From the University of Washington Communication Department's workshop series. For reference for workshop attendees. Some videos are missing b/c of file size.
12. Alex Stonehill
Visual Journalist
UWCom Faculty
alex@clpmag.org
Brad Hutchinson
Film Director & Editor
The Last Quest
13. Alex Stonehill
Visual Journalist
UWCom Faculty
alex@clpmag.org
Brad Hutchinson
Film Director & Editor
The Last Quest
14. Alex Stonehill
Visual Journalist
UWCom Faculty
alex@clpmag.org
Brad Hutchinson
Film Director & Editor
The Last Quest
Chantal Anderson
Visual Journalist
UWCom Alum
15. Alex Stonehill
Visual Journalist
UWCom Faculty
alex@clpmag.org
Brad Hutchinson
Film Director & Editor
The Last Quest
Chantal Anderson
Visual Journalist
UWCom Alum
35. Setting Up Video Interviews
★Keep it Steady -- Tripod/Table/Monopod
36. Setting Up Video Interviews
★Keep it Steady -- Tripod/Table/Monopod
★Light from the side
37. Setting Up Video Interviews
★Keep it Steady -- Tripod/Table/Monopod
★Light from the side
★Subject looks across
38. Setting Up Video Interviews
★Keep it Steady -- Tripod/Table/Monopod
★Light from the side
★Subject looks across
★Get good sound!
39. Setting Up Video Interviews
★Keep it Steady -- Tripod/Table/Monopod
★Light from the side
★Subject looks across
★Get good sound!
★Watch what’s behind them
40. Setting Up Video Interviews
★Keep it Steady -- Tripod/Table/Monopod
★Light from the side
★Subject looks across
★Get good sound!
★Watch what’s behind them
41. Setting Up Video Interviews
★Keep it Steady -- Tripod/Table/Monopod
★Light from the side
★Subject looks across
★Get good sound!
★Watch what’s behind them
47. Today’s
Interviews
★Find a partner of equal skill level
48. Today’s
Interviews
★Find a partner of equal skill level
★15 minutes of set up
49. Today’s
Interviews
★Find a partner of equal skill level
★15 minutes of set up
★Find a quiet place
50. Today’s
Interviews
★Find a partner of equal skill level
★15 minutes of set up
★Find a quiet place
★3-5 minutes of interview
51. Today’s
Interviews
★Find a partner of equal skill level
★15 minutes of set up
★Find a quiet place
★3-5 minutes of interview
★About your UW experience, this
workshop (or something else you can
get b roll of)
52. Equipment Setup
Kodak Zi8 Canon HV30
or HF10
More Basic Advanced
Less Control More Control
Flash Memory MiniDV Tape
USB Firewire
54. Equipment Setup
See Handout!!!
★Check recording format (1080p HD
or 720p HD)
55. Equipment Setup
See Handout!!!
★Check recording format (1080p HD
or 720p HD)
★Check for Tape/SD card
56. Equipment Setup
See Handout!!!
★Check recording format (1080p HD
or 720p HD)
★Check for Tape/SD card
★Tripod
57. Equipment Setup
See Handout!!!
★Check recording format (1080p HD
or 720p HD)
★Check for Tape/SD card
★Tripod
★Set up microphone (lavalier or
shotgun)
58. Equipment Setup
See Handout!!!
★Check recording format (1080p HD
or 720p HD)
★Check for Tape/SD card
★Tripod
★Set up microphone (lavalier or
shotgun)
★Check Audio Levels
59. Equipment Setup
See Handout!!!
★Check recording format (1080p HD
or 720p HD)
★Check for Tape/SD card
★Tripod
★Set up microphone (lavalier or
shotgun)
★Check Audio Levels
★Record
65. Why do I need B-roll?
★To make it more
interesting!
66. Why do I need B-roll?
★To make it more
interesting!
★To hide cuts in the
interview
67. Why do I need B-roll?
★To make it more
interesting!
★To hide cuts in the
interview
★Make sure to get B-roll that
matches your interviews
68. Why do I need B-roll?
★To make it more
interesting!
★To hide cuts in the
interview
★Make sure to get B-roll that
matches your interviews
★Example: Undriving
99. Video Editing
Workflow
★SHOOTING -- getting in in the Camera
100. Video Editing
Workflow
★SHOOTING -- getting in in the Camera
★CAPTURING -- from Camera to Computer
101. Video Editing
Workflow
★SHOOTING -- getting in in the Camera
★CAPTURING -- from Camera to Computer
★EDITING -- manipulating footage
102. Video Editing
Workflow
★SHOOTING -- getting in in the Camera
★CAPTURING -- from Camera to Computer
★EDITING -- manipulating footage
★EXPORTING -- from editing software to
file
103. Video Editing
Workflow
★SHOOTING -- getting in in the Camera
★CAPTURING -- from Camera to Computer
★EDITING -- manipulating footage
★EXPORTING -- from editing software to
file
★COMPRESSING -- making file smaller
104. Video Editing
Workflow
★SHOOTING -- getting in in the Camera
★CAPTURING -- from Camera to Computer
★EDITING -- manipulating footage
★EXPORTING -- from editing software to
file
★COMPRESSING -- making file smaller
★UPLOADING -- putting it online
109. CODEC
THE ‘CONTAINER’
•H.264
•Apple ProRes 422 (LT)
•DVCPRO HD 720p
‘TRANSCODING’ = CHANGING THE
CODEC
110. FILE TYPE
.MOV = Apple, Quicktime, Final Cut
.AVI = PC, VLC, Adobe Premiere
.MP4 = Compressing
111. COMPRESSION
SOFTWARE
★QuickTime Pro (Mac) = $35
★Compressor (Mac) = Part of Final Cut Suite
(in 306)
★MPEG Streamclip (Both) = Free!
★Adobe Media Encoder (Both) = Part of Premiere
112. COMPRESSION
MAKING THE FILE SMALLER
FOR THE INTERNET
Video Codec: H.264
Audio Codec: AAC Audio
Frame Rate: Native (don’t change it)
Data Rate: 2000 kbits/sec for SD or 5000 kbits/sec for HD
Resolution: 640 x 480 for SD or 1280 x 720 for HD
Deinterlace: Yes
Audio: 320 kbps/44.1 kHz (or 48 kHz if that’s how you
recorded)
Format: MP4 (or MOV)
There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
Your instructors\n\n\n
Your instructors\n\n\n
Your instructors\n\n\n
Your instructors\n\n\n
Your instructors\n\n\n
Your instructors\n\n\n
We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
So these are the components that we’re going to collect today\n
So these are the components that we’re going to collect today\n
So these are the components that we’re going to collect today\n
So these are the components that we’re going to collect today\n
So these are the components that we’re going to collect today\n
Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
Not ‘do you like going to UW’\n“Why do you like going to UW’\nor Do you like going to UW, and why or why not’\n\n
Not ‘do you like going to UW’\n“Why do you like going to UW’\nor Do you like going to UW, and why or why not’\n\n
Not ‘do you like going to UW’\n“Why do you like going to UW’\nor Do you like going to UW, and why or why not’\n\n
Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
We’re a little short of equipment, but should have enough to share\n\n\n
Raise your hand when you get stuck and we’ll help\n\n
Raise your hand when you get stuck and we’ll help\n\n
Raise your hand when you get stuck and we’ll help\n\n
Raise your hand when you get stuck and we’ll help\n\n
Raise your hand when you get stuck and we’ll help\n\n
Raise your hand when you get stuck and we’ll help\n\n
Come back together by 2:30\n
Come back together by 2:30\n
Come back together by 2:30\n
Pop over to premiere to show b-roll covering cuts in interview\nWe’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
Pop over to premiere to show b-roll covering cuts in interview\nWe’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
Pop over to premiere to show b-roll covering cuts in interview\nWe’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
Pop over to premiere to show b-roll covering cuts in interview\nWe’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
Shoot B-roll in sequences\n
Shoot B-roll in sequences\n
\n
\n
We want to get a mix of these\nEx: Wide shot of room, Medium Shot of Brad typing, Close of of hands on the keyboard\n\n\n
We want to get a mix of these\nEx: Wide shot of room, Medium Shot of Brad typing, Close of of hands on the keyboard\n\n\n
Another example, WS of guy rolling out of bed in the morning, Medium of him putting on tea kettle, close up of hands dipping the tea bag\nCompressing time.\n
\n
Kneeled Down\n
Or just put the camera on the ground\n\nWhy all this moving? To show us something our eyes don’t usually see!\n
Think about depth -- more than one element in the photo\n
Think about framing\nLook at professional photos, almost always many layers and stuff cut out of the frame.\n
Set up the camera and let the action happen in front of it\n
Set up the camera and let the action happen in front of it\n
Set up the camera and let the action happen in front of it\n
Set up the camera and let the action happen in front of it\n
Set up the camera and let the action happen in front of it\n
Set up the camera and let the action happen in front of it\n
Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
There are literally millions of work flows.  No single one is right. Depends on the camera you have, the software, where its going to be played.\nThere are a few main variables you should understand.\n\n
Here are the steps\n\n
Here are the steps\n\n
Here are the steps\n\n
Here are the steps\n\n
Here are the steps\n\n
Here are the steps\n\n
What your camera records onto\nDetermines Whether you just copy files or have to capture them in real time\nPluses and Minuses of each\nYou’ve already been through this\n\n
Two sizes of HD, One size of SD (also widescreen SD) \nStill photos\nEverything is moving into 16:9 world. Best way to go.\n\n
Long story short, it doesn’t really matter, just keep it the same\n\nThis p means progressive\ni means interlaced\nDon’t worry about it!\n\n\n
Always shoot the same and match the way you shot when you import and edit.\n\n
There are literally hundreds of these but\nH.264 is magic -- what lets the HDSLR’s work\nProRes is for using H.264 footage in FCP\nSo is DVCPRO HD 720p, so its smaller (remember -- what does 720p mean?)\n
MOV is what comes out of DSLR’s \n\n
You can use any of these to compress\nThe settings will be the same\n\n
These are the settings vimeo recommends.\n(Vimeo is like classy Youtube)\n\nPremiere is going to do this for you\n\n
Give them the handout with what they’re supposed to do \n\n