EDITING HDSLR Video. with Adobe Creative Suite 5 Production Premium. Wednesday, September 22, 2010

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1 EDITING HDSLR Video with Adobe Creative Suite 5 Production Premium

2 Goals of session The Benefits of DSLR Video The DSLR Workflow Gear Recommendations Publishing the Video

Richard Harrington RHED Pixel (www.rhedpixel.

3 Richard Harrington RHED Pixel ( Adobe Certified Expert & Trainer NAPP Instructor Creative COW Leader Project Management Professional Consult on digital media production and web content

5 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 #1 Cinematography book on Amazon.com Free sample tinyurl.com/fs2msample 35% Off with Code TOMOTION (order from peachpit.com)

6 About You Photographer Videographer Designer/Motion Graphics Artist Educator Business Owner

7 Why Shoot DSLR Video The Benefits of DSLR Video

8 Aesthetic Benefits Great Depth of Field Filmic Image Creatively Invigorating

9 . Depth of Field

10 . Depth of Field

11 Depth of Field

12 FILMIC IMAGE

13 FILMIC IMAGE.

14 FILMIC IMAGE

15 Technical Benefits Lens Selection Lowlight Performance Smaller Profile Tapeless Workflow

16 LENS SELECTION

17 LENS SELECTION

18 LOW LIGHT PERFORMANCE

19 LOW LIGHT PERFORMANCE

20 LOW LIGHT PERFORMANCE

21 . Smaller Profile

22 Smaller Profile

23 Smaller Profile

24 TAPELESS WORKFLOW

25 TAPELESS WORKFLOW

26 TAPELESS WORKFLOW

27 Business Opportunity New Skills Additional Revenue Existing Customers Merger of Talents Wonderful Value

29 Technical Essentials A Crash Course in Video

32 Frame Rate Options 60 fps (59.94 fps) Common frame rate for 720p HD Can be used for overcranking 30 fps (really 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

33 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.

34 CHANGE YOUR POSITION Change the Shot? Change Your Position and Angle.

40 The DSLR Workflow The steps needed for success

41 The DSLR Workflow Plan Capture Transfer & Backup Organize for Edit Edit Color Grade Deliver or Transcode

42 Creative Planning Bringing your vision to life

43 Making a Plan Storyboard Sketch Camera Shot list Lighting diagrams

44 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

48 Adobe Tools Adobe Story Adobe OnLocation Adobe Ideas

51 Capture Great projects need great footage

52 MUST HAVES Fluid-Head Tripod Viewfinder Audio Recording Device with Microphone External Monitor

56 SMALL HD Panasonic via AJA

57 NICE TO HAVES Camera Support Fast Lenses Follow Focus External Monitor Lights Matte Box

61 SMALL HD Panasonic via AJA

64 Consistent Shooting Always get multiple takes Slate takes Be methodical Maintain continuity Calibration Log settings used Plan for sync

65 QP Card PHOTOVISION

66 ON-Camera Storage Get the Right Cards

67 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

68 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

69 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

70 Transfer & Backup The first transfer is critical

71 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

72 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

73 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.

74 ORGANIZING MEDIA FOR EDIT Get your selects made

75 Organize for edit Operating System Digital Asset Management Bridge Lightroom Premiere Pro

76 Common Media Folder Approach 01_Original Footage Card images or cloned copies 02_Selects Footage picks Adapt as needed

79 Using Bridge Transferring Ranking Viewing Metadata Sifting Sorting Previewing

80 Renaming Files Optional Can use descriptive names Adobe Bridge Includes batch rename option Can preserve original name in metadata for future

81 Demonstration

82 Edit Time to tell the story

83 Choosing the Right System for Editing Processor RAM Connections Hard Drives Video Card

Sample RAM CONFIGURATIONS Dell M6500 16GB RAM T3500 24GB RAM

84 Sample RAM CONFIGURATIONS Dell M GB RAM T GB RAM T GB RAM T GB RAM Apple Mac Pro 32GB RAM imac 16 GB RAM

85 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 64 Bit

86 Realtime Editing with Premiere Pro CS5 An overview of new features that assist DSLR Video

Make sure you upgrade or have proper video card.

87 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

89 Demonstration

90 Sync Sound Workflow Audio will often come from two sources

91 Why record dual sound? Internal microphone quality Automatic Gain Control Difficulty in monitoring Challenge to keep constant levels

92 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

93 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 $149

94 Color Grading Using After Effects or Photoshop

95 Color Grading Advanced manipulation of color for storytelling purposes Black & White Special Effects Glows Grain & Stock Simulations Two powerful choices

96 Demonstration

97 Why Transcode? Sometimes You Will... Sometimes You Won t

98 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.

99 Why Transcode? While H.264 files are small, they do not make good source files for some systems. Have heavy compression that drains your computer's processors to decode. Must choose codec that is a healthy balance for quality and size. Transcode before color grading or compositing

100 Codec Selection Robust Color 4:4:4 or 4:2:2 chroma sampling H.264 is 4:2:0 CineForm HD DVCPRO-HD XDCAM

101 Adobe Media EncodeR Cross platform Bundled with Adobe video applications Can create AVI or MOV files Works with any QuickTime compatible codec Bundled

102 Cineform Neoscene Cross platform Uses the CineForm HD Codec Decoder is free Simple to use and powerful $129

103 MPEG Streamclip Cross platform Very fast Not for amateurs Free

104 Deliver or Transcode Move it out... Move it on

105 Adobe Media EncodeR Cross platform Bundled with Adobe video applications Can create AVI or MOV files Works with any QuickTime compatible codec

106 Compressing for Web Delivery Shrink Those Files...

107 Compressing for Web Delivery Pre-Encode to one of two formats FLV H.264 Both can be easily created using the Adobe Media Encoder Export from Premiere or After Effects directly or use standalone encoder

108 Resources and Special Offers Things to help get the job done

109 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

110 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 #1 Cinematography book on Amazon.com Free sample tinyurl.com/fs2msample 35% Off with Code TOMOTION (order from peachpit.com)

111

112 forums.creativecow.net/dslr

113 GSA Schedule RHED Pixel Contract# GS-07F-0053V B Advertising Services Video/Film Production Integrated Marketing Services Contract# GS-07F-0054V 541 4E Commercial Photography 541 4B Commercial Art and Graphic Design

114 Richard Harrington twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington RichardHarrington Blog.com

115 Working with DSLR Video with Adobe Creative Suite 5 Production Premium

Saturday, December 25, 2010

Saturday, December 25, 2010 Video Made on a Mc Richard Harrington - RHED Pixel www.rhedpixel.com www.richardharringtonblog.com twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington youtube.com/