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
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
4
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
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29 Technical Essentials A Crash Course in Video
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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.
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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
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48 Adobe Tools Adobe Story Adobe OnLocation Adobe Ideas
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51 Capture Great projects need great footage
52 MUST HAVES Fluid-Head Tripod Viewfinder Audio Recording Device with Microphone External Monitor
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56 SMALL HD Panasonic via AJA
57 NICE TO HAVES Camera Support Fast Lenses Follow Focus External Monitor Lights Matte Box
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61 SMALL HD Panasonic via AJA
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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
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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
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
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
88
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
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