Before we begin this section I should thank the numerous individuals and friends who work in the film making and cinematographic industries who have aided me in writing this section by lending their expertise in the various fields in which they specialize. That being said, the obvious explanation behind using video equipment during a paranormal investigation is to be able to capture events that EVP and still photos can not – live action paranormal occurrences in a real time environment. This type of set up is particularly useful if there is one or more target areas which must be observed but lack of manpower or resources does not allow all bases to be covered at once. After the video equipment is set up it may be focused on a certain area and allowed to run unchecked for some time while the rest of the target areas are surveyed by the investigative crew.

             Camera work however, is only one skill in a much larger process, the goal of which is usually to produce a completed video program or presentation about paranormal activity. Even if the video is only being recorded for purposes of analysis there are still steps which must be taken to ensure that the quality of work being done during the recording process is up to a minimum standard. To be good at camera work, you must have a clear picture of, at a bare minimum, the various processes which take place and some idea of what the finished product should look & sound like. If there's one thing that separates the amateurs from the pros, it's that amateurs "point and shoot", whereas pros "plan and shoot." Obviously there are times when you simply don't have time to prepare before having to record after arriving at a site. Sometimes the activity begins unexpectedly and you just have to get things rolling ad lib.

              When contemplating the purchase of video equipment a good note to bear in mind is that the extent of the night vision on video cameras is measured in “LUX.” The lower the “LUX” value is the better for recording in almost complete darkness. If you are considering the purchase of a video recorder specifically for the purpose of night time recording, its best to consider one with a zero (0) LUX rating.

              Alternatively, if higher end video equipment is out of your budget you can purchase additional accessories such as hand held IR (Infrared) Illuminators that intensify the night vision capabilities of your camcorder. Many of these hand held IR units can increase the night vision capabilities fifty (50) to one hundred (100) feet. It is always best to check the manufacturer’s recommendations for your equipment as well as the compatibility of different pieces of hardware to understand how they function together before the investigative crew gets to the investigation site. Another good tip to remember is that night vision uses a great deal of power from your batteries so remember to take extra! It is also recommended that when you are setting up your camcorder you should choose a target within the specified range of the external light source and focus the camcorder on that object.

               I should mention that the majority of the newer camcorders will have come equipped with some form of night vision. I say “some from” because there are two forms of night vision which are presently on the market, only the first of which is true night vision. True night vision has the classic “greentone” to it when it is viewed. This set up operates off of infrared light. There is also light gathering night vision which modifies the amount of natural light in the area through a refractory tube. This refractory tube intensifies the light internally and would brighten the filming environment so drastically it could potentially drown out anomalies with the visible light spectrum. The former is preferred over the latter for paranormal investigation.

                I have found that one of the best ways to capture an anomaly on film is to set up the camcorder in an active area and just let it run. Allow the ghosts to come to you. Remember the old phrase “Curiosity killed the cat…but satisfaction brought it back.” Ghosts, like everyone else, are curious about changes in their environment so they will come to see what it is that has been left in their area. This seems to be especially true when everyone leaves the area. I have also come to find that a strobe light can aid in the capture of anomalies in film. I believe this happens for two reasons: 1 the strobe light gives a “slow motion” effect to the moving anomaly when captured on film, 2 the wavelength of light as well as the strobe effect itself is different than the light that is usually in the environment. It can be surmised that the changes in the wavelength of the light spectrum may also add to the ability to capture the anomaly on film.

Cinematographic Terminology

                The first thought that I will bring to the fore is that the video recorder must become an extension of you. You must become familiar with how the camera works and understand the limitations thereof. The two obvious suggestions that I can offer are to read the owners manual to find the specifications for the particular camera that you have or are considering for purchase. The second suggestion is to use the camera before an investigation so that you can get a feel for how the camera works before hand. Technique, especially when using a video camera on an investigation, is an invaluable skill that any investigator must possess should they decide to record an investigation. Below are some suggestions that I can offer to aid you in making better video documentation of your investigation site. We will start with some basic terminology and move on from there.

Audio: The sound which is recorded along with the motion in the pictures.

Composition: Everything that is found within a frame; the subject of the shot, the foreground & background, lighting, etc.

Frame: This is the area that you see in the viewfinder of the camera.

FOV: The Field of View is the angle described by a cone with the vertex at the camera's position. It is determined by the camera's focal length, with the shorter the focal length the wider the FOV.

Pan: Side to side horizontal camera movement.

POV: Point of View describes the positioning of the camera in a way in which the viewer will see the scene from a certain standpoint. Examples of this would be first person view, third person view, boom shot (a.k.a. birds eye view which is above the scene), ground level (a.k.a. worms eye view), etc. Note: I have to state that since I do not work in the motion picture industry I am not entirely clear on what the last term “worm’s eye view” means, as worms do not have eyes. (OK, so it wasn’t funny – I’ll stick to what I know)  

Shot: From the beginning to the end of one scene. Basically a shot begins when you press record and ends when you press stop. 

Tilt: Ground to sky (up and down) camera movement.

Transition: When several shots are edited in a sequence to tell the larger story. The way in which any two shots are joined together is called the transition.

Zoom: Focusing the camera on closer or more distant objects or action without physically moving the camera.

Field Techniques for Video Recording During An Investigation

                There are several fundamental camera movements that were developed soon after the invention of motion picture cameras that are still in use today. We will briefly go over these techniques so that you will be given a good idea as to how they should be used in conjunction with your camera so that you may optimize your investigation recordings.  

Panning and Tilting

                For both of these type of shots the camera remains stationary and rotates in a horizontal (panning) or vertical (tilting) plane. Panning is used to follow a moving object or character, or to show more of an area than can fit into a single frame. Panning across a landscape or through a room is one example of this technique. If you find that you would like to pan through an area of your investigation site either to observe the area in more detail or just to multiply your chances of capturing an anomaly it is strongly suggested that you pan with a slow, steady motion. Panning through an area too fast is known as strobing. This will result in blurred, out of focus footage which may render an anomaly unobservable. The latter observations also apply for tilting.

Framing & Composition

            The frame is the picture you see in the viewfinder (or on a monitor) when filming. When you "frame" a shot, you adjust the camera position and zoom lens until your shot has the desired composition and covers the area that you feel strategically befits the investigation. When speaking of framing and composition it is important to consider The Rule of Thirds. This rule divides the frame into nine sections, as in the first frame below. Points (or lines) of interest should occur at 1/3 or 2/3 of the way up (or across) the frame, rather than in the centre.

Figure 11.1 – Illustration of the Rule of Thirds

Composition 

                Composition refers to the layout of everything within a picture frame — what the subject is, where it is in the frame, which way it's facing/looking, the background, the foreground, lighting, etc.

Camera Angle (POV)

                The camera angle helps to determine the point of view of the camera. This is something that is very important since most viewers have seen too much TV or movies which have conditioned them to interpret the cameras point of view as containing certain subconscious meaning within the scene. An example of this conditioning is when the camera shows a tilted horizon which usually appears sinister or may denote that something is afoot to the audience. I mention this because we do not want our analyst’s or others investigators who view these tapes to get preconceived ideas even if they are on the subconscious level.

Audio

            Virtually all consumer-level cameras now come with built-in microphones which usually have a hi-fi stereo format. These are usually all you need for most of your general investigation work. If you're you like, try plugging an external microphone into the "mic input" socket of your camera (if it has one). There are two reasons why you might want to do this:

·         You may have a mic which is more suited to the work you are doing. 

·         You might need to have the mic in a different position to the camera.

Other tips on video recorder audio:

·         If possible, try to keep the background (ambient) noise level more or less consistent. This adds smoothness to the flow of the production.

·         One more thing... be careful of wind noise. Even the slightest breeze can ruin your audio. Many cameras have a "low-cut filter", sometimes referred to as a "wind-noise filter" or something similar. These do help, but a better solution is to block the wind. You can use a purpose-designed wind sock, or try making one yourself.

Note: You should be aware that the audio on a motion picture recording IS NOT meant to replace a voice recorder for EVP.

Basic Recording / Shooting Techniques

1. Position yourself and your camera before you begin. When recording an investigation area it is important that you use a tripod in conjunction with the camcorder otherwise you’ll come out with choppy, amateur looking video that seems like bad outtakes from the Blair Witch Project.

                Walking or moving around with a camcorder can cause instability in the film frames and may cause the picture to be jumpy when it is being reviewed. This can make an anomaly difficult to view and almost impossible to observe in detail. If you're not using a tripod or must walk while filming, stabilize yourself and your camera as best you can. Keep your arms and elbows close to your body (you can use your arms as "braces" against your torso). Breathe steadily. For static shots, place your feet at shoulder width while standing or you may want to try bracing yourself against some solid object (furniture, walls, etc) so that the integrity of the shot will be maintained.

                If you plan on panning and/or tilting, make sure that you'll be comfortably positioned throughout the whole move. You don't want to start a pan and then realize you can't reach around far enough to get the end of it. If it's going to be difficult, you're better off finding the position which is most comfortable at the end of the move, so that you start in the more awkward position and become more comfortable as you complete the move. 

2. Frame your shot. Find the ideal area that you believe will have the greatest probability to capture an anomaly and set your camera sights on it.

3. Think about your audio. Even though the audio on your video recorder does not supersede the audio on a hand held voice recorder the audio on your video camera can yield as much evidence as a hand held divide, so don't forget about it.

4. Press record. Once you're recording, make sure that the camera is actually recording by checking the display. Also confirm that the lens cap is off. There's no worse frustration than realizing half way through an investigation that you accidentally did not press record or that you left the lens cap on while the camera was recording. Many cameras have a tape "roll-in time", which means that there is a delay between the time you press record and when the camera begins recording. Do some tests and find out what your camera's roll-in time is, so you can then compensate for it. After you have checked the above items it would be good to begin you recording with pertinent information such as time, date, location, opening remarks, etc.

5. Keep checking the status of the camera in the viewfinder or on the display. Learn what all the indicators mean — they can give you valuable information.

6. Use both eyes. A valuable skill is the ability to use one eye to look through the viewfinder, and the other eye to watch your surroundings. It takes a while to get used to it, but it means that you can walk around while shooting without tripping over things, as well as keeping an eye out for where the action is happening. It's also easier on your eyes during long shoots.

7. Learn to walk backwards. Have someone place their hand in the middle of your back and guide you as this type of shot may capture activity in an area that you are exiting from.

8. Be diplomatic while shooting. Think about the people and places that you're shooting. Remember that people are often uncomfortable about being filmed, so try to be discreet and unobtrusive (for example, you might want to position yourself some distance from the subjects and zoom in on them, rather than being in their face. We also want to be respectful of the areas we are in as well as the wishes of the property owners. Bear in mind the standards and protocol and you can’t go wrong. 

9. Use the "date/time stamp" feature sparingly. It's unnecessary to have the time and date displayed throughout your video, it looks cheap and very amateur. If you must have it there, bring it up for a few seconds and then get rid of it. Modern digital cameras have the ability to show or hide this display at any time after recording. Be prepared to experiment. Think about some of the things you'd like to try doing, then try them at a time that doesn't matter. Most new techniques take practice and experimentation to achieve success, and good camera work requires experience. If you want to be good, you'll have to invest some time.

10. When you plan to stop recording make your closing comments, press stop, and hold the camera steady for a second or two afterward so that you don’t get the closing “home video shake” that is often experienced in amateur home movies as the camera operator fumbles for the “stop” button.  

ITC Positive Feedback Regeneration Technique

                Although this is a video recording experiment, it does not take place in the field; rather, it takes place in your own home. The origins of this type of audio visual experiment date to around 1985 when Klaus Schreiber began to receive spirit images on his TV set. Specifically, on September 30, 1985 Schreiber began receiving images, unusually clear images with no ambiguity as to who the person was, through his television. Albert Einstein, Austrian actress Romy Schneider, deceased family members (including two wives and his daughter Karin) and many more. Some of these people he knew personally, others were famous people and there were also average individuals, all of whom had a common goal – to communicate with Schreiber from the other side. Schreiber did not have any technical knowledge of television or knowledge of parapsychology however his love for his deceased relatives united them beyond the grave.

                Schreiber’s techniques were revolutionary at the time of their invention and to date no better process has been devised. For the first time ever paranormal researchers could both hear AND see the deceased in real time. This technique, called Positive Regeneration Feedback (or PRF), is very effective – but it is also very time consuming. If you are interested in trying this technique there is a list of equipment (numbered according to the layout schematic) below as well as a couple of schematics on the set up of the equipment and some instructions on how to go about this venture.

1. Black and white camera with zoom lens and tripod

2. Video amplifier

3. VHS recorder with still picture, slow-motion and stop-motion switching.

4. TV set with remote control, black-and-white or color, minimum 13 inch diagonal 

5. Quality voice recording microphone & stand

6. Microphone amplifier with level limiting 

7. UV lamp

8. Two black-light lamps with different wave lengths

9. IR illuminator

10. Aluminum foil with card board backing

                Before we get into the set up of this system I must stress here that the quality of the video tapes is of great importance. Poor quality tapes such as those found at dollar stores are quickly damaged because of the intense use of the still picture feature, they excessively soil the playback mechanism of the recorder, tend to have a substandard picture and audio quality and wear out much more quickly. An investment in quality tapes is an investment in your results.

Figure 11.2

                Moving along to the set up of this system (see figure 11.2), the coaxial output of the VCR (3) is connected to the television (4). The video camera (1) is then connected to the video amplifier (2) and the amplifier is then connected to the input line of the recorder via RCA jacks.

Although the microphone in the video camera may transmit EVP sounds, an independent vocals-grade microphone (5) may also be incorporated with a microphone pre-amp (6) as well.

                The room should be kept under normal lighting conditions, however it should be noted that any light that creates a glare should be turned off or directed away from the television screen so as not to interfere with the video recording.

                The recorder should now be turned on and placed in an optimal position for recording. This position must be determined by the researcher in accordance with environmental factors and by using good discretion.

                With all of the equipment now switched on the researcher should adjust the video amplifier to obtain a “cloudy” effect on the screen. The microphone distance and the microphone amplifier should now be adjusted so that a regenerative feedback, that is, a continual low hum or whistling, can be heard. The video and microphone amplifiers are of paramount importance to this experiment because we are dealing with both audio and visual oscillations.

                Because this operation, like most paranormal investigations, takes place within various wavelengths of the electromagnetic spectrum we attempt to cover all possible areas so that we may gather as much evidence as possible in each subsequent investigation. As I’m sure you have already figured out the video and microphone amps have the sound and video portion covered as far as frequency and oscillation go, however we will use the UV lamps (7), and the IR illuminator (8) to modify the light spectrum in the room. As for the aluminum foil it will serve a dual purpose acting as an indirect reflective source of the IR and UV light as well as an “antenna” of sorts.

                Once all of this is complete you may begin recording, however I caution you that a modern video camera will run about 1500 frames per minute, consequently even recording five minutes of tape will yield about 7500 frames of video that will have to be analyzed.