Post on 18-Jan-2015
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DESCRIPTIONWhy are so many video pros turning to DSLR cameras for HD video?
- 1. EFFECTIVE SITE SURVEYSDSLR Video:High End Looks on a Middle Class Budgettwitter.com/ facebook.com/linkedin.com/in/youtube.com/rhedpixelRichHarringtonStuffrichardharrington rhedpixeltv
2. Goals of session Benefits DSLR cameras Gear selection Planning for the shoot Exposing the shot The editing process 3. From Still to Motion A photographers guide to creating videowith your DSLR Full color case study with hands-onactivities 6+ hours of training videos www.peachpit.com/stilltomotion Free sample tinyurl.com/fs2msample 35% Off with Code TOMOTION(order from peachpit.com) 4. Why Shoot DSLR VideoThe Benefits of DSLR Video 5. AESTHETIC BENEFITS Great Depth of Field Filmic Image Creatively Invigorating Smaller Profile 6. .Depth of Field 7. .Depth of Field 8. Depth of Field 9. FILMIC IMAGE 10. FILMIC IMAGE . 11. FILMIC IMAGE 12. Technical Benefits Lens Selection Lowlight Performance Smaller Profile Tapeless Workflow 13. LENS SELECTION 14. LENS SELECTION 15. LOW LIGHT PERFORMANCE 16. LOW LIGHT PERFORMANCE 17. LOW LIGHT PERFORMANCE 18. .Smaller Profile 19. Smaller Profile 20. Smaller Profile 21. TAPELESS WORKFLOW 22. TAPELESS WORKFLOW 23. TAPELESS WORKFLOW 24. THe CONS Tapeless Workflow Sync Sound Workflow Add-on Gear Essential New Skills 25. TAPELESS WORKFLOW 26. SYNC SOUND WORKFLOW 27. SYNC SOUND WORKFLOW 28. ADD ON GEAR ESSENTIAL 29. ADD ON GEAR ESSENTIAL 30. Selecting a Camera BodyWhat to Choose When Its Video You Want 31. Selecting aCamera Body Which video enabled DSLR you chooseis largely a matter of personalpreference We highly recommend you actually tryout or test a camera before deciding onpurchasing it You cant do much with the footage ifthe camera doesnt shoot the frame rateor resolution that your project requires 32. Ergonomics How the camera feels in your hands isan important part of choosing a videoenabled DSLR. Size The body you choose should fityour hands well. Weight Pro bodies (or bodies thathave battery grips installed) tend to beheavier which provides a nice counterbalance to longer lenses. 33. Sensor Resolution When it comes to sensor resolution andvideo, dont let the megapixel countinfluence your choice of a camera body. Choose a camera body that meets themegapixel requirements of your stillimages and dont worry about sensorresolution for video. The 21.1 megapixel Canon 5D MKIIthat has a max resolution of 5616 x3744 when taking still photos. When shooting video at 1920 x 1080,your effective megapixel count is only2.1 megapixels! 34. Full Frame Vs.Cropped Sensors A full frame sensor is one that matchesthe size of a 35mm film frame and the sensor is approximately 36mmx 24mm. Manufactures like Canon, Nikon andPanasonic have different sizes for theircropped sensors or smaller sensors butgenerally adhere to standardized sizesbased on the APS (advanced photosystem). Cropped (or smaller) sensors multiplythe focal range of any given lens. 35. Full Frame Vs.Cropped Sensors As a general rule of thumb, the largerthe sensor the greater the influence ondepth of field (DOF). Put simply, a larger sensor will allowyou to blur the background easier thana smaller sensor with the same lens. A driving force in the popularity of videoDSLRs is that their sensors aregigantic. Those large sensors allow fora much greater control in the depth offield (which many equate to a cinematiclook). 36. Crop Factors 1.3 Crop factor used by Canon onsome of their 1-series bodies that use aAPS H sensor like the 1D Mark 1.5 Crop factor is employed by Nikonfor all of its non-full frame 1.6 This crop factor is used by Canonfor their APS-C bodies like the 7D andthe Digital Rebel 2.0 A large crop factor ratio thatsused by Micro Four Thirds imagesensors like the one featured on thePanasonic Lumix GH1 DSLR 37. Frame Rate Options 60 fps (59.94 fps)Common frame rate for 720p HDCan be used for overcranking 30 fps (really 29.97 fps)The most common frame rate forbroadcast in the U.S. and other 25 fpsThe common frame rate of video used inEurope and around the world that use thePAL standard. 24 fps (23.98 fps)A rate that closely matches that of film 38. Frame Rate Options For footage that mimics film, a goodchoice is to record 24 (23.98) fps For footage that is going to be used forbroadcast 30 (29.97) fps is a goodchoice (1920 x 1080) If working with the Phase AlternatingLine (PAL) standard, youll use 25fps. For footage shot 1280 x 720, then 60(59.94) fps is the best choice forbroadcast in NTSC based countries and50 fps for PAL countries. 39. Recording LengthLimitations Most video enabled DSLRs format theirmemory cards using the Windows FAT32 file system. This system limits files to 4GB or about12min of continuous recording. Other manufacturers impose even lowerlimits due to hardware performance. This limit sounds like it might becrippling but in most cases you canwork around it. 40. Recording LengthLimitations Plan Breaks If recording an interviewestimate how many questions you canget in 12minutes. If youre recording aconcert, stop after each song. Minimize down time Have a secondcard ready to go. We keep a secondcard in the strap to speed things up. Stagger Coverage If using multiplecameras, dont start or stop them all atthe same time. You can get overlappingcoverage between two or morecameras. 41. THe GeaR Youll NEEDSome Must and Nice To Haves 42. MUST HAVES Fluid-Head Tripod Viewfinder Audio Recording Device withMicrophone 43. NICE TO HAVES Camera Support Fast Lenses Follow Focus External Monitor Lights Matte Box Laptop 44. SMALL HDPanasonic via AJA 45. Using a Follow FocusWhen a follow focus really matters 46. Make a PlanGet your thoughts on a page 47. Making a Plan Storyboard Sketch Camera Shot list Lighting diagrams 48. Photoshop forart Direction Shoot test shots in a raw format Organize with Adobe Bridge orLightroom Open in Camera Raw Color grade to desired look Share with crew for lighting direction 49. Exposure TriangleUnderstanding the relationship between settings 50. Impact of Light andMotion on Focus If youre shooting a lot of motion,pay close attention to both the amountof light as well as the quality of light The less light thats available, the largeran aperture youll have to use in orderto record a properly exposed image. This means that your depth of field willdecrease and it will be much harder tokeep your subject in focus. If you or your subject are moving, itgets even more tricky 51. ISOtheExposure TriangleShutter Speed Aperture 52. The Window Imagine your camera is a window withshutters that open and close. Aperture is the size of the window. If itsbigger more light gets through. Shutter Speed is the amount of timethat the shutters are open. The longertheyre open, the more that comes in. Inside the room and are wearingsunglasses. Your eyes becomedesensitized to the light that comes in(like a low ISO). 53. OUTDOOR SHOOTINGYou cant overpower the sun 54. NO MATTER HOW GOOD you are,you cant completely control the sun. It will move in your scene and destroy continuity. 55. Lowlight SHOOTINGDont be afraid to push it 56. Creating great shotsThe choices that go into a shot 57. QP Card PHOTOVISION 58. Canon EOS 7D 300.0 mm 1/60 ISO 160 4.5 59. Canon EOS 5D 50.0 mm 1/60 ISO 100 10.0 60. Canon EOS 5D 50.0 mm 1/60 ISO 640 1.4 61. Canon EOS 5D 105.0 mm 1/30 ISO 1600 4.0 62. Canon EOS 5D 28.0 mm 1/60 ISO 800 2.8 63. Canon EOS 7D 95.0 mm 1/60 ISO 200 2.8 64. Canon EOS 7D 35.0 mm 1/80 ISO 100 3.2 65. Canon EOS 7D 58.0 mm 1/50 ISO 100 2.8 66. Canon EOS 7D 24.0 mm 1/60 ISO 1250 1.4 67. Canon EOS 7D 17.0 mm 1/60 ISO 640 2.8 68. Canon EOS 7D 50.0 mm 1/60 ISO 1600 1.8 69. Canon EOS 7D Lensbaby 1/200 ISO 100 5.6 70. Canon EOS 5D 28.0 mm 1/60 ISO 600 2.8 71. Canon EOS 7D 28.0 mm 1/50 ISO 100 2.8 72. Canon EOS 5D 24.0 mm 1/60 ISO 100 2.8 73. Canon EOS 7D 55.0 mm 1/60 ISO 100 4.5 74. Sync Sound WorkflowAudio will Often Come from Two Sources 75. Why recorddual sound? Internal microphone quality Automatic Gain Control Difficulty in monitoring Challenge to keep constant levels 76. Dual SoundWOrkflow Use sync source Record enhanced camera audio Record real sound withprofessional microphonesplugged into a mixer Record to file-based recorder Synchronize in postproduction 77. PluralEyes Place video on one track andaudio on another track Files are synced based on sound,no timecode required Audio levels can be normalized Huge timesaver www.singularsoftware.com$149 78. Public Service AnnouncementCase Study 79. The POSTPRODUCTION WORKFLOWThere are Extra Steps... But its Worth it 80. 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 81. Transfer & BackupThe first transfer to critical 82. LAPTOPS IN THE FIELD Laptops serve as loading stations Consider using multiple stations Stations dont need to be the latest andgreatest hardware Stations should have: Ability to connect to card readers Portable drives Archiving devices like Blu-Ray burners 83. transferring fromField Storage Never edit directly off of field storage Transfer all field assets to redundantmedia drives Keep all field storage drives secure untilproject completion and archive Field storage drives are like tapeson a shelf 84. 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 85. PLAN FOR STORAGE Storage space is consumed relativelyfast. Canon 5D Mark II 1920 X 1080 at 30 fps needsapproximately 320 MB of card spacefor each minute of footage A 32 GB CF card will hold about 100minutes of footage Often use bus-powered drives for field 86. ORGANIZING MEDIA FOR EDITGet your selects made 87. Common MediaFolder Approach 01_Original Footage Car