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Page 1: DSLR video

EFFECTIVE SITE SURVEYS

linkedin.com/in/richardharrington

facebook.com/RichHarringtonStuff

youtube.com/rhedpixeltv

twitter.com/rhedpixel

DSLR Video: High End Looks on a Middle Class Budget

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Goals of session

‣ Benefits DSLR cameras

‣ Gear selection

‣ Planning for the shoot

‣ Exposing the shot

‣ The editing process

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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)

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Why Shoot DSLR VideoThe Benefits of DSLR Video

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AESTHETIC BENEFITS

‣ Great Depth of Field

‣ Filmic Image

‣ Creatively Invigorating

‣ Smaller Profile

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.Depth of Field

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.Depth of Field

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Depth of Field

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FILMIC IMAGE

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.FILMIC IMAGE

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FILMIC IMAGE

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Technical Benefits

‣ Lens Selection

‣ Lowlight Performance

‣ Smaller Profile

‣ Tapeless Workflow

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LENS SELECTION

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LENS SELECTION

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LOW LIGHT PERFORMANCE

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LOW LIGHT PERFORMANCE

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LOW LIGHT PERFORMANCE

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.Smaller Profile

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Smaller Profile

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Smaller Profile

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TAPELESS WORKFLOW

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TAPELESS WORKFLOW

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TAPELESS WORKFLOW

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THe CONS

‣ Tapeless Workflow

‣ Sync Sound Workflow

‣ Add-on Gear Essential

‣ New Skills

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TAPELESS WORKFLOW

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SYNC SOUND WORKFLOW

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SYNC SOUND WORKFLOW

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ADD ON GEAR ESSENTIAL

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ADD ON GEAR ESSENTIAL

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Selecting a Camera BodyWhat to Choose When It’s Video You Want

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Selecting a Camera Body‣ Which video enabled DSLR you choose

is largely a matter of personal preference

‣ We highly recommend you actually try out or test a camera before deciding on purchasing it

‣ You can't do much with the footage if the camera doesn’t shoot the frame rate or resolution that your project requires

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Ergonomics

‣ How the camera feels in your hands is an important part of choosing a video enabled DSLR.

‣ Size – The body you choose should fit your hands well.

‣ Weight – Pro bodies (or bodies that have battery grips installed) tend to be heavier which provides a nice counter balance to longer lenses.

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Sensor Resolution

‣ When it comes to sensor resolution and video, don't let the megapixel count influence your choice of a camera body.

‣ Choose a camera body that meets the megapixel requirements of your still images and don’t worry about sensor resolution for video.

‣ The 21.1 megapixel Canon 5D MKII that has a max resolution of 5616 x 3744 when taking still photos.

‣ When shooting video at 1920 x 1080, your effective megapixel count is only 2.1 megapixels!

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Full Frame Vs. Cropped Sensors‣ A full frame sensor is one that matches

the size of a 35mm film frame and the sensor is approximately 36mm x 24mm.

‣ Manufactures like Canon, Nikon and Panasonic have different sizes for their cropped sensors or smaller sensors but generally adhere to standardized sizes based on the APS (advanced photo system).

‣ Cropped (or smaller) sensors multiply the focal range of any given lens.

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Full Frame Vs. Cropped Sensors‣ As a general rule of thumb, the larger

the sensor the greater the influence on depth of field (DOF).

‣ Put simply, a larger sensor will allow you to blur the background easier than a smaller sensor with the same lens.

‣ A driving force in the popularity of video DSLRs is that their sensors are gigantic. Those large sensors allow for a much greater control in the depth of field (which many equate to a cinematic look).

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Crop Factors

‣ 1.3 – Crop factor used by Canon on some of their 1-series bodies that use a APS – H sensor like the 1D Mark

‣ 1.5 – Crop factor is employed by Nikon for all of its non-full frame

‣ 1.6 – This crop factor is used by Canon for their APS-C bodies like the 7D and the Digital Rebel

‣ 2.0 – A large crop factor ratio that’s used by Micro Four Thirds image sensors like the one featured on the Panasonic Lumix GH1 DSLR

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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

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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.

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Recording Length Limitations‣ Most video enabled DSLRs format their

memory cards using the Windows FAT 32 file system.

‣ This system limits files to 4GB or about 12min of continuous recording.

‣ Other manufacturers impose even lower limits due to hardware performance.

‣ This limit sounds like it might be crippling but in most cases you can work around it.

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Recording Length Limitations‣ Plan Breaks– If recording an interview

estimate how many questions you can get in 12minutes. If you’re recording a concert, stop after each song.

‣ Minimize down time – Have a second card ready to go. We keep a second card in the strap to speed things up.

‣ Stagger Coverage – If using multiple cameras, don't start or stop them all at the same time. You can get overlapping coverage between two or more cameras.

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THe GeaR You’ll NEEDSome Must and Nice To Haves

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MUST HAVES

‣ Fluid-Head Tripod

‣ Viewfinder

‣ Audio Recording Device with Microphone

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NICE TO HAVES

‣ Camera Support

‣ Fast Lenses

‣ Follow Focus

‣ External Monitor

‣ Lights

‣ Matte Box

‣ Laptop

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SMALL HD

Panasonic via AJA

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Using a Follow FocusWhen a follow focus really matters

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Make a PlanGet your thoughts on a page

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Making a Plan

‣ Storyboard

‣ Sketch

‣ Camera

‣ Shot list

‣ Lighting diagrams

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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

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Exposure TriangleUnderstanding the relationship between settings

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Impact of Light and Motion on Focus

‣ If you’re shooting a lot of motion, pay close attention to both the amount of light as well as the quality of light

‣ The less light that’s available, the larger an aperture you’ll have to use in order to record a properly exposed image.

‣ This means that your depth of field will decrease and it will be much harder to keep your subject in focus.

‣ If you or your subject are moving, it get’s even more tricky

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theExposureTriangle

I S O

Shutter Speed Aperture

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The Window

‣ Imagine your camera is a window with shutters that open and close.

‣ Aperture is the size of the window. If it’s bigger more light gets through.

‣ Shutter Speed is the amount of time that the shutters are open. The longer they’re open, the more that comes in.

‣ Inside the room and are wearing sunglasses. Your eyes become desensitized to the light that comes in (like a low ISO).

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OUTDOOR SHOOTINGYou can’t overpower the sun

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NO MATTER HOW GOOD you are, you can’t completely control the sun.

It will move in your scene and destroy continuity.

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Lowlight SHOOTINGDon’t be afraid to push it

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Creating great shotsThe choices that go into a shot

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QP Card PHOTOVISION

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

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

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

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

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

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Canon EOS 7D 95.0 mm 1/60 ISO 200 2.8

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

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Canon EOS 7D 58.0 mm 1/50 ISO 100 2.8

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

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Canon EOS 7D 17.0 mm 1/60 ISO 640 2.8

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

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Canon EOS 7D Lensbaby 1/200 ISO 100 5.6

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Canon EOS 5D 28.0 mm 1/60 ISO 600 2.8

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

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

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Canon EOS 7D 55.0 mm 1/60 ISO 100 4.5

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Sync Sound WorkflowAudio will Often Come from Two Sources

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Why record dual sound?

‣ Internal microphone quality

‣ Automatic Gain Control

‣ Difficulty in monitoring

‣ Challenge to keep constant levels

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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

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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

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Public Service Announcement Case Study

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

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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

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Transfer & BackupThe first transfer to critical

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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

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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

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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

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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

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ORGANIZING MEDIA FOR EDITGet your selects made

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Common Media Folder Approach‣ 01_Original Footage

‣ Card images or cloned copies

‣ 02_Selects

‣ Footage picks

‣ Adapt as needed

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Renaming Files

‣ Optional

‣ Can use descriptive names

‣ Adobe Bridge

‣ Includes batch rename option

‣ Can preserve original name in metadata for future

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Make Selects & Transcode‣ Transcode only selected footage

‣ Reduces transcode time

‣ Removes extraneous footage

‣ Reduces storage burden

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

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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.

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

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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.

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Why Transcode?

‣ Not great in Final Cut Pro

‣ Motion JPEG OK

‣ H.264 terrible

‣ Doable if you don’t mind rendering and spinning beach balls of death

‣ Does work in latestAvid, Premiere Pro, and Sony Vegas

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EditTime to tell the story

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Choosing the Right System for Editing‣ Processor

‣ RAM

‣ Connections

‣ Hard Drives

‣ Video Card

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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

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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

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Color GradingUsing After Effects or Photoshop

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Color Grading

‣ Advanced manipulation of colorfor storytelling purposes

‣ Black & White

‣ Special Effects

‣ Glows

‣ Grain & Stock Simulations

‣ Two powerful choices

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Retiming FootageChanging frame rates for technical and stylistic reasons

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Methods to Change Speed

‣ Conform

‣ Interpret

‣ Process

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ResourcesThings to help get the job done

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www.facebook.com/dslrvideo

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forums.creativecow.net/dslr

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podcasts.creativecow.net/dslr-video-podcast

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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)

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EFFECTIVE SITE SURVEYS

linkedin.com/in/richardharrington

facebook.com/RichHarringtonStuff

youtube.com/rhedpixeltv

twitter.com/rhedpixel

DSLR Video: High End Looks on a Middle Class Budget


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