TGJ3M_Multimedia_Design_Editing_basics

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=Video Basics= The fields of television broadcasting and film are huge. Salaries can range from an hourly minimum wage to the tens of millions depending on luck, skill, schooling and networking. The first big question is why? Typically we generate TV & film for one of (or several of) 3 reasons: for pure art, for an audience, or for a client.

Video Production types
There are 2 basic production types live and canned. Live production is exemplified by the traditional broadcast while canned production is where footage is shot, then edited, then distributed to the user. Canned production far exceeds live production because all aspects of the finished product can be manipulated, while live production is at the mercy of lady chance (i.e. a team can do all they can to minimize errors, but because it's live, errors can result in termination of broadcast). All the work is done upfront **BEFORE** the shooting happens.
 * 1) Live Production - not used at SCHS, but programs like those at Sir Will and a few others have sound, lighting and film-work combined to generate live streams watched by audiences.
 * 2) Canned production (coined by the fact that film used to be carried around in 'tin cans' containing the celluloid) is what is done at SC. We have 2 forms of canned production:
 * 3) Film: using Premiere Elements as an editor, footage and sound is mixed in a **post-production environment** to generate a finished product.
 * 4) Broadcast (using Visual Communicator as an assembler): a time-line-based piece of software that ties together live and pre-edited elements to generate a finished product.

Types of Filming

 * 1. Studio**[[image:https://upload.wikimedia.org/wikipedia/commons/3/38/Hogwarts_model_studio_tour.jpg width="534" height="357" align="right"]] - When video is shot in a controlled environment, you can optimize things such as camera placement, lighting and sound. End-product is often of high-quality, but can suffer from authenticity if a desired look from the outside world is wanted.


 * 2. On-location**[[image:http://cdn.wn.com/ph/img/e9/95/8ed1603f7a8f8c61caa190cb8260-grande.jpg align="right" caption="On-Location"]] - Shots in the 'real world' can often be noisy and unpredictable but generally give a truly authentic feel to the piece. Benefits of shooting on-location are that you can get an authentic environment, you can get dialogue that might be unpredictable but valuable, you can capture events or interviews you might not otherwise get and finally, using multiple cameras, you can get 'B-Roll' footage, that can be used to enhance the primary shot.

SD-Card recorders

 * || Nikon D5100 & D7000 || HFS200 ||
 * || [[image:NikonD5100.jpg width="240" height="180" caption="Nikon D5100"]] || [[image:cyberdog/Video_HFS200.jpg caption="HFS200"]] ||
 * **Approximate $** || $790 - $1400 || $1290 ||
 * **Image** || HD || HD ||
 * **Microphone** || built-in || built-in ||
 * **Filetype** || MOV (convert using Format factory to regular Mp4) || *.MTS (rename to avi) ||
 * **Quality Settings** || On a 2GB SD Card:
 * 1080p (1,920 x 1,080) or 720p (1,280 x 720) HD recording at 30 / 25 / 24 fps
 * 640 x 424 SD recording at 30 / 25 fps
 * MPEG-4 / H.264 AVC compression, .MOV container || On a 16GB SD Card:
 * LP (6 hrs 5Mbps)
 * SP (5 hrs 7Mbps)
 * XP+ (3 hrs 12Mbps)
 * FXP (2 hrs 17Mbps)
 * MXP (1.5 hrs 24Mbps) ||
 * **Notes** || Be careful not to OVERWRITE previously downloaded files. There are TWO of these cameras, and they use an identical file naming system. If you switch cameras from one day to the next, you CAN be left with two different files with exactly the same name. || This camera shoots ONLY in High Definition mode 1920x1080 resolution.

This footage can be edited down to Standard Definition (720x480) so as not to put a strain on our storage and computer processing capabilities, but beware there MAY be complications. ||
 * **Manual** || * [|Nikon D5100 User Manual]


 * [|Nikon D7000 Manual] || * [[file:cyberdog/Canon HFS20 Camcorder.pdf|Canon HFS20 Camcorder.pdf]] ||

**Mic options**

 * onboard mic on the cameras: poor tinny option. Very low-quality sound
 * hotshoe mics (the slot in the top for the external flash)
 * shotgun mic - slots into the hotshoe and plugs into the mic port on the dslr - good for synch'd sound, but is only good for about 20' and a cone about 30 deg. over that distance.
 * lavaliere mic (lapel mic) - useful to get dialogue in interview style video, but is visible, and if there's movement can pick up clothing noises and changes based on head movement. The base of the lav mic fits in the hotshoe. Problem - wireless mics can also pick up wireless noise.
 * handheld boom pole mic - exceptional sound quality, but requires a person to hold it and orient it to conversation. Also requires syncing with video if you're not using passthrough on the zoom recorders.

**Rules of Conduct**
Also note that there are **rules of conduct** implied with video production:
 * Be Careful handling the equipment
 * Change SD cards and lenses over a table
 * Use the strap when available
 * Secure and carry the camera when mounted on a tripod carefully
 * Be Respectful when shooting
 * Do not disrupt other classes
 * Don't intentionally record someone without their knowledge or implied consent
 * Never record in washrooms or locker rooms
 * Be Accountable
 * If you are outside of the Comm Tech area, it is to complete your production - not to get food, make calls, chat with friends etc.
 * Get the job done, and return to class ASAP to continue in on the post-production phase.

== =Camera Setup= These settings are easy to overlook, but potentially DISASTROUS to your production if not set properly

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 * ASPECT RATIO**
 * Wide-screen is the most common format. When selecting this format on our cameras we choose 1920x1080 or 1280x720. We will also choose 24fps, or 30fps. To be honest - people often choose 24fps because it is a traditional filmmaking framerate (the number of frames per second recorded) - however, 30fps is the default for most DSLR's. If you intend on having fast motion sequences you want to slow down, shoot at 60fps instead.


 * AUTOMATIC SETTINGS**
 * AUTO FOCUS works well in most cases, but changing the setting to MANUAL FOCUS can ensure your shots STAY in focus


 * WHITE BALANCE**
 * As with digital photography, setting white balance ensures proper colours and can pro-actively eliminate "colour casts", manually correcting colour afterwards is a pain.
 * Finding the White Balance settings is a big challenge - Consult the PDF manuals in the handouts folder to set the white balance for specific cameras (in the PDF, use EDIT FIND and search for the word "balance")


 * AUDIO SOURCE**
 * Be sure to MONITOR the sound using headphones, and adjust settings appropriately


 * RESOLUTION**
 * **//Use a STANDARD DEFINITION setting (1280x720) for any projects you do in school//**