top tips for this stage, and how they avoid common mistakes.

“Hold the shot for longer than you plan. Whatever time you are holding it for, add an extra 5-10 seconds” Atkinson advised.

White agreed, and cemented the point with an extended clip from her film The Long Haul: “At the time I didn’t know that shot would be so useful, but trusting your shots and holding them for a long time, you’ll be thankful when it comes to the edit.”

Saint-Pierre added that for him “it was a matter of the character; you don’t want to turn the camera off. Often I’ve done it and then missed an amazing moment.”

The conversation did not run chronologically through the filmmaking process due to the non-linear nature of short documentary production – as Horwell had predicted – and the discussion touched on subjects including the use of ‘playful’ introductions, to how to best distribute your content online.