This tutorial discusses video compression and how to not lose color information, or Chroma Subsampling, when switching to video mode.
presents DSLR | Video Tips with Richard Harrington. In this episode, Rich shares techniques on how to manually calibrate your DSLR camera for proper white balance. Then, follow along as he gives you a quick look at how to use a 3-way color corrector tool to white balance in post-production.
Sometimes, using the auto white balance (AWB) option can become problematic. If there is a change in lighting over time, such as a cloud moving in front of the sun, it can cause the AWB to re-adjust during your shot. To avoid this, try using the white balance pre-sets and calibration tools to customize your shooting situation.
Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he demonstrates how to achieve sync sound production. There are many tools to help accomplish professional audio during your production.
Most DSLR cameras have a built in microphone, but to you need more to capture good professional audio. It is important to capture good quality audio. In this episode, Rich reveals the tools you can use to ensure you achieve sync sound during your production and post production process.
Be sure to also watch part 1
Recording Sync Sound: DSLR | Video Skills
The Rule of Thirds is a guideline that helps you better frame and composite your shots. It states that you should imagine every image as being divided equally by 2 horizontal lines, and 2 vertical lines. The important parts of the image should fall on those lines, or on their intersection. The main goal of this rule is to prevent you from shooting everything dead in the center of your frame. Following this guideline will make for more interesting shots, rather than a boring centered image.
Continue reading the full tutorial here – http://www.rodypolis.com/15/post/2012/06/ruleofthirds.html
DP BestFlow - Manually White-Balancing a Camera from ASMP dpBestflow on Vimeo.
I show you how to get the proper white balance on your DSLR camera.
From the dpBestflow.org project.
Photofocus - Quadrocopter - NAB 2012 from RHED Pixel on Vimeo.
At NAB 2012 Rich Harrington and Scott Bourne look at the Quadrocopter, a new system for flying lightweight cameras.
DP BestFlow - How to Expose a Video Shot from ASMP dpBestflow on Vimeo.
I explain how to combine aperture, ISO and shutter speed to properly expose video on your DSLR camera.
From the dpBestflow.org project.
Essentially, all compression tools do the same thing. They take large video files and make them smaller. What differs from one tool to the next are factors like speed, supported file formats, and user interface design. Fortunately, most of these tools are either free or inexpensive. You’ll also find demo versions that you can try out before you buy.
Here are some recommended tools to try:
- QuickTime Pro (www.apple.com/quicktime/pro). This versatile application lets you convert video from one format to another. QuickTime Pro is a cross-platform solution and lets Mac and Windows users convert video files to work with Apple’s portable media players. It can also produce files using the Apple TV spec, which matches the HD requirements of most video-sharing sites. The app sells for $29.
- iMovie (www.apple.com/ilife). Apple’s entry level video-editing tool can publish QuickTime and H.264 files directly. It can also publish video directly to YouTube, Vimeo, and Facebook. The app is sold separately for $15 through the Mac App Store or bundled with four other apps in the iLife suite.
- Adobe Premiere Elements (www.adobe.com/products/premiereel). This versatile editing tool also contains a versatile compression tool set. With it, you can create movies in several formats, including MPEG-4 and Flash, and post directly to social media and video-sharing sites. The app sells for $99 new and is available for both Windows and Mac.
- MPEG Streamclip (www.squared5.com). MPEG Streamclip is a multipurpose video converter, player, and editor that works on both Mac and Windows. It can encode to many formats; it can also cut, trim, and join movies. The biggest benefit is that it’s free!
- Microsoft Expression Encoder and Expression Encoder Pro (www.microsoft.com/expression/products/Encoder4_Overview.aspx). This Windows-only tool comes in a free and a Pro version. It replaces the Windows Media Encoder, which was retired in mid-2010. It can create Windows Media Video files and Silverlight files. The Pro version can also output H.264 files.
- Apple Compressor (www.apple.com/finalcutstudio/compressor). This powerful compression tool used to be bundled with Final Cut Studio but is now sold separately in the Mac App Store for $49. It allows you to create Apple-compatible files and is optimized for computers with multiple processors.
- Adobe Media Encoder (www.adobe.com). This compression tool is not a stand-alone product. Rather, it is a core technology in the Adobe Creative Suite products that works with video. You can easily access it through products like Adobe Premiere Pro. It supports several web video formats and offers excellent control.
Here are a few extra tips to help less-experienced on-camera talent or interviewees. I usually send these on to a client to share with folks prior to the production day.
- Bring at least one alternative set of clothing to the interview.
- Herringbone, stripes, or small patterns do not look good on camera. Avoid vivid patterns, plaids, and geometric shapes.
- Please keep your jewelry simple.
- Do not wear bright white. Cream, eggshell, or light gray are preferred.
- Unless told otherwise, maintain eye contact with your interviewer throughout the interview.
- Relax. Your crew is here to make you look good.
- It's okay to revisit an interview question, or to occasionally take a "do-over."
In this video, Brian King shows you a sneak peek of a potential new feature for automatically replacing the dialog of a video clip with separately recorded audio with near perfect synchronization.
- Sync sound workflow – GREAT
- Dialog replacement – AWESOME
This is just amazing.
A wireless microphone goes a long, long way towards a flexible production. This setup also makes it easier for a small or one-person crew where the camera operator is also running audio. It’s much easier to work with moving talent then to have to chase after them with cables connecting you–less tripping and more recording.
There is potential of radio interference, when working with wireless microphones, so be sure to get a unit that offers the ability to use different frequencies. Most kits include a lavaliere microphone, an XLR adapter for other microphones, and a wireless receiver to plug into the camera.
You need to be aware of a recent development regarding the use of wireless RF microphones. As of June 12, 2010 the FCC has made it illegal to use any equipment that operates in the 700 MHz band. This set of frequencies has been reassigned for use by emergency personnel only. Many wireless mics previously on the market operated in this frequency range and must be replaced. More information about this ruling can be found on the FCC website at http://www.fcc.gov/cgb/wirelessmicrophones.
Be certain to actively monitor your audio with headphones. Besides interference, there are a few common problems. One is that batteries can wear out, which can introduce dropouts and noise. The most common problem though is human error. With two off switches (one on the microphone and one on the receiver) it’s easy to leave the microphone turned off. Remember, you plug into the camera and listen to what the camera is recording to know you are getting good audio.
For more on video production check out Professional Web Video and From Still to Motion.
When it comes time to edit your video, the hard drives you use are going to have a huge impact on the performance of your system. No matter how much RAM you have or how powerful of a video card, you just won't get real-time performance if your drives are a bottleneck.
Important FactorsThere are three factors when choosing a disk for video editing:
- Speed. The speed of drive is the biggest factor on what media you can play off it. Drives like internal laptop drives or bus-powered USB drives are generally not fast enough to edit HD video.
- Capacity. When you start to edit HD video, you'll quickly use up disk space. For example, each minute of video shot on a Canon 5D Mark II is about 320 MB. In order to get the storage you need, you may invest in multiple drives or drives that are striped together for a performance RAID.
- Redundancy. The last thing you'll want to happen to your video footage is to lose it. Most video creators choose to back up their footage to two or more drives or to use additional methods like Blu-ray Disc. Look at redundant drives (such as RAIDs)
Drive TechnologyBe sure to consider your options when looking at hard drives.
- Internal Drive Solutions. Many computers support multiple drive slots. Consider placing a fast SATA drive internally into your computer as a performance disk. Keep this as only a scratch disk and avoid installing application or system files on it.
- External and Portable Drive Solutions. There are several different drives available once you've maximized your internal storage. You'll find both single and multiple drive solutions available. Look for units offering connections like FireWire, USB3, or eSATA.
- Networked RAIDs. You'll find several professional drives that allow multiple users to connect simultaneously. These solutions are important if you work in a multiple editor environment and need to share projects or assets.
For more on DSLR video, check out From Still to Motion.
Having a good microphone is nearly worthless if you don't put it in the right position. The closer you can get the mic to the source of the audio the stronger the signal. Skimp on taking the time to position and test your mics and you run the risk of noise and hollow sounding audio.
Here are a few guiding principles when it comes to microphone placement:
- Too far away. Extend your thumb and pinky finger in opposite directions. This is a good target distance for the microphone to be from the mouth of your subject. You can't get this close all the time, but do your best.
- Getting too close. While proximity is important, you can get too close. If a microphone is too close to the audio source, the signal can become overloaded and distorted.
- Microphone rub. Be careful where you attach a microphone (especially if using a lavaliere mic). Try to avoid having the microphone rub against clothing.
- Consider the pickup pattern of the mic. Different microphones have different purposes. Make sure if you’re using an omnidirectional microphone, to place it so it can best capture the “whole” scene. Likewise, if using a shotgun microphone, angle it to capture the directional audio it’s capable of recording.
For more on DSLR video, check out From Still to Motion.
Another way of saying this... audio is king! I can’t emphasize enough recording great sound is essential. Invest in a good audio recorder and plug microphones directly into that. A device like a Zoom H4N is a great dedicated audio recorder. Until DSLR camera manufacturers are will to raise the cost of camera bodies to cover real audio inputs (like XLR connections) you’ll still need to go this route.
Syncing up sound is simple if you use a clapboard (a large spike appears on both the camera audio and the synced sound). You can also use tools like Plural Eyes (available for Final Cut Pro, Sony Vegas, and soon Premiere Pro).
One more important piece of audio advice. Once you’ve edited your video rough cut... close your eyes and just listen to the edit. You should be engaged in the story without the use of visuals or transitions. A good edit works as a solid radio piece... adding pictures and graphics will only make it better.