Planning, Directing, and Editing Successful Video Projects (part 1)
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(This is part one) Are you looking to add, or have already added video to your client offerings? Video is a team sport and getting it wrong can be really expensive. This course tackles everything you need to create better-looking videos that please your clients and are enjoyable to watch. Join Director Rich Harrington, as he shares practical experiences. Get part two here – https://www.slideshare.net/rhedpixel/planning-directing-and-editing-successful-video-projects-part-2
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Planning, Directing, and Editing Successful Video Projects (part 1)
- 1. Planning, Directing, and Editing Successful Video Projects Richard Harrington, PMP facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington twitter.com/ rhedpixel
- 2. Agenda Are you looking to add, or have already added video to your client offerings? Video is a team sport and getting it wrong can be really expensive. This course tackles everything you need to create better looking videos that please your clients and are enjoyable to watch. Join Director Rich Harrington, as he shares practical experiences.
- 3. Agenda • Learn how to develop a concept for your video • Create shot lists and a style for your video • Figure out the right equipment and personnel that’s needed for the job • Work with clients and crew successfully • Direct talent for the best performance
- 4. Agenda • Capture great on-camera interviews • Backup and organize your footage • Edit video and mix audio • Color grade your footage for a polished look
- 10. Two Free Classes | photofocus.tips/wppiclass
- 12. One Year Access All Classes • More than 100 classes • Hands-on exercise files • Video, Photography, Social Media, and Creative Business 50% OffSave $50 with code WPPI
- 14. Richard Harrington I'm a visual storyteller exploring the fusion of photography and video. I'm also a husband & father
- 15. Vital Statistics • Author 40+ Books • Author 200+ Video Courses • Founder of RHED Pixel • Publisher of Photofocus • Conference Speaker • Director • Photographer
- 17. 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
- 18. 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 • 35% Off with Code TOMOTION (order from peachpit.com)
- 19. 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
- 21. Past Projects • America Online • American Diabetes Association • American Israel Public Affairs Committee • American Red Cross • Apple • Children's National Medical Center • Department of Veterans Administration • Drobo • Federal Communications Commission • Google • lynda.com • Microsoft • Skylum • Smithsonian Institute • Under Armour • US Air Force
- 22. Advisory and Consultant Projects • Television Networks • ABC News • CNN • Discovery Channel • Major League Baseball Network • NASCAR • Turner Networks • Technology • Adobe Creative Cloud Advisory Board • Apple • Athentech • Pearson Education • Skylum Software
- 25. – I N D I R A G A N D H I “There are two kinds of people, those who do the work and those who take the credit. Try to be in the first group; there is less competition there.”
- 27. How to develop a concept for your video
- 28. A typical lifecycle for a creative project
- 29. The creative lifecycle • Client call or email • Project kickoff meeting • Budget and schedule • Work initiated • Client reviews • Project delivery
- 30. The creative lifecycle • Projects start off behind • Rush to start • Driven by deliverables • Many key tasks often overlooked or assumed • Struggle to balance creative with budget
- 31. Why is location scouting important?
- 32. What is a Site Survey? • A thorough review of a location to determine in readiness for use in a video or photo production • An opportunity to discover potential risks and opportunities • A chance to improve creative inspiration
- 33. URBAN LOCATION 03 The purpose • Productions are expensive ventures, you want to maximize productivity • Find the location that meets your target demographic and goal of the project • Takes the concept from paper to life • Allows the ability to have a game plan in advance, schedule, shot list, etc.
- 35. Technical • How • Gear needed • Crew needed • Special considerations • Test shots
- 36. Logistics • Where • Location to shoot • Location to stage • When • Best time of day for light • Best time of day for sound • Location availability
- 37. Creative • What • What needs to be captured • What should be shown • Why • What does the location do the accentuate the scene or story
- 39. Researching the Location in Advance • Venue websites • Flickr • Google image search • Yelp • AirBNB • LightTrac • Google maps with Street View
- 41. Art direction • Anything to move • Anything to bring • Propping • Set alterations • Practical lighting
- 43. Identifying locations • Virtual scouting • Film office • Tourism board • Chamber of commerce • Walkabout
- 46. Using your network • Previous locations • Employees or crew • Professional associations • LinkedIn • Social networks
- 47. Virtual scouting • Google Earth • Google Maps • Realtor Listings • AirBNB
- 50. Securing permissions • Get written permission • May require insurance • May require permits • Break the rules
- 52. An archaeological site is encamped outside the entrance of a cave. A team of archaeologists is spread throughout the camp. Hearing shouts from inside the cave, the men come running in. A group of men are hunched over digging into the side of the cave wall. Breaking a large hole through the side of the wall, a jar can be seen in the middle of the floor in another chamber. Moving inside, a man in the center of the group slowly and carefully removes two documents. All the men peer over the man’s shoulder in eager anticipation.
- 53. Their eyes light up and cheers echo in unison around the cave walls. The two documents are part of the Dead Sea Scrolls. The man in the center stands up and faces the men holding the two Dead Sea Scrolls with a grin. Dr. Jones places his fedora on his head with a look of satisfaction. The men congratulate him, slapping him on the back. He holds the scrolls up to a lamp to examine them. One of the scrolls is composed of heavily oxidized copper. Because of their age they are too brittle to unroll.
- 54. Jones looks up as a tremor can be faintly felt throughout the cave. A man shouts to him exclaiming it appears they have unwanted visitors. The men rush outside as the sounds can now be heard as helicopter blades. A storm has moved in with large waves crashing close to the site blowing tents and equipment. The men look in the direction of the sound of the helicopter as a heavy downpour of rain drenches them. Lights can be seen from the sky as the men scatter, chasing after equipment.
- 55. Jones carefully takes the scrolls and wraps them under a piece of tent fragment. Looking up he recognizes an American helicopter. He yells above the wind and rain saying it’s one of ours as bullets ricochet off of the descending helicopter. He tells them to hold their fire as an explosion hits the camp and he realizes they are not alone. Following the shots and explosives, he looks up and recognizes Bedouins and Nomadic Arabs on the edge of the cliff. The helicopter pulls up and turns around preparing to make another pass.
- 56. The site is a scene of chaos amidst the storm and explosions hitting the men heavily. The archaeological team is slaughtered, picked off one by one. The helicopter comes around but the winds increase making it difficult to maneuver. The helicopter heads in the direction of the Bedouins and fires a succession of missiles, causing massive destruction among the cliff tops. The Bedouins are overlooking the cave entrance, causing the explosions to create an avalanche of rock and large debris that showers onto the men in the camp, covering what is left of the site.
- 57. Jones and three men are able to find shelter, hugging the front of the rocky walls. The mass of the explosions have quelled the opposition, and the helicopter hovers, shakily scanning for survivors of the archaeological team. Jones and the men move from the shelter and wave their arms in the direction of the helicopter. The helicopter sees their location and slowly descends, the wind and rain battering its sides. The first man attempts to climb aboard as the helicopter touches the ground. Jones assists the other two men who are injured as they try to board the helicopter.
- 58. Make your message stick
- 59. Make Your Message Stick • Limit the number of points made in a video. • Three or less is a good target. • One primary message is the ideal. • Think about what you want the audience to remember about the video. • How many times did you say the targeted message?
- 60. Make Your Message Stick • Always have a call to action. • Tell the viewer what you want them to do next. • Never ask them to do more than two things. • Use an emotional appeal whenever possible. • Video is a medium that works best with clear and simple messages that go for an emotional reaction in the viewer.
- 61. Have a process
- 66. Create shot lists and a style for your video
- 67. The paperwork
- 73. Shotlist
- 74. Case study
- 93. Shotlist
- 94. Storyboard
- 111. How it turned out
- 113. Cam 2 Cam 1 300W Bounce BoardBounce Board 300W Fresnel FlourescentFlourescent 100 W 100W Fresnel 100 W 100W Fresnel ookie Cookie Backdrop Backdrop Lighting diagrams
- 115. Create a color palette
- 119. The right equipment
- 120. Technical Essentials
- 123. Frame Rate Options • 60 fps (59.94 fps) Common frame rate for 720p HD Can be used for over-cranking • 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. • 24 fps (23.98 fps) A rate that closely matches that of film
- 130. Use a tech brief
- 131. What is a tech brief? • Contains key information for both production and post • Should be locked down early to avoid mistakes • Ensure distribution to all crew • Specify both acquisition and distribution details • Capture frame size • Delivery frame size • Don’t forget frame rates, audio, etc.
- 132. The gear you’ll need
- 133. Must haves • Fluid-Head Tripod • Viewfinder • Audio Recording Device with Microphone
- 139. Nice to haves • Camera Support • Fast Lenses • Follow Focus • External Monitor • Electronic Viewfinder • Lights • Matte Box
- 144. SMALL HD Panasonic via AJA
- 148. What is 4K?
- 150. Ultra HD • UHD is a resolution of 3840 pixels × 2160 lines with an aspect ratio of 16:9 • It’s image totals 8.3 megapixels • It’s one of the two resolutions of ultra high definition television targeted towards consumer television • UHD has twice the horizontal and vertical resolution of the 1080p HDTV format, with four times as many pixels overall
- 151. Digital Cinema • The Digital Cinema Initiatives consortium established a standard resolution of 4096 pixels × 2160 lines with an aspect ratio 256:135 for 4K film projection. • It’s image totals 8.8 megapixels • This is the native resolution for DCI-compliant 4K digital projectors and monitors.
- 152. Digital Cinema • Pixels are cropped from the top or sides depending on the aspect ratio of the content being projected. • DCI 4K does not conform to the standard 1080p Full HD aspect ratio (16:9) • 4K digital films may be produced, scanned, or stored in a number of other resolutions depending on what storage aspect ratio is used In the digital film production chain.
- 153. Understanding the impact of sensor sizes
- 155. Full Frame Sensor Cropped Sensor
- 158. Choosing internal or external recording
- 159. Internal Recording • Newer models offer internal 4K recording • When using a camera rig or usage requires taking advantage of compact size of camera • Less chance for error • Less power needed • Embraces compact size
- 161. Understanding In-Camera Recording Options
- 178. Understanding Speed • Pay close attention to the class of card and your needs for shooting • Carry a mixture of brands and sizes • SD 5.0 Memory Cards will support 8K, 3D, and 360° video
- 180. Using an External Recorder for Uncompressed Recording
- 181. External Recording • When frame rates higher than 30 fps at 4K resolution • With older cameras that don’t offer internal 4K recording • Models like Atomos offer external monitoring, focus assist, waveform • Can record deeper color depth (10 bit) • Records Uncompressed 4K and audio (internal is always 4:2:0) • Longer record times, on affordable media like SSD drives • Records to familiar codecs like Pro Res, Avid DnX
- 183. Atomos Shogun 4K • 1920x1200 IPS Touchscreen Display • Records 4K (3840x2160) up to 30 fps • Records 1080p up to 120 fps • ProRes and DNxHD 10-Bit, 4:2:2 Encoding • 12G-SDI Input and Loop-Output
- 187. Odyssey 7Q Atomos Shogun SmallHD DP7
- 188. 4K shooting tips
- 189. Focus Peaking
- 190. Focus Peaking
- 191. Focus Peaking
- 192. Timelapse is 4K+
- 194. Shoot Log or Film Space
- 195. The Use of a LOG color profile
- 199. Sony S-Log Panasonic V-Log Canon C-Log Flat profiles provide more flexibility during post processing, but usually requires more time.
- 200. Flavors of Log
- 201. The Flavors Of Log
- 202. The Flavors Of Log
- 203. The Flavors Of Log
- 204. What Does A Log Shot Look Like?
- 205. What Does A Log Shot Look Like?
- 206. Beware Of ‘Fake Log’ • Don’t confuse flat for log • Shooting with reduced contrast, sharpness and saturation can help - but its not log recording • Many camera ‘profiles’ try to approximate log recording • All hope is not lost! • Most camera manufacturers employing true log recording even on new entry level cameras
- 208. Essentials When Monitoring 4K Cameras
- 209. Tether Table Aero System • The Tether Table Aero Standard provides photographers with a stable portable tethering platform, perfect for daily studio use and the ideal out-of-studio workspace. • Made completely of T6 Aerospace aluminum, the stunning brushed silver or non-reflective black textured platform was conceived by professional photographers and designed by aerospace engineers. This supremely functional platform is unsurpassed in stability & durability.
- 210. Dell Ultra HD 4k Monitor 27-Inch LED • Screen Size 27 inches • Max Screen Resolution 3840 x 2160 pixels • With 99% sRGB color coverage • Ultra-wide viewing angle at 178°/ 178° • $699.99 (list) $540 (street)
- 211. Studio Vu-2 Monitor Mount • TetherTools • The Studio Vu-2 Monitor Mount holds monitors up to 85lbs and can be mounted to common C-stands and Light stands utilizing the standard 5/8″(16mm) Baby Junior pin. • The VESA Compliant mount is made of aerospace aluminum and features dual 5/8″ studs for mounting in portrait or landscape orientation.
- 212. Match the lens to the shot
- 213. 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.
- 214. 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.
- 215. 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
- 216. Using Specialty Lenses • There are many other out-of-the-ordinary lenses that, are useful for certain situations • Macro lens • Fisheye lens • Lens Baby • Tilt/Shift lens
- 217. Personnel that’s needed for the job
- 221. Team Sport • Producer • Director • Director of Photography • Gaffer • Assistant Camera • Lighting • Grips • Audio
- 222. Capabilities • Internal services • External services • Make vs. buy • Scaling services over time
- 223. Competitive Advantages • Unique • Something you offer that others do not • Perception • Something you offer that enforces market perception or advantage • Positioning • Something you offer to defend against a competitor or changing market condition © Vanelli
- 224. Outsourcing • Local • National • International • Researching
- 225. • Share responsibilities • Encourage communication • Give clear ownership of tasks • Create a culture of accountability Encourage Leadership Amongst the Team