Get More Out of Your Film By Having Better Film

In today’s coaching world, film is a major tool for success. Yet, sometimes we get film that just isn’t up to par. When you get opponents’ film, you are left at the mercy of their filmer. Often it’s a young manager, injured player, young coach, or possibly a volunteer. Your own filmer can sometimes be very green with the camera, have tripod issues or even miss entire plays. People can forget equipment, and then you’re stranded without film. We’ve all had it happen during our coaching careers.

What we have done at Pequea Valley is set up a very simple, yet detailed system for our technology throughout the week and especially on game day. Our filmers know exactly what is expected of them leading up to game day, during the game, and after the game. It is very straightforward and there is a checklist that goes along with each day.

We film as often as we can. Our philosophy is that the more film we can watch of our kids and show them, the more efficient we will be in correcting our mistakes. We have some sort of filming procedure on each day of the week. Monday through Friday we are trying to film as often as possible. Before you worry about “what” you are going to film, you need to find the “who” that is going to film.

As I mentioned before, sometimes this is a player, manager, volunteer coach or, in our case, my wife Diana. Whomever it is often has never operated a camera in a football environment before and it can be quite intimidating. Choose someone who is going to be able to invest the time in filming for you every day. You DO NOT want someone different filming every day if you can avoid it. The more people involved, the more opportunity for mistakes. Once you have made your choice, sit down with the person and show them the equipment. By equipment, I mean everything - camera, batteries, chargers, extension cords, tripods, tape storage, etc. They need to know where everything is and how to access it. Once they know the “lay of the land”, go through a step-by-step process of teaching them to operate the tripod and camera. Then, have them repeat it and show you their competence in using the camera effectively. If you want good film you must go beyond the “press the red button to start and stop.” Things that we teach our filmers from day one before we even get on the field include:

1.     Power up procedures.

2.     Putting the tape in and taking the tape out.

3.     Setting the record mode - LP/SP, etc.

4.     Date set-up - this is critical if you combine views such as wide and tight.

5.     What they see on the screen when they are filming.

6.     Focusing procedures - teach them to focus slowly.

7.     Starting and stopping the recording.

8.     Tripod set up - keeping the tripod level if you are on a flat platform (roof, etc.) or if you are standing in the corner of the stands. There is a difference. 

9.     Moving the tripod using the handles right to left and up and down.

10.     Keeping an eye on the battery level at all times.

11.      If you can plug in to an electric socket during filming, show the filmer the procedure.

Once they know how to use the camera equipment and where it is housed, it’s time to learn how to film football. At this point we teach filmers the different views that we will use throughout practice/season. We use two different views in our filming. First, we utilize a WIDE view. This is the typical view that many teams across the country at all levels use. Some people call it the press box view. During a film situation, this view is also how we know our down and distance. We start the film clip showing the down and distance markers and then widen out to the field view once the huddle breaks. This view we tell the filmer to get one man wider than the deepest defender (safety) to the deepest offensive player (tailback/running back). When the ball is snapped, follow the play and the ball. Do this by zooming in SLOWLY. Don’t jerk the focus or you will lose sight of the ball and the image becomes distorted and useless to coaches. Do not stop recording when the whistle blows the play dead. Film until the ball carrier hands the ball to the official.  This allows you to see the very end of the play every time.

The second view that we employ is the TIGHT view or end zone view. Some schools may not have the equipment to have a special end zone camera. If you have the ability to budget for scaffolding or a lift machine, you can do it that way. This camera is set up behind the end zone on one end of the field, set off from the goal post about 20-25 feet away. The viewpoint is from high and behind the formation. You must be up in the air for this view to work properly. This view allows you to focus on your offensive line and your backfield and see their steps and aiming points. It is invaluable to your team. It allows you to teach and correct mistakes quickly and easily. I tell our filmers to widen the view of the camera one man wider than the end man on the line of scrimmage. I call this a ghost man. In this view, we are not concerned with the wide receivers. This is purely for the big boys up front and the backfield sets. We teach our end zone filmer to start the recording when the team breaks the huddle and stay with the offensive line. Do not follow the ball. Slowly zoom out if the offensive line moves from one side to the other (screens, etc.). We are not concerned with the down and distance from this view.

Some teams use a third view as an END ZONE WIDE view. This view gets sideline to sideline from the end zone vantage point. It allows teams to see essentially what the quarterback sees. We don’t have the need to do this at this time. We get everything we need with the WIDE and TIGHT views.

Regardless of what view you are filming, the hardest part about teaching a filmer to film is the understanding that they have a job to do and not to watch the game and be a fan. It’s very hard but a must in order to capture the best film possible. This comes with practice filming during JV games and practices. Also, don’t be afraid to talk to your filmers about what they can do better. Many people that have helped us film want to know if their film is sufficient. If it’s not, tell them. If not, you are going to keep getting the same thing. Explain to them what they need to be successful and, in turn, you will start to see better film.

Our filmers will gain valuable experience through our weekly schedule. I have outlined a day-by- day schedule for our filming and how it can help teach how to properly film a practice and a game.

MONDAY- JV GAME- WIDE

Monday’s are our junior varsity games and these games are great for your filmer to gain valuable experience. It also gives you a chance to see your younger players and how they are progressing. A lot of coaches don’t film JV games and they really should. As the season goes on, injuries occur where you may need to use a JV player in a varsity role. Having this film allows you to see who can and cannot do what you need them to do on Friday night to be successful.

From a filming point of view, we will only film the WIDE view of a JV game. This view allows us to see the entire field of play and see all the players. Here we have the filmer practice the wide view working play after play through the process of down and distance to the ball being handed to the referee. 

TUESDAY/WEDNESDAY- PRACTICE PERIODS- WIDE/TIGHT

This is the “meat and potatoes” of the week. Here our filmers get a lot of great practice. These are the films that, as coaches, we all want to see. We choose during our game planning meetings and post practice meetings what we want to film. Typically, we will film our group periods - inside run plays and 7 on 7’s, and our team periods. That is, various situations such as red zone offense, goal line, third and short, etc. Both periods allow for ample practice by our filmers. Inside run is filmed from the TIGHT viewpoint, and 7 on 7 is filmed as if through the WIDE viewpoint. Team periods are filmed from both as this is the focus for the practice period. If we have only one filmer for practice, we choose what view we want most during the team period. These two days allow the filmers to get great practice that get them ready come Friday night.

THURSDAY- ON FIELD WALKTHROUGH/FILM CHECKS/EQUIPMENT CHECK

Thursday we actually don’t  film since we are simply having the on field walk through. This allows the filmers the opportunity to go through and organize the game day equipment list.  This is crucial because it helps ensure that nothing is left out and it is all gathered and ready for Friday. All we have to do is put the equipment on the bus and go to the game if away or, if we are home, everything is in a central location. Today is also the day that the tapes for tomorrow are labeled, the backups are set out, and most importantly, ALL batteries are charged.

FRIDAY- GAME DAY/ FILM CAPTURE

We know have had all of our equipment pre-checked and all the batteries charged. We load the bus or take the equipment out to the field. All cameras on the field are set up as soon as the first group comes out of the locker room for warm-ups. We do this early so we can ascertain if there are any problems with our equipment. Backup tapes and batteries are with the cameras at this point. Once the game begins, the filmers do their jobs filming the WIDE and TIGHT views. Once the game is over, all equipment is torn down and returned to its storage spot. The filmers now go to the computers and begin the initial film capturing downloading so that we, as coaches, can come in directly after speaking with the team to begin our breakdowns.

This simple, yet organized system has served us well. We always have our equipment ready and our filmers know what they are doing and what their role is. This has allowed us not only to have great film to watch with our kids, but also great practice film, good highlights, and quality film which we trade with our opponents.