Video Bootcamp from Common Language Project

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From the University of Washington Communication Department's workshop series. For reference for workshop attendees. Some videos are missing b/c of file size.

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  • Welcome\n
  • There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
  • There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
  • There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
  • There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
  • There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
  • There are a lot of different kinds of movies you might want to make. We’re going to focus on the documentary form since it’s a good jumping off point for the others. \nUsing Premiere b/c it available to you!\n
  • Your instructors\n\n\n
  • Your instructors\n\n\n
  • Your instructors\n\n\n
  • Your instructors\n\n\n
  • Your instructors\n\n\n
  • Your instructors\n\n\n
  • We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
  • We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
  • We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
  • We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
  • We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
  • Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
  • Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
  • Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
  • Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
  • Elicit: what did you see\nThis is why Audio is so important -- you can cover good audio with any visual, but you can’t hide bad audio\n\n
  • So these are the components that we’re going to collect today\n
  • So these are the components that we’re going to collect today\n
  • So these are the components that we’re going to collect today\n
  • So these are the components that we’re going to collect today\n
  • So these are the components that we’re going to collect today\n
  • Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
  • Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
  • Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
  • Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
  • Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
  • Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
  • Tripods --\nWe may not have quite enough -- I’m sorry\nLighting -- there are lighting setups but easiest to use natural or ambient light. Generally light from the side.\n\n\n\n
  • Not ‘do you like going to UW’\n“Why do you like going to UW’\nor Do you like going to UW, and why or why not’\n\n
  • Not ‘do you like going to UW’\n“Why do you like going to UW’\nor Do you like going to UW, and why or why not’\n\n
  • Not ‘do you like going to UW’\n“Why do you like going to UW’\nor Do you like going to UW, and why or why not’\n\n
  • Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
  • Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
  • Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
  • Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
  • Pair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\n\n\n
  • We’re a little short of equipment, but should have enough to share\n\n\n
  • Raise your hand when you get stuck and we’ll help\n\n
  • Raise your hand when you get stuck and we’ll help\n\n
  • Raise your hand when you get stuck and we’ll help\n\n
  • Raise your hand when you get stuck and we’ll help\n\n
  • Raise your hand when you get stuck and we’ll help\n\n
  • Raise your hand when you get stuck and we’ll help\n\n
  • Come back together by 2:30\n
  • Come back together by 2:30\n
  • Come back together by 2:30\n
  • Pop over to premiere to show b-roll covering cuts in interview\nWe’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
  • Pop over to premiere to show b-roll covering cuts in interview\nWe’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
  • Pop over to premiere to show b-roll covering cuts in interview\nWe’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
  • Pop over to premiere to show b-roll covering cuts in interview\nWe’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
  • Shoot B-roll in sequences\n
  • Shoot B-roll in sequences\n
  • \n
  • \n
  • We want to get a mix of these\nEx: Wide shot of room, Medium Shot of Brad typing, Close of of hands on the keyboard\n\n\n
  • We want to get a mix of these\nEx: Wide shot of room, Medium Shot of Brad typing, Close of of hands on the keyboard\n\n\n
  • Another example, WS of guy rolling out of bed in the morning, Medium of him putting on tea kettle, close up of hands dipping the tea bag\nCompressing time.\n
  • \n
  • Kneeled Down\n
  • Or just put the camera on the ground\n\nWhy all this moving? To show us something our eyes don’t usually see!\n
  • Think about depth -- more than one element in the photo\n
  • Think about framing\nLook at professional photos, almost always many layers and stuff cut out of the frame.\n
  • Set up the camera and let the action happen in front of it\n
  • Set up the camera and let the action happen in front of it\n
  • Set up the camera and let the action happen in front of it\n
  • Set up the camera and let the action happen in front of it\n
  • Set up the camera and let the action happen in front of it\n
  • Set up the camera and let the action happen in front of it\n
  • Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
  • Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
  • Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
  • Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
  • Audio is a little less important here, and we don’t have the mics for it, so use the internal mic\n
  • There are literally millions of work flows.  No single one is right. Depends on the camera you have, the software, where its going to be played.\nThere are a few main variables you should understand.\n\n
  • Here are the steps\n\n
  • Here are the steps\n\n
  • Here are the steps\n\n
  • Here are the steps\n\n
  • Here are the steps\n\n
  • Here are the steps\n\n
  • What your camera records onto\nDetermines Whether you just copy files or have to capture them in real time\nPluses and Minuses of each\nYou’ve already been through this\n\n
  • Two sizes of HD, One size of SD (also widescreen SD) \nStill photos\nEverything is moving into 16:9 world. Best way to go.\n\n
  • Long story short, it doesn’t really matter, just keep it the same\n\nThis p means progressive\ni means interlaced\nDon’t worry about it!\n\n\n
  • Always shoot the same and match the way you shot when you import and edit.\n\n
  • There are literally hundreds of these but\nH.264 is magic -- what lets the HDSLR’s work\nProRes is for using H.264 footage in FCP\nSo is DVCPRO HD 720p, so its smaller (remember -- what does 720p mean?)\n
  • MOV is what comes out of DSLR’s \n\n
  • You can use any of these to compress\nThe settings will be the same\n\n
  • These are the settings vimeo recommends.\n(Vimeo is like classy Youtube)\n\nPremiere is going to do this for you\n\n
  • Give them the handout with what they’re supposed to do \n\n
  • Video Bootcamp from Common Language Project

    1. 1. Video Bootcamp
    2. 2. What We’re Doing Today
    3. 3. What We’re Doing Today★Documentary Video
    4. 4. What We’re Doing Today★Documentary Video★Equipment Setup
    5. 5. What We’re Doing Today★Documentary Video★Equipment Setup★Shooting
    6. 6. What We’re Doing Today★Documentary Video★Equipment Setup★Shooting★Capturing
    7. 7. What We’re Doing Today★Documentary Video★Equipment Setup★Shooting★Capturing★Editing (Adobe Premiere)
    8. 8. What We’re Doing Today★Documentary Video★Equipment Setup★Shooting★Capturing★Editing (Adobe Premiere)★Export/Upload
    9. 9. Alex StonehillVisual JournalistUWCom Facultyalex@clpmag.org
    10. 10. Alex Stonehill Visual Journalist UWCom Faculty alex@clpmag.org Brad HutchinsonFilm Director & Editor The Last Quest
    11. 11. Alex Stonehill Visual Journalist UWCom Faculty alex@clpmag.org Brad HutchinsonFilm Director & Editor The Last Quest
    12. 12. Alex Stonehill Visual Journalist UWCom Faculty alex@clpmag.org Brad HutchinsonFilm Director & Editor The Last Quest Chantal Anderson Visual Journalist UWCom Alum
    13. 13. Alex Stonehill Visual Journalist UWCom Faculty alex@clpmag.org Brad HutchinsonFilm Director & Editor The Last Quest Chantal Anderson Visual Journalist UWCom Alum
    14. 14. What’s it made of?
    15. 15. What’s it made of?Sounds:
    16. 16. What’s it made of?Sounds: •People talking
    17. 17. What’s it made of?Sounds: •People talking •Music
    18. 18. What’s it made of?Sounds: •People talking •MusicAudio w/o Visuals?
    19. 19. What’s it made of?Sounds: •People talking •MusicAudio w/o Visuals?
    20. 20. What’s it made of?Visuals:
    21. 21. What’s it made of?Visuals: •People talking
    22. 22. What’s it made of?Visuals: •People talking •People doin’ stuff
    23. 23. What’s it made of?Visuals: •People talking •People doin’ stuff •Scenes
    24. 24. What’s it made of?Visuals: •People talking •People doin’ stuff •ScenesVisuals w/o Audio
    25. 25. What’s it made of?Visuals: •People talking •People doin’ stuff •ScenesVisuals w/o Audio
    26. 26. Interviews
    27. 27. B-roll
    28. 28. B-roll
    29. 29. B-roll
    30. 30. B-roll
    31. 31. B-roll
    32. 32. Setting Up Video Interviews
    33. 33. Setting Up Video Interviews★Keep it Steady -- Tripod/Table/Monopod
    34. 34. Setting Up Video Interviews★Keep it Steady -- Tripod/Table/Monopod★Light from the side
    35. 35. Setting Up Video Interviews★Keep it Steady -- Tripod/Table/Monopod★Light from the side★Subject looks across
    36. 36. Setting Up Video Interviews★Keep it Steady -- Tripod/Table/Monopod★Light from the side★Subject looks across★Get good sound!
    37. 37. Setting Up Video Interviews★Keep it Steady -- Tripod/Table/Monopod★Light from the side★Subject looks across★Get good sound!★Watch what’s behind them
    38. 38. Setting Up Video Interviews★Keep it Steady -- Tripod/Table/Monopod★Light from the side★Subject looks across★Get good sound!★Watch what’s behind them
    39. 39. Setting Up Video Interviews★Keep it Steady -- Tripod/Table/Monopod★Light from the side★Subject looks across★Get good sound!★Watch what’s behind them
    40. 40. Interview Tips
    41. 41. Interview Tips★Open Questions (not Yes or No)
    42. 42. Interview Tips★Open Questions (not Yes or No)★Two part questions
    43. 43. Interview Tips★Open Questions (not Yes or No)★Two part questions★Don’t talk over them
    44. 44. Today’sInterviews
    45. 45. Today’s Interviews★Find a partner of equal skill level
    46. 46. Today’s Interviews★Find a partner of equal skill level★15 minutes of set up
    47. 47. Today’s Interviews★Find a partner of equal skill level★15 minutes of set up★Find a quiet place
    48. 48. Today’s Interviews★Find a partner of equal skill level★15 minutes of set up★Find a quiet place★3-5 minutes of interview
    49. 49. Today’s Interviews★Find a partner of equal skill level★15 minutes of set up★Find a quiet place★3-5 minutes of interview★About your UW experience, thisworkshop (or something else you canget b roll of)
    50. 50. Equipment SetupKodak Zi8 Canon HV30 or HF10 More Basic Advanced Less Control More ControlFlash Memory MiniDV Tape USB Firewire
    51. 51. Equipment Setup See Handout!!!
    52. 52. Equipment Setup See Handout!!!★Check recording format (1080p HDor 720p HD)
    53. 53. Equipment Setup See Handout!!!★Check recording format (1080p HDor 720p HD)★Check for Tape/SD card
    54. 54. Equipment Setup See Handout!!!★Check recording format (1080p HDor 720p HD)★Check for Tape/SD card★Tripod
    55. 55. Equipment Setup See Handout!!!★Check recording format (1080p HDor 720p HD)★Check for Tape/SD card★Tripod★Set up microphone (lavalier orshotgun)
    56. 56. Equipment Setup See Handout!!!★Check recording format (1080p HDor 720p HD)★Check for Tape/SD card★Tripod★Set up microphone (lavalier orshotgun)★Check Audio Levels
    57. 57. Equipment Setup See Handout!!!★Check recording format (1080p HDor 720p HD)★Check for Tape/SD card★Tripod★Set up microphone (lavalier orshotgun)★Check Audio Levels★Record
    58. 58. B-roll
    59. 59. B-roll
    60. 60. B-roll
    61. 61. B-roll
    62. 62. Why do I need B-roll?
    63. 63. Why do I need B-roll?★To make it moreinteresting!
    64. 64. Why do I need B-roll?★To make it moreinteresting!★To hide cuts in theinterview
    65. 65. Why do I need B-roll?★To make it moreinteresting!★To hide cuts in theinterview★Make sure to get B-roll thatmatches your interviews
    66. 66. Why do I need B-roll?★To make it moreinteresting!★To hide cuts in theinterview★Make sure to get B-roll thatmatches your interviews★Example: Undriving
    67. 67. Wide Shot
    68. 68. Wide Shot
    69. 69. Wide Shot
    70. 70. Medium Shot
    71. 71. Medium Shot
    72. 72. Medium Shot
    73. 73. Close Up
    74. 74. Close Up
    75. 75. Close Up
    76. 76. Action
    77. 77. Emotion
    78. 78. Angles
    79. 79. New Perspective
    80. 80. Many Layers
    81. 81. Cropped
    82. 82. Rules of B-Roll
    83. 83. Rules of B-Roll★Think in sequences
    84. 84. Rules of B-Roll★Think in sequences★Use a Tripod/Table
    85. 85. Rules of B-Roll★Think in sequences★Use a Tripod/Table★Compose your shot carefully
    86. 86. Rules of B-Roll★Think in sequences★Use a Tripod/Table★Compose your shot carefully★Keep the Camera Still!
    87. 87. Rules of B-Roll★Think in sequences★Use a Tripod/Table★Compose your shot carefully★Keep the Camera Still!★At least 10sec/shot
    88. 88. Rules of B-Roll★Think in sequences★Use a Tripod/Table★Compose your shot carefully★Keep the Camera Still!★At least 10sec/shot★Get Lots!
    89. 89. Today’s B-Roll
    90. 90. Today’s B-Roll★at least 5 Shots
    91. 91. Today’s B-Roll★at least 5 Shots★at least 10 seconds each
    92. 92. Today’s B-Roll★at least 5 Shots★at least 10 seconds each★different distances
    93. 93. Today’s B-Roll★at least 5 Shots★at least 10 seconds each★different distances★different angles
    94. 94. Today’s B-Roll★at least 5 Shots★at least 10 seconds each★different distances★different angles★make it match the interview!
    95. 95. Video Editing Workflow
    96. 96. Video Editing Workflow
    97. 97. Video Editing Workflow★SHOOTING -- getting in in the Camera
    98. 98. Video Editing Workflow★SHOOTING -- getting in in the Camera★CAPTURING -- from Camera to Computer
    99. 99. Video Editing Workflow★SHOOTING -- getting in in the Camera★CAPTURING -- from Camera to Computer★EDITING -- manipulating footage
    100. 100. Video Editing Workflow★SHOOTING -- getting in in the Camera★CAPTURING -- from Camera to Computer★EDITING -- manipulating footage★EXPORTING -- from editing software tofile
    101. 101. Video Editing Workflow★SHOOTING -- getting in in the Camera★CAPTURING -- from Camera to Computer★EDITING -- manipulating footage★EXPORTING -- from editing software tofile★COMPRESSING -- making file smaller
    102. 102. Video Editing Workflow★SHOOTING -- getting in in the Camera★CAPTURING -- from Camera to Computer★EDITING -- manipulating footage★EXPORTING -- from editing software tofile★COMPRESSING -- making file smaller★UPLOADING -- putting it online
    103. 103. RECORDING FORMATFLASH MEMORY MINI DV CARD
    104. 104. FRAME SIZE AND ASPECT RATIO1920 x 1080 1280 x 720 640 x 480 720 x 480 “Full HD” “720p HD” “SD” “Still Photo” 16:9 16:9 4:3 3:2 1.7777777 1.7777777 1.333333 1.5
    105. 105. FRAME RATE 24p = Cinematic 30p = Video 60i = SlowMo30p is the way to go
    106. 106. STAY CONSISTENT!!!DON’T CHANGE SIZE, FRAME RATE UNTIL YOU’RE COMPRESSING
    107. 107. CODEC THE ‘CONTAINER’•H.264•Apple ProRes 422 (LT)•DVCPRO HD 720p‘TRANSCODING’ = CHANGING THE CODEC
    108. 108. FILE TYPE.MOV = Apple, Quicktime, Final Cut.AVI = PC, VLC, Adobe Premiere.MP4 = Compressing
    109. 109. COMPRESSION SOFTWARE★QuickTime Pro (Mac) = $35★Compressor (Mac) = Part of Final Cut Suite(in 306)★MPEG Streamclip (Both) = Free!★Adobe Media Encoder (Both) = Part of Premiere
    110. 110. COMPRESSION MAKING THE FILE SMALLER FOR THE INTERNETVideo Codec: H.264Audio Codec: AAC AudioFrame Rate: Native (don’t change it)Data Rate: 2000 kbits/sec for SD or 5000 kbits/sec for HDResolution: 640 x 480 for SD or 1280 x 720 for HDDeinterlace: YesAudio: 320 kbps/44.1 kHz (or 48 kHz if that’s how yourecorded)Format: MP4 (or MOV)
    111. 111. HANDS ON EDITING FOLLOW HANDOUTRAISE YOUR HAND FOR HELP

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