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HDSLR FilmMakiNG BOOTCAMPRichard Harrington – Author, From Still to Motion – RHED Pixel

Goals of session

‣ Learn essential preproduction techniques

‣ Learn production techniques that stretch your budget and create great source material

‣ Discover how to bring it all together in post—from transcoding to native editing

‣ Learn how to publish your video to both traditional and web-based platforms

Richard Harrington‣ RHED Pixel (www.rhedpixel.com)

‣ Adobe Certified Expert & Trainer

‣ Apple Certified Instructor

‣ NAPP Instructor

‣ Creative COW

‣ Project Management Professional

‣ Consult on digital media production and web content

Emmanuel Etim‣ RHED Pixel (www.rhedpixel.com)

‣ Production Manager

‣ Videographer

‣ emmanuel@rhedpixel.com

From Still to Motion‣ A photographer’s guide to creating video

with your DSLR

‣ Full color case study with hands-on activities

‣ 6+ hours of training videos

‣ www.peachpit.com/stilltomotion

‣ Free sample – tinyurl.com/fs2msample

‣ 35% Off with Code TOMOTION (order from peachpit.com)

About You

‣ Videographer

‣ Photographer

‣ Director/Producer

‣ Editor

‣ Motion Graphics Artist

‣ Educator

‣ Business Owner

tinyurl.com/fs2mvid

Why Shoot DSLR VideoThe Benefits of DSLR Video

AESTHETIC BENEFITS

‣ Great Depth of Field

‣ Filmic Image

‣ Creatively Invigorating

‣ Smaller Profile

.Depth of Field

.Depth of Field

Depth of Field

FILMIC IMAGE

.FILMIC IMAGE

FILMIC IMAGE

Technical Benefits

‣ Lens Selection

‣ Lowlight Performance

‣ Smaller Profile

‣ Tapeless Workflow

LENS SELECTION

LENS SELECTION

LOW LIGHT PERFORMANCE

LOW LIGHT PERFORMANCE

LOW LIGHT PERFORMANCE

.Smaller Profile

Smaller Profile

Smaller Profile

TAPELESS WORKFLOW

TAPELESS WORKFLOW

TAPELESS WORKFLOW

THe CONS

‣ Tapeless Workflow

‣ Sync Sound Workflow

‣ Add-on Gear Essential

‣ New Skills

‣ Focus is Difficult

TAPELESS WORKFLOW

SYNC SOUND WORKFLOW

SYNC SOUND WORKFLOW

ADD ON GEAR ESSENTIAL

ADD ON GEAR ESSENTIAL

Business Opportunity

‣ New Skills

‣ Additional Revenue Existing Customers

‣ Merger of Talents

‣ Wonderful Value

Technical EssentialsA Crash Course in Video

Frame Rate Options

‣ 60 fps (59.94 fps)Common frame rate for 720p HD Can be used for overcranking

‣ 30 fps (really 29.97 fps)The most common frame rate for broadcast in the U.S. and other

‣ 25 fps The common frame rate of video used in Europe and around the world that use the PAL standard.

‣ 24 fps (23.98 fps) A rate that closely matches that of film

Frame Rate Options

‣ For footage that mimics film, a good choice is to record 24 (23.98) fps

‣ For footage that is going to be used for broadcast 30 (29.97) fps is a good choice (1920 x 1080)

‣ If working with the Phase Alternating Line (PAL) standard, you’ll use 25fps.

‣ For footage shot 1280 x 720, then 60 (59.94) fps is the best choice for broadcast in NTSC based countries and 50 fps for PAL countries.

11:00–11:15

Why PlanAn overlooked but critical step

The Purpose

‣ Productions are expensive ventures, you want to maximize productivity.

‣ Preplanning asks the questions and determines the solutions before that expensive day comes.

‣ Takes the concept on paper and puts a real world face on it

‣ Have a game plan in advance, schedule, shot list, etc.

The Benefits

‣ Save time

‣ Save money

‣ Reduce stress

‣ Reduce project risk

What To Plan for CreativelyOpen your eyes and good things can be found...

What To Plan for Creatively‣ Camera position

‣ Lens selection

‣ Lighting decisions

‣ Shot List/ Shooting Order

‣ Rigging Issues

‣ Alternative shooting options

Site SurveyAssembling the right team

Who Goes?

‣ Producer

‣ Director

‣ Director Of Photography

‣ Location Manager

‣ Art Director

‣ Electric

‣ Additional department heads

Why?

‣ Everybody has a different set of needs.

‣ Someone has to be responsible to fulfill all of the informational needs.

‣ Must be prepared to answer questions essential crew might have the day of the shoot (or before).

‣ Easier to plan for problems than solve on the fly.

Gear to Bring On Site SurveyEssential equipment

Digital Camera‣ Visualize the physical space.

Ceiling height, windows, floors, lighting, wall color, obstructions, access...wide shots that show everything.

‣ Pre-visualize shots. Lenses and aspect ratio as close to the real format you will shoot. Your DSLR makes this easy!

‣ You can sample depth of field to hide background, check for color compatibility, check requirements of camera placement, some idea of light quality and placement.

iPhone‣ PanaScout

‣ Cinemek Storyboard

‣ Compass

‣ A Level

‣ Focalware

‣ The Weather Chanel

Panascout

CINEMEK

FocalwAre

Measuring tools‣ Compass

‣ Inclinometer

‣ SunPath software

‣ Calculate sun direction, position, shadow angle for given shoot day.

‣ SunPath

‣ Helios

Digital Audio Recorder‣ Record room tone

‣ Useful for evaluation later

‣ Can detect problem audio that often goes unnoticed

The Internet‣ Because you’ll always need to look

something up

‣ Laptop

‣ Smart Phone

‣ iPad

Gear and CREWHow Much to Bring?

Crewing‣ Can you do it all?

‣ Minimize delays in shooting

‣ Build multitalented crew

‣ Examine and adjust budget

‣ Add support crew if possible

‣ Audio

‣ Gaffer

‣ Data Technician

‣ Camera Assistant

Gear‣ Story requirements

‣ Basics

‣ Specialty Items

‣ Jibs

‣ Sliders

‣ Lenses

‣ Power Requirements

‣ Storage

‣ Cards

‣ Drives

Gear‣ Test your gear thoroughly

‣ Rehearse shots

‣ Test exposure

‣ Test lenses

‣ Work out the bugs(There are several)

Make a PlanGet your thoughts on a page

Making a Plan

‣ Storyboard

‣ Sketch

‣ Camera

‣ Shot list

‣ Lighting diagrams

Photoshop for art Direction‣ Shoot test shots in a raw format

‣ Organize with Adobe Bridge or Lightroom

‣ Open in Camera Raw

‣ Color grade to desired look

‣ Share with crew for lighting direction

Adobe Tools

‣ Adobe Story

‣ Adobe OnLocation

‣ Adobe Ideas

12:00

THe GeaR You’ll NEEDSome Must and Nice To Haves

MUST HAVES

‣ Fluid-Head Tripod

‣ Viewfinder

‣ Audio Recording Device with Microphone

NICE TO HAVES

‣ Camera Support

‣ Fast Lenses

‣ Follow Focus

‣ External Monitor

‣ Lights

‣ Matte Box

SMALL HD

Panasonic via AJA

ON-Camera StorageGet the Right Cards

Importance of Good Storage‣ Main point of potential failure

‣ Not all brands are equal

‣ Video has different requirements

‣ Capacity

‣ Speed

‣ Transfer speed considerations

Common Card Speeds‣ Most DSLR codecs top out around 5-6

MB/s approx. 300MB/min

‣ Fastest cards not a necessity for shooting video on a DSLR

‣ Compromise for mixed shooting - stills and video

‣ Look for UDMA rating

Larger vs. More Cards‣ Benefits of larger cards:

‣ Less time spent offloading cards

‣ Downsides of larger cards:

‣ Potentially greater loss of data

‣ More expensive

Larger vs. More Cards‣ Benefits of more cards:

‣ Data is spread out

‣ Downsides of more cards:

‣ More time spent offloading

‣ Potentially just as expensive as using larger cards

Common Card SpeedsSpeed Rating Actual Speed

133x 20 MB/s

200x 30 MB/s

266x 40 MB/s

300x 45 MB/S

400x 60 MB/s

600x 90 MB/s

PLAN FOR STORAGE

‣ Storage space is consumed relatively fast.

‣ Canon 5D Mark II

‣ 1920 X 1080 at 30 fps needs approximately 320 MB of card space for each minute of footage

‣ A 32 GB CF card will hold about 100 minutes of footage

‣ Often use bus-powered drives for field

LAPTOPS IN THE FIELD

‣ Laptops serve as “loading stations”

‣ Consider using multiple stations

‣ Stations don’t need to be the latest and greatest hardware

‣ Stations should have:

‣ Ability to connect to card readers

‣ Portable drives

‣ Archiving devices like Blu-Ray burners

LUNCH BREAK

‣ Restaurants nearby

‣ At 1:15 we’ll begin recap the morning and answer questions

‣ Remaining agenda starts at 1:30

‣ Short break at 3:45

12:30 – Lunch — Return 1:15

Creative PlanningBringing your vision to life

Timing the scene

‣ Coverage needs

‣ Consider the angles

‣ Be safe and repeat takes

‣ Leave handles

‣ Rehearse

‣ Create animatics

Sequencing Images

‣ Visual Interest

‣ People expect there to be cuts

‣ Technical necessity

‣ To hide an exposure change or camera move

‣ Emotional impact

‣ To change the viewer’s response

Repeating action

‣ Always get multiple takes

‣ Plan time accordingly

‣ Slate Takes

‣ Be methodical

‣ Continuity

Multiple cameras

‣ Requires more setup

‣ Calibration (consider camera tech

‣ Match menus and exposure

‣ Greater production cost

‣ Log settings used

‣ Plan for sync

‣ Speeds up post

Genre Selection

‣ Dramatic

‣ Documentary

‣ Spot

‣ Music Video

‣ Short Form

CHANGE YOUR POSITIONChange the Shot? Change Your Position and Angle.

GOOD COMPOSITIONThe Language of Cinema

RULE OF THIRDS

180˚ Rule

MATCHING SHOTS

WIDE SHOT

MEDIUM WIDE SHOT

MEDIUM SHOT

MEDIUM CLOSE UP

CLOSE UP

EXTREME CLOSE UP

POINT OF VIEW

MASTER SHOT

Shot Types – tinyurl.com/fs2mshots

Creating great shotsThe choices that go into a shot

Consistent Shooting

‣ Always get multiple takes

‣ Slate takes

‣ Be methodical

‣ Maintain continuity

‣ Calibration

‣ Log settings used

‣ Plan for sync

QP Card PHOTOVISION

Canon EOS 7D 300.0 mm 1/60 ISO 160 4.5

Canon EOS 5D 50.0 mm 1/60 ISO 100 10.0

Canon EOS 5D 50.0 mm 1/60 ISO 640 1.4

Canon EOS 5D 105.0 mm 1/30 ISO 1600 4.0

Canon EOS 5D 28.0 mm 1/60 ISO 800 2.8

Canon EOS 7D 35.0 mm 1/80 ISO 100 3.2

Canon EOS 7D 24.0 mm 1/60 ISO 1250 1.4

Canon EOS 7D 50.0 mm 1/60 ISO 1600 1.8

Canon EOS 7D Lensbaby 1/200 ISO 100 5.6

Canon EOS 7D 28.0 mm 1/50 ISO 100 2.8

Canon EOS 5D 24.0 mm 1/60 ISO 100 2.8

Camera MovementThe Language of Cinema

DOLLY

ZOOM

PAN

TILT

FOLLOW

MULTICAMERA SHOOTHow to get the coverage you need

The Process

‣ Plan for the shoot

‣ Address Timecode Issues

‣ Address Color Management

‣ Log & Load

‣ Synchronize

‣ Create Multi-clips

‣ Edit

Planning the Shoot

‣ Map out coverage

‣ Use a floor plan

‣ Make sure you have enough power

‣ Plan for lighting

‣ Identify shooting format, codecs, frame size, etc.

Timecode Solutions

‣ Use a clapboard

‣ Audio sync point

‣ Visual sync point

‣ PluralEyes

QP Card – Color Card‣ Small and lightweight

‣ Inexpensive and disposable

‣ Adhesive on the back to attach

‣ Neutral grey surface simplifies balancing

Sync Sound WorkflowAudio will Often Come from Two Sources

Why record dual sound?

‣ Internal microphone quality

‣ Automatic Gain Control

‣ Difficulty in monitoring

‣ Challenge to keep constant levels

Dual Sound WOrkflow

‣ Use sync source

‣ Record enhanced camera audio

‣ Record “real” sound with professional microphones plugged into a mixer

‣ Record to file-based recorder

‣ Synchronize in postproduction

PluralEyes

‣ Place video on one track and audio on another track

‣ Files are synced based on sound, no timecode required

‣ Audio levels can be normalized

‣ Huge timesaver

‣ www.singularsoftware.com$149

OUTDOOR SHOOTINGYou can’t overpower the sun

Lowlight SHOOTINGDon’t be afraid to push it

Public Service Announcement Case Study

3:45 Break – 4:00 Startup

Transfer & BackupThe first transfer to critical

transferring from Field Storage‣ Never edit directly off of field storage

‣ Transfer all field assets to redundant media drives

‣ Keep all field storage drives secure until project completion and archive

‣ Field storage drives are like “tapes”on a shelf

Card Readers

‣ FireWire Readers

‣ Lexar or Hoodman

‣ ExpressCard

‣ Laptop with an ExpressCard slot

‣ Frees up ports for drives

‣ Multiple Card Reader

‣ Slower

‣ Ability to walk away

Transfer to Drive

‣ Look for fast transfer speeds

‣ Use a quality drive

‣ Make a second copy to another drive

‣ Track cards in a spreadsheet

‣ Ideally you'll use a RAIDed and redundant drive, right away.

‣ Be sure to create a backup copy using some form of archive media.

The POSTPRODUCTION WORKFLOWThere are Extra Steps... But it’s Worth it

The WORKFLOW

‣ Transfer to Field Drive and Mirror

‣ Determine Editing Format

‣ Identify Storage Requirements

‣ Transfer to an Edit Drive

‣ Determine Transcoding Specs

‣ Organize Media

‣ Transcode Media (optional)

‣ Edit

Storage Requirements

‣ DSLR video footage has a low data rate

‣ Transcoded footage has significantly higher data rate

‣ Calculate for both camera original and transcoded footage

‣ Media storage should be redundant

‣ AJA’s Data rate calculator very useful for calculating storage requirements

transferring from Field Storage‣ Never edit directly off of field storage

‣ Transfer all field assets to redundant media drives

‣ Keep all field storage drives secure until project completion and archive

‣ Field storage drives are like “tapes”on a shelf

Transfer to Drive

‣ Transfer to a reliable drive

‣ Ideally you'll use a RAIDed and redundant drive, right away.

‣ Make sure both transfers are complete before reformatting the cards.

‣ Transferring also helps validate the data integrity of files and can prevent issues later with a corrupt clip.

PLAN FOR STORAGE

‣ Storage space is consumed relatively fast.

‣ Canon 5D Mark II

‣ 1920 X 1080 at 30 fps needs approximately 320 MB of card space for each minute of footage

‣ A 32 GB CF card will hold about 100 minutes of footage

‣ Often use bus-powered drives for field

Card Readers

‣ FireWire Readers

‣ Lexar or Hoodman

‣ ExpressCard

‣ Laptop with an ExpressCard slot

‣ Frees up ports for drives

‣ Multiple Card Reader

‣ Slower

‣ Ability to walk away

ORGANIZING MEDIA FOR EDITGet your selects made

Common Media Folder Approach‣ 01_Original Footage

‣ Card images or cloned copies

‣ 02_Selects

‣ Footage picks

‣ Adapt as needed

Organize for edit

‣ Operating System

‣ Digital Asset Management

‣ Bridge

‣ Lightroom

‣ Nonlinear Editor

‣ Premiere Pro

‣ Final Cut Pro

Using Bridge

‣ Transferring

‣ Ranking

‣ Viewing Metadata

‣ Sifting

‣ Sorting

‣ Previewing

MAKING SELECTS

‣ Starring takes

‣ Sift and Sort

‣ Trim if needed

‣ Copy into Selects folder

Renaming Files

‣ Optional

‣ Can use descriptive names

‣ Adobe Bridge

‣ Includes batch rename option

‣ Can preserve original name in metadata for future

Demonstration

Why Transcode?Sometimes you will.... sometimes you won’t.

Why Transcode?

‣ Once the footage has been transferred, you'll may need to convert it to a format that can be edited.

‣ Ideally, video you edit should be optimized for the editing system you’ve chosen to edit with.

‣ Conver the files into a standard video codec that supports real-time editing.

Why Transcode?

‣ While H.264 files are small, they do not often make good source files.

‣ Have heavy compression that drains your computer's processors to decode.

‣ Must choose codec that is a healthy balance for quality and size.

Codec Selection

‣ Apple ProRes

‣ CineForm HD

‣ DVCPRO-HD

‣ XDCAM

Codec Selection

‣ Robust Color

‣ 4:4:4 or 4:2:2 chroma sampling

‣ H.264 is 4:2:0

‣ Lower Data Rates

‣ Drive space

‣ Machine performance

‣ Full Raster

Transcoding ToolsYou have options

Transcoding solutions‣ Adobe Media Encoder

‣ Apple Compressor

‣ CineForm NeoScene

‣ MPEG Streamclip

Adobe Media EncodeR‣ Cross platform

‣ Bundled with Adobe video applications

‣ Can create AVI or MOV files

‣ Works with any QuickTime compatible codec

‣ www.Adobe.com

‣ Bundled

Apple Compressor‣ Mac-only

‣ Bundled with Final Cut Studio

‣ Great for Apple ProRes workflow

‣ Can create cluster environment

‣ ProRes decoder for Windows

‣ www.Apple.com

‣ Bundled

Cineform Neoscene‣ Cross platform

‣ Uses the CineForm HD Codec

‣ Decoder is free

‣ Simple to use and powerful

‣ www.cineform.com

‣ $129

MPEG Streamclip‣ Cross platform

‣ Very fast

‣ Not for amateurs

‣ www.Squared5.com

‣ Free

EditTime to tell the story

Choosing the Right System for Editing‣ Processor

‣ RAM

‣ Connections

‣ Hard Drives

‣ Video Card

Premiere PRO CS5

‣ 64-bit Performance

‣ GPU-accelerated Mercury Playback Engine for faster responsiveness

‣ Make sure you upgrade or have proper video card.

‣ Make sure you download drivers

‣ Work with DSLR video natively

Sample RAM CONFIGURATIONS‣ Dell

‣ M6500 – 16GB RAM

‣ T3500 – 24GB RAM

‣ T5500 – 96GB RAM

‣ T7500 – 192GB RAM

‣ Apple

‣ Mac Pro – 32GB RAM

‣ iMac – 16 GB RAM

Graphics cards with mercury Support

‣ NVIDIA Quadro FX 5800 (Windows)

‣ NVIDIA Quadro FX 4800 (Mac & Windows)

‣ NVIDIA Quadro FX 3800 (Windows)

‣ NVIDIA GeForce GTX 285 (Mac & Windows)

‣ NVIDIA Quadro CX (Windows)

Going 64-Bit

‣ Make sure you are using 64-bit OS

‣ Windows 7 or OSX Snow Leopard Recommended

‣ Make sure to update plug-ins and drivers to be 64-bit

‣ Add more RAM to take advantage of 64-bit benefits fully

‣ 2GB per core is a “good start”

‣ Go for fast RAM

64B i t

Demonstration

Color GradingUsing After Effects or Photoshop

Color Grading

‣ Advanced manipulation of colorfor storytelling purposes

‣ Black & White

‣ Special Effects

‣ Glows

‣ Grain & Stock Simulations

‣ Two powerful choices

Color Grading

‣ Included with Final Cut Studio

‣ Need to transcode the media before importing.

‣ Recommend ProRes

‣ Can import from FCP or Premiere Pro

How Do You Deliver HD Video?Getting it onto the most screens

How Do You Deliver HD Video?

‣ Tape

‣ Hard Drive

‣ Blu-ray Disc

‣ H.264

‣ Podcast

‣ TiVo

Compressing for Web DeliveryShrink Those Files...

www.facebook.com/dslrvideo

HOW TO POST – tinyurl.com/vid2fb

ResourcesThings to help get the job done

Adobe Premiere Pro CS5‣ Be sure to look at Adobe’s website for

detailed overview of features

‣ Some great tutorials online at tv.adobe.com

‣ Premiere Pro

‣ Standalone

‣ Creative Suite 5 Production Premium

‣ Creative Suite 5 Master Collection

www.facebook.com/dslrvideo

forums.creativecow.net/dslr

Author of Several Books

From Still to Motion‣ A photographer’s guide to creating video

with your DSLR

‣ Full color case study with hands-on activities

‣ 6+ hours of training videos

‣ www.peachpit.com/stilltomotion

‣ Free sample – tinyurl.com/fs2msample

‣ 35% Off with Code TOMOTION (order from peachpit.com)

Video Made on a Mac‣ Focusses on integration of Adobe and

Apple software

‣ Looks at preproduction, production, and postproduction

‣ For video pros and new users

‣ Emphasis on saving time

‣ Includes 5.5 hours of training video

‣ www.peachpit.com/videomac

‣ 35% Off with Code MACVIDEO (order from peachpit.com)

Richard Harringtontwitter.com/rhedpixel

linkedin.com/in/richardharrington

facebook.com/RichHarringtonStuff

RichardHarringtonBlog.com

Contract# GS-07F-0053V

‣ 541–1 Advertising Services

‣ 541–4B Video/Film Production

‣ 541–5 Integrated Marketing Services

Contract# GS-07F-0054V

‣ 541–4E Commercial Photography

‣ 541–4B Commercial Art and Graphic Design

GSA Schedule – RHED Pixel

EFFECTIVE SITE SURVEYS

linkedin.com/in/richardharrington

facebook.com/RichHarringtonStuff

youtube.com/rhedpixeltv

twitter.com/rhedpixel

HDSLR FilmMakiNG BOOTCAMPRichard Harrington – Author, From Still to Motion – RHED Pixel

EFFECTIVE SITE SURVEYS

linkedin.com/in/richardharrington

facebook.com/RichHarringtonStuff

youtube.com/rhedpixeltv

twitter.com/rhedpixel

HDSLR FilmMakiNG BOOTCAMPRichard Harrington – Author, From Still to Motion – RHED Pixel