Getting Started with DSLR Video
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1 Getting Started with DSLR Video Richard Harrington Author, From Still to Motion & Creating DSLR Video RHED Pixel twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington youtube.com/ rhedpixeltv
2 Goals of session
3 Goals of session Choose the right settings in your camera for the best video
4 Goals of session Choose the right settings in your camera for the best video Select the right lens and settings for several shooting situations
5 Goals of session Choose the right settings in your camera for the best video Select the right lens and settings for several shooting situations Choose the right equipment for a stable shot
6 Goals of session Choose the right settings in your camera for the best video Select the right lens and settings for several shooting situations Choose the right equipment for a stable shot Maintain focus and exposure when shooting manually
7 Goals of session Choose the right settings in your camera for the best video Select the right lens and settings for several shooting situations Choose the right equipment for a stable shot Maintain focus and exposure when shooting manually Capture great audio
8 Goals of session Choose the right settings in your camera for the best video Select the right lens and settings for several shooting situations Choose the right equipment for a stable shot Maintain focus and exposure when shooting manually Capture great audio Organize your media for editing with Adobe Bridge or Lightroom
9 Goals of session Choose the right settings in your camera for the best video Select the right lens and settings for several shooting situations Choose the right equipment for a stable shot Maintain focus and exposure when shooting manually Capture great audio Organize your media for editing with Adobe Bridge or Lightroom Perform essential editing tasks using Adobe Premiere Pro
10 Richard Harrington RHED Pixel ( Adobe Certified Expert & Trainer Apple Certified Instructor NAPP Instructor Creative COW Project Management Professional Consult on digital media production and web content
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12 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 tinyurl.com/fs2msample
13 Creating DSLR Video: From Snapshots to Great Shots Designed for new users and solo shooters Maximize gear you own and grow on a tight budget Situation-based learning Free sample posted
14 An Editor's Guide to Adobe Premiere Pro Designed for experienced editors Make the move from Final Cut Pro or Avid Professional workflow Over 6 hours of video Free sample posted
15 About You
16 About You Photographer
17 About You Photographer Videographer
18 About You Photographer Videographer Designer/Motion Graphics Artist
19 About You Photographer Videographer Designer/Motion Graphics Artist Educator
20 About You Photographer Videographer Designer/Motion Graphics Artist Educator Business Owner
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22 Why Shoot DSLR Video The Benefits of DSLR Video
23 AESTHETIC BENEFITS Great Depth of Field Filmic Image Creatively Invigorating Smaller Profile
24 . Depth of Field
25 . Depth of Field
26 Depth of Field
27 FILMIC IMAGE
28 FILMIC IMAGE.
29 FILMIC IMAGE
30 Technical Benefits Lens Selection Lowlight Performance Smaller Profile Tapeless Workflow
31 LENS SELECTION
32 LENS SELECTION
33 LOW LIGHT PERFORMANCE
34 LOW LIGHT PERFORMANCE
35 LOW LIGHT PERFORMANCE
36 . Smaller Profile
37 Smaller Profile
38 TAPELESS WORKFLOW
39 TAPELESS WORKFLOW
40 TAPELESS WORKFLOW
41 THe CONS Tapeless Workflow Sync Sound Workflow Add-on Gear Essential New Skills Focus is Difficult
42 TAPELESS WORKFLOW
43 SYNC SOUND WORKFLOW
44 SYNC SOUND WORKFLOW
45 ADD ON GEAR ESSENTIAL
46 ADD ON GEAR ESSENTIAL
47 ADD ON GEAR ESSENTIAL
48 Technical Essentials A Crash Course in Video
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55 Frame Rate Options
56 Frame Rate Options 60 fps (59.94 fps) Common frame rate for 720p HD Can be used for overcranking
57 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
58 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.
59 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
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61 Full Frame Sensor Cropped Sensor
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66 Selecting Lenses Cinema Has Different Demands
67 Selecting Lenses You've may have invested in a set of specific lenses that work well for your style of photography. We recommend that you immediately move these lenses into a video workflow and try them out. When selecting additional lenses for video work, you ll need to be more varied in your choices. You ll likely want range... the ultra wide lens, a super fast lens for lowlight shooting, and an ultra long lens to capture far away action.
68 Adapting a lens to your mount Collecting good lenses can be a lifelong pursuit by a lot of folks. There are lots of companies that make adapters that allow you to put a lens from one manufacture on a body from another. No auto-focusing capabilities. You'll also lose additional lens features like image stabilization. Fotodiox and Novoflex
69 Focal Length 10mm 35mm depending on the body you re using lenses in this range can are a go to for wide-angle shots. Lot of action in a scene Establishing shots for a scene. Let you see the big picture without having to remove yourself a great distance away from the action.
70 Focal Length 50mm -100mm Lenses in this focal range work great for portraits and interviews. Be sure that you think abut the effect of the closeup on your subject. Do you need makeup? Is the lighting flattering? Lenses of this length can start to show tiny details you may want to avoid.
71 Focal Length 200mm plus Long telephoto lenses are great for compressing the background of scene Are also ideal when you want to let action unfold in front of you without having to actually be in the action. Additionally we love long telephoto lenses to get up-close shots of hands, facial reactions and small details that really help tell a story.
72 Aperture and Lens Choice One of your main concerns is getting the fastest lens that you can afford Fast lenses allow you to work in low light and be able to still freeze action as you can work with a faster shutter speed and lower ISOs Fast lenses offer a wider apertures (f/1.8, f/1.2 and so on) the ability to leverage that amazing depth of field characteristics of a DSLR sensor
73 Aperture and Lens Choice Faster lens have one major issue price. Fast lenses are expensive but having a few in your bag is essential for photo and video work. Trying to use lenses that have an aperture of f/2.8 or wider. If you ll be doing work that always has quite a bit of light available (like when working outdoors) than an aperture of f/ 4 should work just fine and those lenses have the benefit of being cheaper.
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75 Aperture and Lens Choice Where is the aperture control for the lens. Some lenses have an aperture ring alongside the focus and zoom rings. This allows you to precisely control aperture during a shot and is very useful when you need to stop down in a situation like walking from indoors to outside. Other lenses have electronic aperture control, meaning that aperture is controlled on the actual camera body.
76 Match The Lens To The Shot Getting the right gear for the shot
77 When To Use Prime Lenses Most DPs choose primes both on feature films as well as independent projects for two main reasons: speed and sharpness. A quality prime lens with a wide aperture of f/1.2 to f/2 will allow you to shoot in existing light or low-light environments more easily. Primes are universally faster than a zooms due to the way they are manufactured.
78 When To Use Prime Lenses Prime lenses have less moving parts, and fewer elements than zoom lenses. The result is a sharper image. Primes are great for videos where you have control of the environment. You are stuck with the focal length If you can block out any movement in the scene in advance, control the lighting and want that nice short DOF that these lenses deliver, then prime lenses are a good choice.
79 When to Use Zoom Lenses When you need to change focal length quickly and/or you need the versatility of those different focal lengths Zooms are generally slower than a fast prime, so you ll need to raise your ISO higher to match the exposure Many documentary shooters use zooms because there isn t any way to stop the event or subject just to change lenses Able to go from a 50mm standard shot of the interviewee to a 200mm close-up
80 Using Specialty Lenses There are many other out-of-theordinary lenses that, are useful for certain situations Macro lens Fisheye lens. Lens Baby Tilt/Shift lens
81 THe GeaR You ll NEED Some Must and Nice To Haves
82 MUST HAVES Fluid-Head Tripod Viewfinder Audio Recording Device with Microphone
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88 NICE TO HAVES Camera Support Fast Lenses Follow Focus External Monitor Electronic Viewfinder Lights Matte Box
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93 SMALL HD Panasonic via AJA
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97 Powering the Camera Without power, you re dead
98 Powering the Camera When shooting video, your camera will need much more power than you usually use when just shooting stills. First, you ll be using the Live View function of the camera which means powering the LCD continuously Second, to record video, your camera s processors and memory card are working all the time.
99 Live View Power Considerations Your camera s default settings for the live view mode includes shutting it off after a couple minutes. Leave this as is. It s essential to have additional batteries with you when shooting video. Pack five batteries per shooting day for each camera body. If charging batteries is an easy option, you can get by with less (3 per camera)
100 ON-Camera Storage Get the Right Cards
101 Importance of Good Storage
102 Importance of Good Storage Main point of potential failure
103 Importance of Good Storage Main point of potential failure Not all brands are equal
104 Importance of Good Storage Main point of potential failure Not all brands are equal Video has different requirements
105 Importance of Good Storage Main point of potential failure Not all brands are equal Video has different requirements Capacity
106 Importance of Good Storage Main point of potential failure Not all brands are equal Video has different requirements Capacity Speed
107 Importance of Good Storage Main point of potential failure Not all brands are equal Video has different requirements Capacity Speed Transfer speed considerations
108 Common Card Speeds
109 Common Card Speeds Most DSLR codecs top out around 5-6 MB/s approx. 300MB/min
110 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
111 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
112 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 or SDHC rating
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114 PLAN FOR STORAGE
115 PLAN FOR STORAGE Storage space is consumed relatively fast.
116 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
117 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
118 Sync Sound Workflow Audio will Often Come from Two Sources
119 Why record dual sound?
120 Why record dual sound? Internal microphone quality
121 Why record dual sound? Internal microphone quality Automatic Gain Control
122 Why record dual sound? Internal microphone quality Automatic Gain Control Difficulty in monitoring
123 Why record dual sound? Internal microphone quality Automatic Gain Control Difficulty in monitoring Challenge to keep constant levels
124 Dual Sound WOrkflow
125 Dual Sound WOrkflow Use sync source
126 Dual Sound WOrkflow Use sync source Record enhanced camera audio
127 Dual Sound WOrkflow Use sync source Record enhanced camera audio Record real sound with professional microphones plugged into a mixer
128 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
129 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 Monitor properly
130 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 Monitor properly Synchronize in postproduction
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141 PluralEyes
142 PluralEyes Place video on one track and audio on another track
143 PluralEyes Place video on one track and audio on another track Files are synced based on sound, no timecode required
144 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
145 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
146 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
147 Exposure Triangle Understanding the relationship between settings
148 Impact of Light and Motion 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
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152 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).
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166 Creating great shots The choices that go into a shot
167 Consistent Shooting
168 Consistent Shooting Always get multiple takes
169 Consistent Shooting Always get multiple takes Slate takes
170 Consistent Shooting Always get multiple takes Slate takes Be methodical
171 Consistent Shooting Always get multiple takes Slate takes Be methodical Maintain continuity
172 Consistent Shooting Always get multiple takes Slate takes Be methodical Maintain continuity Calibration
173 Consistent Shooting Always get multiple takes Slate takes Be methodical Maintain continuity Calibration Log settings used
174 Consistent Shooting Always get multiple takes Slate takes Be methodical Maintain continuity Calibration Log settings used Plan for sync
175 QP Card PHOTOVISION
176 Canon EOS 7D mm 1/60 ISO
177 Canon EOS 5D 50.0 mm 1/60 ISO
178 Canon EOS 5D 50.0 mm 1/60 ISO
179 Canon EOS 5D mm 1/30 ISO
180 Canon EOS 5D 28.0 mm 1/60 ISO
181 Canon EOS 7D 95.0 mm 1/60 ISO
182 Canon EOS 7D 35.0 mm 1/80 ISO
183 Canon EOS 7D 58.0 mm 1/50 ISO
184 Canon EOS 7D 24.0 mm 1/60 ISO
185 Canon EOS 7D 17.0 mm 1/60 ISO
186 Canon EOS 7D 50.0 mm 1/60 ISO
187 Canon EOS 7D Lensbaby 1/200 ISO
188 Canon EOS 5D 28.0 mm 1/60 ISO
189 Canon EOS 7D 28.0 mm 1/50 ISO
190 Canon EOS 5D 24.0 mm 1/60 ISO
191 Canon EOS 7D 55.0 mm 1/60 ISO
192 The POSTPRODUCTION WORKFLOW There are Extra Steps... But it s Worth it
193 The WORKFLOW
194 The WORKFLOW Transfer to Field Drive and Mirror
195 The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format
196 The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format Identify Storage Requirements
197 The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format Identify Storage Requirements Transfer to an Edit Drive
198 The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format Identify Storage Requirements Transfer to an Edit Drive Organize Media
199 The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format Identify Storage Requirements Transfer to an Edit Drive Organize Media Edit
200 Edit Time to tell the story
201 Choosing the Right System for Editing Processor RAM Connections Hard Drives Video Card
202 Premiere PRO CS 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
203 Graphics cards with mercury Support GeForce GTX 285 (Windows and Mac OS) GeForce GTX 470 (Windows) GeForce GTX 570 (Windows) GeForce GTX 580 (Windows) NVIDIA Tesla C2075 card (Windows)/ Maximus configuration Quadro FX 3700M (Windows) Quadro FX 3800 (Windows) Quadro FX 3800M (Windows) Quadro FX 4800 (Windows and Mac OS) Quadro FX 5800 (Windows)
204 Graphics cards with mercury Support Quadro 2000 (Windows) Quadro 2000D (Windows) Quadro 2000M (Windows) Quadro 3000M (Windows) Quadro 4000 (Windows and Mac OS) Quadro 4000M (Windows) Quadro 5000 (Windows) Quadro 5000M (Windows) Quadro 5010M (Windows) Quadro 6000 (Windows) Quadro CX (Windows)
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206 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
207 8:15
208 Resources Things to help get the job done
209 Adobe Premiere Pro CS5.5 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 5.5 Production Premium Creative Suite 5.5 Master Collection Buy now, get CS6 when released
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215 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 tinyurl.com/fs2msample 35% Off with Code TOMOTION (order from peachpit.com)
216 Creating DSLR Video: From Snapshots to Great Shots Designed for new users and solo shooters Maximize gear you own and grow on a tight budget Situation-based learning Free sample posted
217 An Editor's Guide to Adobe Premiere Pro Designed for experienced editors Make the move from Final Cut Pro or Avid Professional workflow Over 6 hours of video Free sample posted
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219 Richard Harrington twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington RichardHarrington Blog.com
220 Getting Started with DSLR Video Richard Harrington Author, From Still to Motion & Creating DSLR Video RHED Pixel twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington youtube.com/ rhedpixeltv
221 Getting Started with DSLR Video Richard Harrington Author, From Still to Motion & Creating DSLR Video RHED Pixel twitter.com/ rhedpixel facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington youtube.com/ rhedpixeltv
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