Getting Started with DSLR Video

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

Goals of session

Goals of session Choose the right settings in your camera for the best video

Goals of session Choose the right settings in your camera for the best video Select the right lens and settings for several shooting situations

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

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

Richard Harrington RHED Pixel (www.rhedpixel.com) Adobe Certified Expert & Trainer Apple Certified Instructor NAPP Instructor Creative COW Project Management Professional Consult on digital media production and web content

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 www.peachpit.com/stilltomotion Free sample tinyurl.com/fs2msample

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 http://tinyurl.com/dslrvideobook Free sample posted

An Editor's Guide to Adobe Premiere Pro Designed for experienced editors Make the move from Final Cut Pro or Avid Professional workflow www.peachpit.com/premiereguide Over 6 hours of video Free sample posted

About You

About You Photographer

About You Photographer Videographer

About You Photographer Videographer Designer/Motion Graphics Artist

About You Photographer Videographer Designer/Motion Graphics Artist Educator

About You Photographer Videographer Designer/Motion Graphics Artist Educator Business Owner

Why Shoot DSLR Video The Benefits of DSLR Video

AESTHETIC BENEFITS Great Depth of Field Filmic Image Creatively Invigorating Smaller Profile

. Depth of Field

Depth of Field

FILMIC IMAGE

FILMIC IMAGE.

FILMIC IMAGE

Technical Benefits Lens Selection Lowlight Performance Smaller Profile Tapeless Workflow

LENS SELECTION

LOW LIGHT PERFORMANCE

. Smaller Profile

Smaller Profile

TAPELESS WORKFLOW

THe CONS Tapeless Workflow Sync Sound Workflow Add-on Gear Essential New Skills Focus is Difficult

TAPELESS WORKFLOW

SYNC SOUND WORKFLOW

ADD ON GEAR ESSENTIAL

Technical Essentials A Crash Course in Video

Frame Rate Options

Frame Rate Options 60 fps (59.94 fps) Common frame rate for 720p HD Can be used for overcranking

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

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.

Full Frame Sensor Cropped Sensor

Selecting Lenses Cinema Has Different Demands

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.

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

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.

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.

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.

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

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.

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.

Match The Lens To The Shot Getting the right gear for the shot

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.

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.

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

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

THe GeaR You ll NEED Some Must and Nice To Haves

MUST HAVES Fluid-Head Tripod Viewfinder Audio Recording Device with Microphone

NICE TO HAVES Camera Support Fast Lenses Follow Focus External Monitor Electronic Viewfinder Lights Matte Box

SMALL HD Panasonic via AJA

Powering the Camera Without power, you re dead

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.

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)

ON-Camera Storage Get the Right Cards

Importance of Good Storage

Importance of Good Storage Main point of potential failure

Importance of Good Storage Main point of potential failure Not all brands are equal

Importance of Good Storage Main point of potential failure Not all brands are equal Video has different requirements

Importance of Good Storage Main point of potential failure Not all brands are equal Video has different requirements Capacity

Importance of Good Storage Main point of potential failure Not all brands are equal Video has different requirements Capacity Speed

Importance of Good Storage Main point of potential failure Not all brands are equal Video has different requirements Capacity Speed Transfer speed considerations

Common Card Speeds

Common Card Speeds Most DSLR codecs top out around 5-6 MB/s approx. 300MB/min

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

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

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

PLAN FOR STORAGE

PLAN FOR STORAGE Storage space is consumed relatively fast.

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

Sync Sound Workflow Audio will Often Come from Two Sources

Why record dual sound?

Why record dual sound? Internal microphone quality

Why record dual sound? Internal microphone quality Automatic Gain Control

Why record dual sound? Internal microphone quality Automatic Gain Control Difficulty in monitoring

Why record dual sound? Internal microphone quality Automatic Gain Control Difficulty in monitoring Challenge to keep constant levels

Dual Sound WOrkflow

Dual Sound WOrkflow Use sync source

Dual Sound WOrkflow Use sync source Record enhanced camera audio

Dual Sound WOrkflow Use sync source Record enhanced camera audio Record real sound with professional microphones plugged into a mixer

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

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

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

PluralEyes

PluralEyes Place video on one track and audio on another track

PluralEyes Place video on one track and audio on another track Files are synced based on sound, no timecode required

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

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

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 www.singularsoftware.com $149

Exposure Triangle Understanding the relationship between settings

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

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).

Creating great shots The choices that go into a shot

Consistent Shooting

Consistent Shooting Always get multiple takes

Consistent Shooting Always get multiple takes Slate takes

Consistent Shooting Always get multiple takes Slate takes Be methodical

Consistent Shooting Always get multiple takes Slate takes Be methodical Maintain continuity

Consistent Shooting Always get multiple takes Slate takes Be methodical Maintain continuity Calibration

Consistent Shooting Always get multiple takes Slate takes Be methodical Maintain continuity Calibration Log settings used

Consistent Shooting Always get multiple takes Slate takes Be methodical Maintain continuity Calibration Log settings used Plan for sync

QP Card PHOTOVISION

Canon EOS 7D 300.0 mm 1/60 ISO 160 4.5

Canon EOS 5D 50.0 mm 1/60 ISO 100 10.0

Canon EOS 5D 50.0 mm 1/60 ISO 640 1.4

Canon EOS 5D 105.0 mm 1/30 ISO 1600 4.0

Canon EOS 5D 28.0 mm 1/60 ISO 800 2.8

Canon EOS 7D 95.0 mm 1/60 ISO 200 2.8

Canon EOS 7D 35.0 mm 1/80 ISO 100 3.2

Canon EOS 7D 58.0 mm 1/50 ISO 100 2.8

Canon EOS 7D 24.0 mm 1/60 ISO 1250 1.4

Canon EOS 7D 17.0 mm 1/60 ISO 640 2.8

Canon EOS 7D 50.0 mm 1/60 ISO 1600 1.8

Canon EOS 7D Lensbaby 1/200 ISO 100 5.6

Canon EOS 5D 28.0 mm 1/60 ISO 600 2.8

Canon EOS 7D 28.0 mm 1/50 ISO 100 2.8

Canon EOS 5D 24.0 mm 1/60 ISO 100 2.8

Canon EOS 7D 55.0 mm 1/60 ISO 100 4.5

The POSTPRODUCTION WORKFLOW There are Extra Steps... But it s Worth it

The WORKFLOW

The WORKFLOW Transfer to Field Drive and Mirror

The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format

The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format Identify Storage Requirements

The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format Identify Storage Requirements Transfer to an Edit Drive

The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format Identify Storage Requirements Transfer to an Edit Drive Organize Media

The WORKFLOW Transfer to Field Drive and Mirror Determine Editing Format Identify Storage Requirements Transfer to an Edit Drive Organize Media Edit

Edit Time to tell the story

Choosing the Right System for Editing Processor RAM Connections Hard Drives Video Card

Premiere PRO CS5.5 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

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)

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)

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

Monday @ 8:15

Resources Things to help get the job done

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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