Over those forty years my subjects have varied from animation, story, action sport, history, tutorials and of late travel documentaries. So the planning stage is dependent totally on the subject matter. An animation, story or history project is best worked from a script but a travel documentary, although some preparation is required, is mostly shot "on the hoof'.

A prerequisite for us when planing a trip has to be our deep interest in the local history and stories our chosen destination has to offer. We usually glean this information from the Internet, the local library and travel brochures. When planning our trip to Egypt, Jordan and Sinai, we had a pretty good idea of what we were likely to encounter and travelled well prepared.

So when we left New Zealand we had a general plan in mind but knowing full well that once we arrived at our chosen destination, we would be mostly " thinking on our feet" telling the story as we go. I say WE because since the year 2000 my wife Pat (who has always been an ardent still photographer) became a video convert . Now we have the advantage of working with two cameras. I don't think I need to tell you the benefits of this additional footage when it comes to editing: lots of different angles and lots of cutaways.

In a typical day's shooting we always try to shoot in sequences. This makes it so much easier when it comes to editing.

We try to shoot all buildings and monuments etc from as many interesting angles as possible. Including wide establishing, medium distance and close up pictures.

We always try to introduce local people going about their daily business. To get a more natural ,candid result, we casually lean against something and hold the camera at waist height framing the subject with the small camcorder side-screen. The subject is then unsure if you are actually recording them or simply reviewing previous footage.

We try to shoot as much on-site informational material as possible using signs and posters or anything else we come across. This can be very helpful later.

Cutaways. Lots and lots of cutaways. You can never have too many.

The following may sound a little corny but it works for us. We treat the camera as if all our friends were on board for the ride and what we are showing them will make visual and sequential sense. When travelling you often get only one chance to gather the footage you need. Chances are you will not return so we try always to make the most of any subject, time and place.

The opportunity to use a tripod rarely occurs when travelling abroad. Indeed, I was almost been thrown out of The Vatican because I was merely carrying one, hence the "Camera Steady Tray" was born. (See Camera Support in the Tech Talk section.) We used these to great effect all the way through Egypt and Jordan and when used in conjunction with bracing ourselves against grounded objects like fences, posts, trees and walls, the results proved very acceptable. At the end of the day we usually review the footage we have taken and plan the next day's shoot. Pat's exposed tapes are marked PI, P2, P3 and mine B l, B2, and so on etc. On our arrival home the first thing we do is to catalogue each tape on pre-printed sheets entering time codes at the beginning of relevant sequences. From these sheets we can plan the story line and the direction the movie will take. It also makes the position of the shots easier to find.

In my opinion, good movies are made on the editing bench.

We spend hours and hours at the computer fleshing out story lines and building what we hope will be an informative and entertaining piece of video. Like Harold Cosgrove (see his article here), I find narration the hardest part of the process, it alone can take days to get it right. Sorting through miles of factual material, trying always to keep it informative and in line with the visuals, endeavouring not to state the obvious. For me, film or video is all about "telling the story". I try to have a "hook" at the beginning which will make the audience interested enough to keep watching. Hopefully maintaining that interest by introducing variety and pace with highs and Iows throughout. Always trying to avoid the cardinal sin of making the video longer than it need be.

How many otherwise good videos have you seen marred by being longer than the interest the material would sustain?

Accused by our friends of seeing our holidays only through the eyepiece of a camera, we have to say that the pleasure we get from working with these stories once we return home, keeps the whole experience forever vivid and alive in our memories. We can return whenever we wish.

Studying Film

Before closing I would like to share with you an idea that was given to me when I first started in film and it goes like this:

If you want to learn how the professional cameraman and editors do it, try watching one of your favourite programmes WITH THE SOUND OFF!  This allows you to analyse camera and editing techniques without being drawn into the story, for you can be sure, the art will conceal the art.

Then to study sound simply turn your back on the picture and listen closely to how the pros delicately mix and weave the various elements. When it's done right you hardly need to see the picture.

Happy videoing, Brian Deakin.

Travel diary: Part 1 | Part 2 | Part 3 | Part 4 | Part 5