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DSLR video

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Why are so many video pros turning to DSLR cameras for HD video?

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DSLR video

  1. 1. EFFECTIVE SITE SURVEYSDSLR Video:High End Looks on a Middle Class Budget rhedpixel RichHarringtonStuff richardharrington rhedpixeltv
  2. 2. Goals of session‣ Benefits DSLR cameras‣ Gear selection‣ Planning for the shoot‣ Exposing the shot‣ The editing process
  3. 3. 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‣‣ Free sample –‣ 35% Off with Code TOMOTION (order from
  4. 4. Why Shoot DSLR VideoThe Benefits of DSLR Video
  5. 5. AESTHETIC BENEFITS‣ Great Depth of Field‣ Filmic Image‣ Creatively Invigorating‣ Smaller Profile
  6. 6. . Depth of Field
  7. 7. . Depth of Field
  8. 8. Depth of Field
  10. 10. FILMIC IMAGE .
  11. 11. FILMIC IMAGE
  12. 12. Technical Benefits‣ Lens Selection‣ Lowlight Performance‣ Smaller Profile‣ Tapeless Workflow
  18. 18. . Smaller Profile
  19. 19. Smaller Profile
  20. 20. Smaller Profile
  24. 24. THe CONS‣ Tapeless Workflow‣ Sync Sound Workflow‣ Add-on Gear Essential‣ New Skills
  30. 30. Selecting a Camera BodyWhat to Choose When It’s Video You Want
  31. 31. Selecting aCamera 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 cant do much with the footage if the camera doesn’t shoot the frame rate or resolution that your project requires
  32. 32. 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.
  33. 33. Sensor Resolution‣ When it comes to sensor resolution and video, dont 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!
  34. 34. 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.
  35. 35. 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).
  36. 36. 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
  37. 37. 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
  38. 38. 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.
  39. 39. Recording LengthLimitations‣ 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.
  40. 40. Recording LengthLimitations‣ 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, dont start or stop them all at the same time. You can get overlapping coverage between two or more cameras.
  41. 41. THe GeaR You’ll NEEDSome Must and Nice To Haves
  42. 42. MUST HAVES‣ Fluid-Head Tripod‣ Viewfinder‣ Audio Recording Device with Microphone
  43. 43. NICE TO HAVES‣ Camera Support‣ Fast Lenses‣ Follow Focus‣ External Monitor‣ Lights‣ Matte Box‣ Laptop
  44. 44. SMALL HDPanasonic via AJA
  45. 45. Using a Follow FocusWhen a follow focus really matters
  46. 46. Make a PlanGet your thoughts on a page
  47. 47. Making a Plan‣ Storyboard ‣ Sketch ‣ Camera‣ Shot list‣ Lighting diagrams
  48. 48. Photoshop forart 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
  49. 49. Exposure TriangleUnderstanding the relationship between settings
  50. 50. Impact of Light andMotion 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
  51. 51. ISO the Exposure TriangleShutter Speed Aperture
  52. 52. 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).
  53. 53. OUTDOOR SHOOTINGYou can’t overpower the sun
  54. 54. NO MATTER HOW GOOD you are,you can’t completely control the sun. It will move in your scene and destroy continuity.
  55. 55. Lowlight SHOOTINGDon’t be afraid to push it
  56. 56. Creating great shotsThe choices that go into a shot
  57. 57. QP Card PHOTOVISION
  58. 58. Canon EOS 7D 300.0 mm 1/60 ISO 160 4.5
  59. 59. Canon EOS 5D 50.0 mm 1/60 ISO 100 10.0
  60. 60. Canon EOS 5D 50.0 mm 1/60 ISO 640 1.4
  61. 61. Canon EOS 5D 105.0 mm 1/30 ISO 1600 4.0
  62. 62. Canon EOS 5D 28.0 mm 1/60 ISO 800 2.8
  63. 63. Canon EOS 7D 95.0 mm 1/60 ISO 200 2.8
  64. 64. Canon EOS 7D 35.0 mm 1/80 ISO 100 3.2
  65. 65. Canon EOS 7D 58.0 mm 1/50 ISO 100 2.8
  66. 66. Canon EOS 7D 24.0 mm 1/60 ISO 1250 1.4
  67. 67. Canon EOS 7D 17.0 mm 1/60 ISO 640 2.8
  68. 68. Canon EOS 7D 50.0 mm 1/60 ISO 1600 1.8
  69. 69. Canon EOS 7D Lensbaby 1/200 ISO 100 5.6
  70. 70. Canon EOS 5D 28.0 mm 1/60 ISO 600 2.8
  71. 71. Canon EOS 7D 28.0 mm 1/50 ISO 100 2.8
  72. 72. Canon EOS 5D 24.0 mm 1/60 ISO 100 2.8
  73. 73. Canon EOS 7D 55.0 mm 1/60 ISO 100 4.5
  74. 74. Sync Sound WorkflowAudio will Often Come from Two Sources
  75. 75. Why recorddual sound?‣ Internal microphone quality‣ Automatic Gain Control‣ Difficulty in monitoring‣ Challenge to keep constant levels
  76. 76. Dual SoundWOrkflow‣ 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
  77. 77. 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
  78. 78. Public Service AnnouncementCase Study
  79. 79. The POSTPRODUCTION WORKFLOWThere are Extra Steps... But it’s Worth it
  80. 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. 81. Transfer & BackupThe first transfer to critical
  82. 82. 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
  83. 83. transferring fromField 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
  84. 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. 85. 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
  86. 86. ORGANIZING MEDIA FOR EDITGet your selects made
  87. 87. Common MediaFolder Approach‣ 01_Original Footage ‣ Card images or cloned copies‣ 02_Selects ‣ Footage picks‣ Adapt as needed
  88. 88. Renaming Files‣ Optional‣ Can use descriptive names‣ Adobe Bridge ‣ Includes batch rename option ‣ Can preserve original name in metadata for future
  89. 89. Make Selects &Transcode‣ Transcode only selected footage‣ Reduces transcode time‣ Removes extraneous footage‣ Reduces storage burden
  90. 90. Why Transcode?Sometimes you will.... sometimes you won’t.
  91. 91. Why Transcode?‣ Once the footage has been transferred, youll 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.
  92. 92. Why Transcode?‣ While H.264 files are small, they do not often make good source files.‣ Have heavy compression that drains your computers processors to decode.‣ Must choose codec that is a healthy balance for quality and size.
  93. 93. 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 latest Avid, Premiere Pro, and Sony Vegas
  94. 94. EditTime to tell the story
  95. 95. Choosing the RightSystem for Editing‣ Processor‣ RAM‣ Connections‣ Hard Drives‣ Video Card
  96. 96. 64Going 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 Bit‣ Add more RAM to take advantage of 64-bit benefits fully ‣ 2GB per core is a “good start” ‣ Go for fast RAM
  97. 97. 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
  98. 98. Color GradingUsing After Effects or Photoshop
  99. 99. Color Grading‣ Advanced manipulation of color for storytelling purposes ‣ Black & White ‣ Special Effects ‣ Glows ‣ Grain & Stock Simulations‣ Two powerful choices
  100. 100. Retiming FootageChanging frame rates for technical and stylistic reasons
  101. 101. Methods toChange Speed‣ Conform‣ Interpret‣ Process
  102. 102. ResourcesThings to help get the job done
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  106. 106. 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‣‣ Free sample –‣ 35% Off with Code TOMOTION (order from
  107. 107. EFFECTIVE SITE SURVEYSDSLR Video:High End Looks on a Middle Class Budget rhedpixel RichHarringtonStuff richardharrington rhedpixeltv