Darlington Video Makers Club

Transcription

1 Darlington Video Makers Club Welcome to our Video Making Introductory Course 1 P a g e

2 Introduction This course is designed to explain the first principles of video capture and editing to those wishing to take their first steps in the technology. Equipment and software involved in the process have changed rapidly in recent years and video capture using mobile phones, tablet computers and indeed DSLR cameras has become the norm rather than the exception. Video editing can now be achieved to High Definition standards using any of these capture devices along with commonly owned computers and inexpensive software. The course is of six weeks duration and is described in detail within this document. Each evening will be in two parts, the first will present a comprehensive introduction to the methods and equipment involved and the second will be a hands-on session of practical work using the techniques presented earlier. The course will be held on consecutive evenings between 7-00pm and 10-00pm starting in September at the following address:- The Methodist Chapel Haughton Green Darlington DL1 2DD Course cost will be 25. Students will be enrolled as full members of the Darlington Video Makers Club, at no extra charge, for the full club year in which the course takes place. This means that they may, if they choose, participate in all club activities, including technical workshops, competitions, film productions, entertainment and event filming. For more information or to apply for a place on the course please use the Contact Us facility on the club website. (Address on the title page) 2 P a g e

3 Curriculum Module Title Week 1 1(a) 1(b) Exercise 1 Week 2 2(a) 2(b) Exercise 2 Week 3 3(a) 3(b) Exercise 3 Week 4 4(a) 4(b) Exercise 4 Week 5 5(a) 5(b) Exercise 5 Week 6 6(a) 6(b) Exercise 6 Selecting equipment and software An introduction to video editing Getting started Shooting video - Do's and don'ts Shooting techniques Hands on Video of a demonstration Planning before shooting Sound recording techniques Planning & sound recording Editing audio Mixing audio on the video timeline Editing audio Lighting: natural & artificial, white balance Filming an interview Set up and film a short interview Manual control of your video camera More advanced editing An introduction to 'Green screen' techniques 3 P a g e

4 Module 1(a) Selecting equipment and software for video capture & editing Choosing your video capture device For many years, the preferred device for video capture was the camcorder and many amateur video enthusiasts still prefer to use one. In recent years however more and more amateur and semi-professional videographers use digital SLRs, which now have video capture modes built in. In addition, many amateurs now use smartphones and tablets for capturing video footage. The device used for video capture is purely a matter of personal preference and what is important is not what was used to capture the footage but how the video film was planned, shot and subsequently edited. This module we will deal with the advantages and disadvantages of each type of video capture device with particular reference to: Handling Image quality Sensor size Low light sensitivity Zoom facility Bokeh Image stabilisation Sound quality The technical specification for editing computers Most recently purchased computers should be satisfactory for editing video, but the higher the specification the better it will work. AVCHD is becoming more and more popular and more and more newly purchased video recording devices record at this high level. This means at least 8Gb (preferably 16Gb) of RAM is needed and a fast processor, such as i5 or i7, although not essential, is desirable. 4 P a g e

5 Editing software The principles of non-linear editing will be explained and the most common editing software identified and discussed with regard to cost and performance. Free software Windows Movie Maker (Windows) Serif's Movie Plus Starter Edition (Windows) Lightworks (Windows, Linux or Mac) Imovie (Mac) Free software is fine for beginners, but it has limitations. Purchased software Premiere Elements (sold in conjunction with Adobe Premiere Photoshop Elements) with different versions for Mac and Windows Serif's Movie Plus (Windows) Lightworks Pro (Windows Linux or Mac) (monthly/yearly subscription or outright purchase) Magix Movie Edit Pro (Windows) Adobe Premiere Pro CS series (now replaced by Adobe Premiere Creative Cloud )(Mac and Windows) Edius (Windows) Avid (Mac and Windows) Final Cut Pro (Mac) The approximate price range of the above, including Adobe's monthly subscription for Creative Cloud, will be explained The benefits of purchased software over free software will be discussed. 5 P a g e

6 Module 1(b) An introduction to video editing Darlington Video Makers Club There are a number of entry level video editing programmes but Adobe Premiere Elements is one of the best and perhaps the most popular. The Adobe Elements programme will be used throughout the course. Using stock footage the sequential process of video editing will be demonstrated, taking the video clips through the procedure of capture to the computer and preparation for assembly on the time line. This demonstration will also include discussion of project settings prior to capture. The difference between the Capture command and the Import command will be explained. The captured clips will be collected into bins. The clips will then be dragged to the Source Window and trimmed before dragging to the timeline. The basic editing tasks, the addition of transitions, titling, commentary and background music will be demonstrated. Simple mixing of the audio from the stock footage, the commentary and the background music will be briefly demonstrated but will be dealt with more fully in the module 4 session. Module 2(a) Shooting video - Do s and Don ts A self-explanatory session cataloguing the basic ground rules of good practice in the process of capturing and editing video. Many of the points raised will be dealt with in more detail in subsequent modules. Module 2(b) Shooting techniques Composing shots Giving the subject room to move or see Rule of Thirds Types of shot from extreme close up to establishing shots Correct use of Zoom Pan Horizontal & Vertical Dutch tilt 6 P a g e

7 Holding the camera Hand held Tripods type/cost Chestpod Bean Bags Improvised supports: Walls Tables Lampposts Other supports Dollies and Sliders Cranes Common Shooting Errors Crossing the line Hosepiping Excessive zooming Follow the 30 degree rule Module 3(a) Planning before shooting The viewers who will share your video will be impressed or otherwise in direct proportion to the amount of planning you have invested before you pick up a camera. In this module we will discuss what makes a good film, for example the development of a story, or in the case of a documentary the development of information that makes the viewer want to know more. The storyboard and its purpose. Planning to shoot action, rather than inaction. What comes first - film or narrative? How to match the two together. Optimum durations of individual clips. Avoiding having commentary with no relevant clips. The need to shoot more footage than necessary. 7 P a g e

8 Planning cutaway shots. Planning to shoot the same subject from different angles and heights. Understanding what is meant by crossing the line. The purpose and use of establishing shots, close-ups, etc. Module 3 (b) Sound recording techniques General In this module we will be stressing the importance of sound in a movie (which is estimated to account for 50% of sensory input). This is often not given sufficient attention by the filmmaker. Types of microphone We will explore the various types of microphone and identify the most suitable for various types of location/shots. Directional/omni-directional: Cardioid characteristic Built-in to camera: Advantages/Disadvantages External: Advantages/Disadvantages Boom (Needs extra operator keep out of shot) Plate Lavalier Radio (Use of multiple channels) Licencing implications. Free channel. Sound mixing Use of separate recorders How to synchronise (Clapper boards/ clapping hands at start of shot) 8 P a g e

9 Recording a commentary Mic/devices that may be used, e.g camcorder separate voice recorder computer with built-in or separate mic Location (using room with little echo) Adding ambience at the editing stage. Recording entire commentary in one session so as to maintain voice/ambience between sessions. Choosing mono, or stereo, or surround. Supporting microphone on boom (keeping it out of shot). Radio mics. Regulations and free bands. We will discuss what is meant by the term Signal/noise ratio Recording the sound of a wedding, concert or play Licencing limitations/costs Type and location of mic(s) Using an output from the theatre/room sound system advantages/disadvantages. We will also discuss:- Methods of mixing sound: During recording using audio mixing device Post production using software Awareness of ambient noise machinery, crowds, vehicles, weather 9 P a g e

10 (Foley) sounds and sound effect libraries (some coming with editing software) Use of software to eliminate/reduce unwanted sounds. Module 4(a) Editing audio There are three sources of Audio: 1. Audio captured by the video capture device, (eg the camcorder). 2. Background Music. The subject of copyright and copyright free music and what happens in the real world will be briefly discussed. How to Identify suitable tracks using Spotify and then purchase single tracks on-line. Copying music from existing CDs. 3. Commentary. Audio Editing tools: The function of dedicated audio editing software: eg Audacity, Goldwave, etc and their cost will be discussed as will the audio capability within video editing programmes. (Note that we will deal with mixing the three source elements in Module 4(b)). Editing, the three audio elements: Audio from the camcorder is normally laid on the video editing timeline with its accompanying video. J and L cuts will be briefly described. Background music is an essential part of the story telling and can take as long to select as the video takes to edit. It is occasionally necessary to shorten or lengthen the material. Procedures for short changes and cutting and splicing methods for longer change will be described. There are various options of Microphone for commentary recording, including the option to use the camcorder and these will be described. 10 P a g e

11 Methods involving the creation of individual commentary files, captured to the computer, and how to place them on the video editing programme timeline. The importance of recording at one sitting and of just ploughing through until at least one acceptable version of each piece of commentary is produced will be emphasised. Means of tidying up errors in the audio recording will be described. In the final edit the correct balance between commentary and video will be discussed emphasising that space must be left for the video to contribute to the story. Common to all three elements: Maximising volume in the audio editing programme to avoid distortion when manipulating on the timeline. Ensuring, via audio adapters, that the source reaches the computer as stereo even if it originates as mono. The importance of the save selection as feature will be emphasised. The noise reduction feature will be described. Module 4(b) Mixing audio on the video timeline The method of creating multiple audio time lines in the video editing programme will be demonstrated, as will the process of transferring audio files into the video editing programme. One such method will be demonstrated in detail. One option in video creation is to place the commentary on the timeline and to build the video around it. Another is to create the video first and to build a commentary around it. Advantages and disadvantages will be discussed. The advantages and alternative options of rubber banding of audio on the timeline will be discussed. We will present some practical advice on creating a better balanced audio mix. For example:- 11 P a g e

12 The use of bins to store the commentary and the background music clips and the advantage of numbering the commentary clips sequentially to link to the story line. The importance of using ambient background sound to cover any silent video elements (eg maps and still pictures) by borrowing audio from the video footage. The value of periods without either music or commentary. The accurate control of audio volume using Effects and the use of Keyframes to achieve this. The importance of checking the sound level of each clip in a project to ensure consistency. Ensuring that any mono sound is delivered to both speakers after editing. The technique of feeding music into the start of a project (eg black screen, music fade-in, followed by title screen). The reverse routine to be used at the end of a project. The merits and drawbacks of using headphones when editing audio. Module 5(a) Lighting: natural & artificial, white balance We will be introducing and defining the terms: Colour temperature Auto white balance Manual white balance and demonstrating how to set manual white balance using a suitable camera/camcorder/grey card. We will deal with the advantages of natural light and discuss the properties of Softness and Hardness and direct sunlight/shade The desirability of completing a shoot in one go in order to avoid the continuity problems associated with variable shadow and light properties. This leading to an appreciation of the Golden Hours. 12 P a g e

13 Artificial light has its own advantages and disadvantages and these will be discussed. Sources of artificial light. Using reflectors Incandescent colour corrected LED some with a colour adjustment Types and sizes of reflectors available Colour of reflectors white, gold, silver (even black!) When to use each colour? Using walls as reflectors Other lighting variables Effect of surroundings on colour balance. Lens filters. Neutral Density filters and when should they be used? Soft focus filter application. Improvising one with gauze. A short introduction to post production effects including colour grading and how to do it. Module 5(b) Filming an interview Interviews are an exploration, not an examination! They can be stressful to the interviewer, and particularly to the interviewee. Importance of thorough preparation by the Interviewer. The target audience for the completed interview must be carefully specified. This will determine the questions to be asked, and the level of detail of answers sought. The person to be interviewed must be fully researched and his/her areas of specialist knowledge identified. The importance of warm-up questions such as 13 P a g e

14 a brief introduction to explain who he/she is, where born, education, family, etc. This then leads to the main topic of the interview, the specialist area of knowledge or interest of the interviewee. A prepared list of questions to be asked is essential. The questions will cover everything the interviewer/audience wants to know. The interviewee should be aware of the questions in advance of the interview so that his/her thoughts can be marshalled, and that there are no surprises - "no go" areas should be identified. We will discuss the number of cameras required: at least two for single interview, more if possible, particularly where more than one person is being interviewed. Camera position is crucial and will be fully discussed. Typical camera positions might be:- one concentrating on subject's head and shoulders one concentrating on interviewer's head and shoulders If additional cameras available, then shots of both interviewer and interviewee from different angles and at different ranges The strengths and weaknesses of various types of audio recording; in-camera mic, external camera mic, radio mic, etc. Research before the interview is essential:- who is the interviewee? why is he/she being interviewed? what are his/her areas of specialist knowledge/ interest? Module 6(a) Manual control of your video camera Most camcorders and SLRs allow filming in three modes of operation 1. Fully automatic 2. Semi-automatic (sometimes called Scene Modes ) 3. Full manual control 14 P a g e

15 Fully auto and semi auto operation For most purposes, and certainly for beginners, it is best to use 1 or 2 above. It is, however, better to know how to take full control of your video camera and when this should be done. The use of semi-automatic presets will be explained e.g. Sports, Portrait, Soft skin, Spotlight, Snow, Beach, Sunset, Scenery, Fireworks, Night scenery, Low light, Night portrait. Manual mode The circumstances when manual mode should be used will be discussed. The following terms will be explained: 1. Aperture (definition of f number). The relationship between aperture and depth of field will be explained 2. Shutter speed 3. Gain/Sensor sensitivity (c.f. ISO in still cameras) 4. White balance 5. Focus 6. Audio gain The meaning of exposure will be explained in more detail with examples of under and over-exposure. The exposure triangle (Shutter speed/aperture/gain) will be described and the inter-dependency of these settings explained. The term correctly exposed will be explained and the circumstances when an auto system can give incorrect exposure will be described. The facilities offered in most video cameras to assess correct exposure (e.g. histograms, zebra stripes, spotmeter reading) will be explained The term exposure/backlight compensation will be described. Setting white balance manually will be demonstrated, including the use of white or grey card. 15 P a g e

16 Circumstances occasionally arise where automatic focus should not be used. The term focus hunting will be investigated. Typical problems such as off-centre main subject, foreground items in field of view etc will be discussed. We will explain how to pull focus and when the technique should be used, also the value of face recognition and when it might be useful. The focus assist features of a camcorder and SLR video camera will be reviewed. The concept of video gain and the relationship between shutter speed and smoothness of the perceived moving image will be analysed. The use of neutral density filters will be explained, particularly their use in controlling exposure and depth of field. Auto and manual control of audio gain will be explained, including their limitations. Module 6(b) More advanced editing Arranging clips on the timeline Assembling captured files in bins then assembling a rough cut on the timeline. Trimming individual clips on the timeline using rolling edit tools etc. Keeping clips short to add interest and pace to the movie. Titles Adding a title and credits using templates and changing the title s text format so that it can be amended and used as a user-defined template. Creating static and rolling and scrolling titles. 16 P a g e

17 Adding Effects To a sample clip To an entire sequence. The following Effects will be demonstrated. Colour balance Black & white conversion Image stabilisation Contrast & brightness 'Old Film' effect Colour balance The use of key frames when varying an effect during a single clip will be demonstrated. Cropping, scaling and zooming a clip at the editing stage will be demonstrated. The term Colour Grading will be explained with examples of graded sequences. We will briefly address sound effects (foley) and show how to mix background music, ambient sound and commentary. Methods of uncoupling video and sound on the timeline to enable a J-cut and L-cuts to be created will be explained. Transitions Editing programmes offer many novelty transitions but these should be avoided and fade-to/from-black, cross fades and simple cuts are all that are usually needed. 17 P a g e

18 Exporting Movie The final stage of the editing process involves exporting a movie to create a DVD or other media format. The most common procedures will be outlined including how to upload a movie to Vimeo or YouTube. The complex world of video file formats will be addressed to the point where all the common media formats may be produced. 18 P a g e