Frame Rate

I finally got around to updating my YouTube channel yesterday. Since my new website will be launching soon, I’ve been updating a lot of my marketing materials to reflect the new look. My YouTube channel had been horribly neglected, so I wanted to get it up to speed. It wouldn’t look good for someone in my business to ignore the power of YouTube.

While I was updating my account, I went through a lot of old friend requests that I hadn’t read and came across Triune Films, a group out of South Florida. I wanted to pass along a link to their channel, because they offer up some great tips on how to achieve good-looking special effects for little to no cost. If you are a low-budget filmmaker and are looking for cheap resources, you might want to check out their site. Here’s their most recent video dealing with Perspective.

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.

One of the things I’ve learned when shooting on-camera interviews is that you have to pay close attention to your background and how you frame up your shot. Otherwise the image may not look level.

In most interview situations, you aren’t going to arrange your shot where you are looking at the background straight on. This will make the image flat and uninteresting. You want to create depth by offsetting the camera slightly, allowing the background to recede into the frame.

However, if your background contains a lot of straight lines, like window blinds, door frames, window sills, or bookshelves, your image may look like it’s on a slant although your tripod head is perfectly level. This is simply an optical illusion caused by the placement of the camera in relation to the background. So what can be done about it? The first choice would be to select a location with a different background. However, I understand that this can’t always be done. Sometimes you have to use what you’ve been given. If you can’t change your location…

• Always make sure your subject is level first. Trying to compensate for the background by tilting the tripod head will usually make things worse, because then your subject will look slanted.
• Create more space between the subject and the background. Then zoom in to your subject. Open up your aperture as much as possible. This will throw the background out of focus and will blur the angles in the background.
• Frame out those unwanted straight lines as best as you can. If you can’t, try to find a plant, some books, anything to hide them.
• Try adjusting the angle of the camera in relation to the subject and the background. Creating a steeper angle will force the straight lines to recede more into the background.

As always, some trial and error will occur here as you explore different possibilities. Unfortunately, locations can’t be perfect 100% of the time, but sometimes a slight angle in the background is acceptable. The human eye can make the adjustment if the subject is level and framed appropriately.

How can I be a better cinematographer? That’s the big question among many production enthusiasts as they try to hone their skills and improve their craft. It’s a question I constantly ask myself, which is why I have books on lighting and cinematography. One can never grow complancent with where they are professionally. When you start out, you may not have any idea what your style is, but the more you shoot, the more your style will develop. Your camera style is influenced by two major factors — 1. Practice and 2. Immulation. As you continue to shoot you will also seek out other cinematographers whose style you appreciate. Then you will ask yourself, “I wonder how he did that?” which will lead you on a quest to figure it out and perhaps adopt certain facets into your own camera work.

One of the things I really like to do when I’m shooting is to capture the little details in close-ups and extreme close-ups. And I always offset those details to one side of the frame. Sometimes the beauty of a scene is found in those details that, from a wide shot, wouldn’t be all that impressive. It could be the worn edges of an old book, a tree limb swaying in the breeze, or the wrinkled hand of an elderly person. Shooting the small details focuses your viewer’s attention on what you want them to look at. It gives you control of the scene. How many times have you watched a video where everything was shot wide or in medium shots? Not very interesting. Why? Because this is how we view life through our own eyes. When you are shooting for video, the most interesting shots are from different and unique angles. Show your viewer the world in ways they they don’t ordinarily consider. That makes for more interesting footage. Good luck as you continue to work on your own projects, and keep shooting.

I came across this video while surfing through my usual blogs. It’s a great little tutorial on how to get professional-looking dolly shots for your video without the use of a dolly. I just might utilize this technique the next time I’m shooting in a tight location and don’t have the space for a dolly and/or track.

Video Cam Super Trick! - video powered by Metacafe

A big key to doing well on the set of a production is learning the lingo. If you can learn the names of each item on the grip truck then you are well on your way. If you can master the little nuances of coiling cable correctly, setting up lights, working with combo and c-stands, and placing wedges under the dolly track to keep it level, then you are well ahead of the curve.

I always get quizzical looks when I’m preparing to place a gel on a light and I ask for a C-47. Those same people look even more confused when someone on my crew hands me a simple wooden clothespin. Inevitably I am asked the question, “Why do you call a clothespin a ‘C-47?’” Well, legends abound as to the exact origin of the term “C-47″ (there are a few theories in this Wikipedia article), but the one I have heard the most often says that in the early Hollywood studio days the designation “C-47″ was added as a line item to the production budget to make it sound more official so budget managers would approve their purchase. It was a way to get quick approval for purchasing a lot of clothespins and it was also a good way of padding out the budget to cover unforseen miscellaneous costs. And by the way, you should always use wooden clothespins when on set because they don’t conduct heat. A plastic one will melt over time, ruining gels and the barn doors to your lights.

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.

I came across this juicy little website yesterday — FreshDV. If you work in DV, HDV, HD (anything video) either as a professional or a hobbyist, you will love this site. It has an RSS feed, so you can subscribe to their blog. They have tutorials on topics like calibrating a light meter, working with Adobe Production Studio, and how to find financing and distribution for your film projects. They also have reviews on the latest gear, videos from conferences like NAB, and a podcast. I’ve already started listening to one of their recent discussions on the Sony EX1. This is a great site with a wealth of information. If you’re in to video, you need to check it out.

Working as a freelancer or owning your own business can give you a great sense of pride and independence. You don’t have to answer to anyone but yourself. However, there is a downside. Freelancers often have a difficult time trying to get clients to pay their invoices. That’s why it’s so important to have a specific payment plan included in your contract.

I used to ask a client for 1/2 up front and then the remainder when the video was complete. Sometimes this payment plan doesn’t work on projects with a much larger budget. Clients often prefer to break up the budget into several smaller installments. I have no problem accommodating the client - after all, I want to make it as easy I can for them. But I also need to ensure that I get paid for the work performed. That’s why I now include specific dates in the payment plan (or specific project milestones) so the client understands when payment is due. I have also been forced to include late fees in the payment plan as well.

It’s unfortunate that two parties can’t just “shake on it” and be confident that each party will live up to his end of the deal. But the real world isn’t so perfect. So be specific in your contracts. Spell out everything. It can be frustrating to deal with a client who isn’t ethical enough to pay you for your work in a timely manner, but a detailed contract should offer you some security. Here’s an article from an HD editor who discusses the same problem of collecting payment.