Frame Rate

Everyone has their own system of filing and archiving, but whatever that system is, be sure to adhere to it. Otherwise things could get messy down the road, because you never know when a previous client will call you up and ask for a file on a job that’s at least five years old. That’s when your filing system is put to the test.

This morning I came in to the office and checked email (as I always do). There in my inbox was a message from a one-time client, needing files for a job I did back in 2005. I immediately thought, “There’s no way I have a copy of that. I gave everything to her.” So I went and checked the job file, and sure enough, I had filed away an extra copy for my own records. Let that be lesson #1 - Always keep duplicate copies for yourself. Don’t give everything to the client.

Here’s a quick run-down of how I store and archive client projects:

• Once the job is complete, I leave all elements on my hard drive for 45-60 days.
• When I get approval from the client and I see that no more work is needed for that particular project, I do two things: 1) Make a master copy of the project onto both tape and DVD, and 2) move all raw elements to an external hard drive for archiving.
• Over the next several months, I wait and see if the client will use any of these elements for various projects. If there are no repeat jobs for this client, I usually remove all the raw footage from the hard drive to free up space for new jobs. However, I still retain all the project files from my editing system. That way, if I need to revisit this project again, all I have to do is reload all the old footage. My logs, edit points, effects, titles, etc. remain intact because I saved the project files.

In video production it becomes very important to have an efficient and organized archiving system, because video files take up so much hard drive space. Your system is probably different from mine. Some people put everything from a single project onto an external hard drive, then label the drive and store it on a shelf. Some people use big rubber maid tubs to store everything from a particular client. Me? I use a CD/DVD tower to organize my clients’ master DVDs, tape racks for all raw footage and master tapes, and file folders for all paperwork. It’s important to find a system that works for you.

I’d be interested to know what everyone else is doing to archive old projects.

I came across this site today, thanks to the FreshDV blog. It’s called FilmmakerIQ and it has an exhaustive list of tutorials, reviews, insights, etc. on everything pertaining to films and filmmaking. There’s a great DIY section on how to achieve certain effects while keeping production costs low. The site has resources available for any filmmaker, regardless of the stage of production you’re in. I will definitely add this to my Delicious bookmarks.

One of the things people struggle with in the digital video medium is creating a smooth, rich slow motion effect. In film you can simply overcrank the frame rate and create slow motion, free from duplicate frames. If you own the Panasonic HVX or Varicam you can now do the same thing in the HD video world. But what about those shooting DV? Ordinarily when you shoot DV footage, bring it into your timeline, then slow it down, you can tell that frames are being duplicated. The footage doesn’t look quite as sharp and it has a slight jittery feel. Here’s a little trick I learned from reading The DVX Book by Barry Green. First, shoot your original footage in 60i, using a shutter speed of 1/120. When you load the footage into your timeline, slow it down to 40%. This will give you a nice, rich slow motion look with no duplicate frames.

I’m currently working on a video project containing a lot of still images. It’s important to know how to prep stills for use in your NLE timeline so that they come out looking their best. First, I always like to use TIFFs rather than JPEGs, because the TIFFs are less compressed and provide better quality.

Second, I look for images that are oriented horizontally, not vertically. A vertical image won’t fill up the entire screen and you’ll be forced to look at empty space on either side of the picture. An image that’s oriented horizontally will be much easier to work with in a 4:3 or 16:9 viewing area. Granted, I have worked with vertical images before and I’ve been able to work around the problem of empty space on either side. One way of doing this is enlarging the image, focusing on the most important part of the image. Bear in mind that you will lose some of the picture by doing this. You can also bring your image into Photoshop and use the pen tool to extract the portion of the image you want to see. You can then import that extracted portion into your editing system (I use Premiere Pro). Doing this enables you to create some nice composite shots, where the extracted portion of the image sits in front of a nice background.

Third, I always look at the dpi of each image. For print work you should always work with images at 300 dpi or greater. However, a still frame of video is 72 dpi - much lower resolution. So, what dpi setting works best when bringing still images into your video project? There’s no hard and fast rule here, but I like to work with stills that are at least 150 dpi. This gives me enough resolution to work with, in case I need to enlarge the image on screen, but it’s not so big that it chokes up the processor when rendering effects.

Fourth, it’s always good to add a little gaussian blur to your images. When you first import still images, they can look very sharp - too sharp, in fact. You might see slight flickering on the screen, and hard edges all around. I slight gaussian blur will soften the entire image, making it appear more natural.

Fifth, I like to use what’s now referred to as the “Ken Burns Effect” where the images move across the screen ever so slightly. This prevents your video from having a static, slide show look.

Last, I always like to create composites with the images (this is for the more advanced users and takes considerable more time to set up). I start with a nice textured background and apply two or three different images on top. By extracting portions of an image (see number 2 above) or softening the edges of an image with an image matte key, you can utilize a few different pictures in one frame and create a nice, layered look.

Here’s an example of a spot I created using this layered, composited look. It incorporates the use of stills and video.

Time. It’s one thing we all wish we had more of. I’ve already discussed the importance of a solid shooting schedule when working with a production company, but just as important as the daily schedule is setting aside ample time for the entire project. If you are faced with the task of producing a video for your company and you have an important deadline staring you in the face, it’s vital that you don’t wait. There are many items on the action list that must be checked off before cameras roll, and those items can take time - especially if every decision has to be approved by the higher ups. Remember, a quality video cannot be slapped together from pre-production to post in only a week. Be sure to follow this timeline and you will have a stress-free experience.

12 Weeks Out -

• Search online for production companies. Take a look at their online demos. See who they’ve worked for. Take note of any awards they may have received. Read the staff bios.
• Start soliciting production companies. Give them a call. Tell them what you’re looking for.
• Ask for a demo reel. Many times a production company can’t put every sample on their website. Their reel will usually be a little more extensive.
• Schedule meetings with those companies you were most impressed with

10 Weeks Out

• Make your final decision on which company you would like to hire.
• Sign the contract.
• Send in your deposit. Most companies request a deposit as a retainer. The deposit helps defray the pre-production costs of script writing, initial creative meetings, etc.
• Start working on all the creative concepts
• Write the script

8 Weeks Out

• At this point the script and creative concepts should be approved
• Secure locations
• Secure talent (including voice-over)
• Schedule the shooting dates
• Finalize all other pre-production requirements

7 Weeks Out

• Shoot It. Make sure a company rep is on location to ensure that everything is running the way you would like.

6 Weeks Out

• Get any logos, graphics, etc. to the production company for the edit
• Provide the produciton company with any stills you would like to include.

4 Weeks Out

• The voice-over should be recorded during this time.
• Look at the rough cuts. Approve what you like. Change/Alter anything that isn’t working for you.
• For the next two weeks, let the editor do his thing. Sit in on the edit if that’s your style, or pop in occasionally for updates.

2 Weeks Out

• Make final changes/approvals
• Again, let the editor do his thing.

And then after those two weeks are up you should have a video that reflects the standard of excellence that your company strives for. Here are a couple of other things to keep in mind:

• Is your subject matter seasonal? For example, are there certain things that need to be shot for your video that only happen certain times of the year? Schools are only in session for nine months out of the year, so a delay in the production timeline could mean having to wait until the fall before production can start.
• How often does your daily/weekly schedule change? For example, a manufacturing company might receive raw materials certain times of the month. So, if they plan to shoot a training/safety video it’s important to know when those materials arrive so the production company can film the process.

The above timeline is a good reference point, but of course we don’t always have the luxury of time. However, always remember not to delay. Keep everyone informed. Respond to the production company in a timely manner so nothing gets behind. Do that and I guarantee everyone walks away with a positive impression.

Although I’ve been in this business for several years, I am never naive enough to think I have learned all I need to know about being a director and cinematographer. I am constantly looking for ways to improve myself, whether by reading books, blogs, or watching other demo reels. I think the latter is most beneficial, because you get the chance to see exactly what other people are shooting. The more I surround myself with knowledgeable cinematographers, the more I will continue to grow in my craft. I think that’s a lesson for all of us, whether you work in production or not. Surrounding yourself with people that are better need not be a feeding ground for jealous competition. Mutual learning can take place. Here are a few things I’m reading to keep my chops up:

Placing Shadows: Lighting Techniques for Video Production by Chuck Gloman and Tom Letourneau. The authors give a crash course on the physics of light and the color spectrum before moving into details on all kinds of lighting gear and lighting techniques. Very informative.

Cinematography.com is a great online forum where you can discuss the craft with other directors and cinematographers.

Studio Daily is a catch-all for all things technical about movie making. There are case studies from Hollywood films, reviews, tutorials, blogs, videos, and information on the business side of filmmaking. I just came across this site recently and look forward to reading it.

Mac users are probably familiar with the iMovie application, an editing software designed to make video editing easier and quicker, without the steep learning curve. But could the latest installment, iMovie ‘08 actually take the place of professional software, like Final Cut Pro? That’s what Daniel Hollister discusses in his article on Macteens.