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Use What You Have and (Still) Produce Great Video to Increase Sales on the Web & Beyond
2-Hour Version with New Color Balance Section
B & H Event SpaceThursday, September 27, 2012
4 PM – 6 PMNew York City
Presented byDonald Schwartz
Technology Writer/[email protected]
Twitter: Ishkahbibel
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The Road Ahead
• The Big Difference Between Your Eyes & Ears and a Camera
• What Tools You Need To Focus Attention – Seeing The Light
• Why The Right Exposure & Correct Color Balance Is So Important
• How To Become A Master At Composing What Goes Within The Frame
• The Pitfalls Of Bad Sound
2Image: Jennifer Schwartz
The Video/Still Camera vs. Your Eye
Eye Features Camera Features
Auto White Balance – doesn’t see shadows as blue or fluorescent lights as green
Auto white balance included but not accurate – confused by direction (where) of light and mixed lighting sources. Can’t identify primary light source without help.
Auto Exposure – wide contrast range covering highlights and shadows with quick adjustment.
Auto exposure included but confused by high contrast. Doesn’t know its own limitations. Makes choices based on brightest areas.
Auto Focus – face recognition built in. Multiple focus points built in. (Your choice)
Face recognition easily confused. Camera operator must direct focus to the correct subject. Limited focus distance.
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When The Camera Controls Exposure
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Click here to view video
Success Formula: Learn To Love Manual Control (Who’s More Capable, You Or Your Camera?)
• When an all-auto camera reacts to changes in light levels, light sources, wide audio swings, everything it does is obvious and distracting.
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Start Small, Turn Off One Auto Function At A Time
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Focus Attention – Get Audiences To Pay Attention To What You Want Them To See
Achieved By:• Lighting – foreground & background separation – create contrast – makes
image appear sharper.
• Think principal subject – brighter than other pictorial elements.
• Create dimensionality by using light and shadow. Shadow defines depth.
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• Technique: Start with 3-point lighting consisting of key (main), fill (fills in detail & lightens shadow), back or separation light.
Images: Copyright 2006 Jeremy Birn3dRender.com
Used by permission of author
Focus Attention – Get Audiences To Pay Attention To What You Want Them To See
Focus Attention – Get Audiences To Pay Attention To What You Want Them To See
• Technique: Have no lights? Bounce or reflect available light using foam core, show card, or cine foil.
• Apply angle of incidence. Angle of incidence equals angle of reflectance. Also works for finding unwanted reflections.
9Photo credit: California Sunbounce
Everything You Wanted To Know About LightLighting Characteristics
• Color• Hard or Soft• Sun is a hard light, a direct light - well defined shadows• Bounced lights are soft - less shadows and good wrap• The bigger the light source, the softer the light• Distance & Light
1. If you move light close to your subject light will fall off very rapidly; further away will fall off more slowly. When you pull back you can actually light more space.
2. Inverse Square Law - means of calculating fall off
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Everything You Wanted To Know About LightShadows
• Can Define Subjects (add 3rd dimension)• Create Pattern• Can Also Distract• Video or Photography Distractions:
– Two cross shadow under chin – Moving shadow against wall
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Everything You Wanted To Know About LightShadows
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Define Subject Create Pattern Distraction
Images: Donald SchwartzModels L- R: Sally & Lady Camelia
Everything You Wanted To Know About LightColor Balance – White Balance
• A Video Camera sees light differently from your eyes.• Light color is measured in degrees Kelvin which corresponds to
different colors.
• The Basics: – Daylight is blue– Tungsten is red/yellow– Fluorescents are green
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Color Balance – White Balance
I Win
Everything You Wanted To Know About LightThe Effect Of Incorrect Color Balance
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Everything You Wanted To Know About LightTools For Obtaining The Correct Color Balance
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Photo credit: Donald SchwartzModels: Lynette Scire & Steve Ferrari
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Photo credit: Donald Schwartz
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Photo credit: Donald Schwartz
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Photo credit: Donald Schwartz
Everything You Wanted To Know About LightDifferent Color Balance Settings Under Daylight
• Lighting Conditions: Daylight – Late Afternoon• Lighting Conditions: Daylight – Open Shade• Starting Point: White Balance with Gray Card
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Daylight Late Afternoon
Photo credit: Donald Schwartz
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Daylight Late Afternoon
Photo credit: Donald Schwartz
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Daylight Late Afternoon
Photo credit: Donald Schwartz
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Daylight Late Afternoon
Photo credit: Donald Schwartz
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Daylight Open Shade
Photo credit: Donald Schwartz
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Daylight Open Shade
Photo credit: Donald Schwartz
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Daylight Open Shade – Flash with Orange Filter (Tungsten Equivalent)
Photo credit: Donald Schwartz
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Daylight Open Shade
Photo credit: Donald Schwartz
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Daylight Open Shade
Photo credit: Donald Schwartz
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Daylight Open Shade
Photo credit: Donald Schwartz
Everything You Wanted To Know About Light Your Video Camera’s Color Balancing Tools
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Image Courtesy: Canon
Everything You Wanted To Know About Light The Sure Thing For Color Balance – Custom (Manual)
Color Balance To Predominant Source
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Use White Card, Gray Card or Custom Globe
Everything You Wanted To Know About LightGels – Changing The Color Of A Light Source
• CTO – Roscosun 3407 – converts Daylight (source) to Tungsten• CTB – Full Blue 3202 – converts Tungsten (source) to Daylight• Tough Plus Green 3304 – adds green to Daylight (source)• Tough Minus Green 3308 – converts Fluorescent to Sunlight• Rosco 241 – converts Tungsten source to Fluorescent
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Exposure What Does It Mean To You?Why is It Important to You?
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Answer:
The amount of light required for the camera’s sensor to capture the widest range of bright highlights and dark areas without over or under exposing the image.
Exposure How Your Camera Interprets A Scene
• Your video camera is color blind.• Exposure is set in relation to Middle Gray
(Zone V) – 18% reflectance.• Zones are a method of quantifying shades.• Determining how a color corresponds to a
shade of gray produces more consistent results.
Photo credit: Donald Schwartz 35
Why Understand Gray Scale or Zone?
Exposure
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 36
Black Tank Real World View
Exposure
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 37
Black Tank Auto Exposure – Middle Gray View
Exposure
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 38
White Wall Real World View
Exposure
Courtesy Tim Cooper Photography (Perfect Exposure for Digital Photography) 39
White Wall Auto Exposure – Middle Gray
ExposureWhen It Comes To Exposure, Your Camera Stills
Sees In Black & White
Images: Donald Schwartz 40
Light Absorption and Reflection
Exposure Know Your Skin Tones
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Image: iStock
Exposure Know Your Skin Tones Related to Middle Gray
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+ 1- 118% Gray (average reflectance)
Image: iStock
ExposureSetting Exposure Using In-Camera Controls
• Zebra Stripes - skin tones and peak white (images: 70 IRE & 100 IRE)
• Waveform Monitor - range from black to peak white (image)
• Gray Card - mid-tones
IRE Pictures courtesy of The DV ShowWFM courtesy: CyberCollege® and
InternetCampus®
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Gray Card – Cowboy Studio
Waveform Monitor
ExposureBy The Numbers (Advanced)
• ISO – Chip sensitivity to light frequently called “speed”• F-stops refer to the size of the lens opening called “aperture”• Shutter Speed – how fast the shutter letting in the light opens
and closes exposing the chip• Video cameras do not have a mechanical shutter. When
referring to speed, we mean how fast the video camera samples information from a chip. If you select 60th of a second - (standard) shutter speed - this means sampling all the information in a 60th of a second. Source: www.videojug.com
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ExposureVideo Camera Exposure By The Numbers
Image Courtesy of Canon 45
ExposureA Work Around for Auto Exposure
Photo credit: Donald Schwartz
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Shooting a Subject in Front of a Window
Work Around:
• Move subject away from window• Cover window• Add front light
Click here to view video
Focus Audience Attention
• DOP – Depth of Field – What’s in focus and what is not.
• The distance between the nearest and farthest objects that appear in acceptably sharp focus - a function of lens aperture, ISO, shutter speed.
• Not available on cameras with small sensors – but...
Image: Donald Schwartz 47
Focus Audience Attention
Image: Donald Schwartz 48
DOP – Depth of Field – Isolates, Separates, Calls Attention To
Focus Audience Attention
Rule of Thirds – divide your frame into a 9 section grid.
Compositional Mastery: Part IOr the face doesn’t have to be in the middle of the frame
Image: Donald Schwartz 49
Focus Audience Attention
Wide – 24mm Normal – 50mm Telephoto – 105mm (Compression)
• When you change perspective you change the relationship between the background and the foreground
Drawings: Jennifer Schwartz
Compositional Mastery: Part IChanging A Lens Focal Length Alters Perspective
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Focus Audience Attention
Tactics
• Why not zoom in? Because it changes perspective and draws attention to itself.
• Start wider than normal and walk in to bring your audience with you.
Compositional Mastery: Part I
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Focus Audience Attention
Compositional Mastery: Part ILong Lens Compression
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Appears Actual Distance
85 mm - lens125 sec – shutter speed125 ISO
Images: Donald Schwartz
Focus Audience Attention
Compositional Mastery: Part IWide Angle Lens – Expands Distance
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Images: Donald Schwartz
24 mm lens125 ISO
Focus Audience Attention
Compositional Mastery: Part IEye Line & Camera Angle
54Images: Donald Schwartz
Down Angle
UpAngle
Focus Audience Attention
Compositional Mastery: Part IISolving the 2D Conundrum – Creating 3D
Images: Donald Schwartz
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• Using frames within frames, vanishing point and visual triangles.• Think: what frames do you see every day? Clue: what do you look out of – a window?• What in this image leads your eye to the horizon?
Focus Audience Attention
Compositional Mastery: Part IISolving the 2D Conundrum – Creating 3D
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Vanishing Point
Triangulation
Images: Donald Schwartz
• Frame within frame• Create scale• Use of color – set design or color balance
• Vanishing Point• Triangulation
Audio MasteryMicrophones vs. Ears
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Ear Features Microphone Features
Wide dynamic range from a whisper to a thunder clap.
Limited to microphone specifications and audio amplification.
Seamless level adjustment. Requires monitoring to avoid distortion on the high (loud) end and noise on the low (quiet) end.
Directional sound awareness. Depends on each microphone’s acceptance pattern. Each microphone’s coverage area varies.
Audio Mastery
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Microphones – Two Basic Types
Omni Directional: pickup sound from every direction equally Better at resisting wind noise or mechanical handlingLess susceptible to popping “p,” “b” or “t”
Directional Microphones: Sounds best from the front. Tends to reject sound that comes from other directions
• Directional Types: cardioid, subcardioid, hypercardioid, bi-directional
Audio Mastery
• Suppress unwanted noise• Reduce effects of reverberation• Increase gain before distortion – crank up the good sound
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Collecting Sound Objectives
Audio Mastery
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Visualizing Microphone Pickup PatternsPatterns, called polar patterns, should be taken as the floor plan of a microphone’s response; where the microphone hears the best. Microphone Patterns
AT8004L Audio-Technica Omnidirectional Dynamic Microphone
Audio-Technica AT831 R - Cardioid Condenser Microphone
Audio Technica-AT875 Short Condenser Microphone
Audio Mastery
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Sound Recording – Best Practices
• Recording level should be as close to zero on your meter as possible without increasing background noises.
• Get microphone or camera as close to subject as possible.• Metering: Level should be as close to zero as possible with increased background
noise.
• When setting level have subject speak normally. The subject should not move backwards or forwards during the test.
• Don’t use AGC (auto gain control).• Record at least a minute of ambient sound (called room tone) with no one talking.
Animation courtesy of Darmont - www.idleworm.com
Why Does The Camera Bounce When I Walk?
Camera In Motion
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Click here to view video
Camera In Motion
• Use a camera stabilization system – it separates your gait from the camera. Example: Merlin
A Moving Camera
Courtesy: The Tiffin Company
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Merlin Stabilization System
Additional Benefits: A moving camera creates motion where there is none. Enables multiple angles and diverseshot compositions (wide angle to close up) without editing.Allows crossing the line (the 180 degree rule).
Click here to view video
Videographer’s Best Practices
Panning• If you think it’s too slow, make it
slower.• Apply pressure before you need to
and lessen before you stop.• Use a tripod.
Avoid Dead Eye• Cause: too much top light.
The 180 Degree Rule• You have crossed the line.• Quick and dirty solution for
interviews: shoot over right shoulder and for reverse, reaction shot, over left shoulder.
Image courtesy of Steven d. KatzMichael Weise Productions in conjunction with Focal Press 64
Lighting Supplemental
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Everything You Wanted To Know About LightLight Creators
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• The Sun
• LED – Litepanels Hilio
• Fluorescent – Riffa 55 Kit– Want high CRI– Efficient, short throw
• Tungsten – More heat, less light – Lowel D Light & Tota
• HMI - generate light equivalent to sun light color temp
Litepanels Hilio™ Chimera TL LightbankKit w/o Grid Kit
Lowel D Light & Tota
Everything You Wanted To Know About LightLight Controls and Shaping
• Diffusion in front of lighting instrument: softens light and limits intensity. Changes character of light. Suggestions: Rosco Opal Tough Spun 3010, Tough Silk 3011, Tough ½ White Diffusion (also called Lee 216).
• A single lighting instrument with two intensities: Use ½ scrim at one or 2 stop control.
• Lessening light intensity on reflective surfaces: nets with one or two stop control.
• Removing light from where you don't want it to be: flags or black show cards in frames.
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Everything You Wanted To Know About LightLighting Control Tools
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Altman Barn DoorsWestcott Fast Flags & Nets Internal & External Scrims
Altman Fresnel
Note: Nets & Scrims: two light intensities from one instrument
Doors, IK Scrims: Courtesy of Altman, Fast Flags: Courtesy of Westcott
Everything You Wanted To Know About LightLight Rigging Tools – Your Personal Assistant
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Avenger C Stand Kit & Set Technicians Handbook
One Light Setup
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Spill
Direct
Audio Supplemental
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Audio Mastery
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Understand The Language
Dynamic MicrophonesCondenser MicrophonesOmni-directional, DirectionalMicrophone Acceptance & Rejection PatternsPhantom PowerImpedance – Low & High Balanced & Unbalanced MicrophonesSensitivity – measured in db (decibels)Microphone Level & Line LevelFrequency - measured in Hz (Hertz)GainSignal to Noise
Audio Mastery
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The Essentials
Microphone Level - audio that comes directly from a microphone.• Diagnosis: can barely hear it.
Line Level – amplified audio that comes from a mixer, audio system.• Diagnosis: distorted audio or pinned needle.
Phantom Power – • Provides power to use the microphone at the camera input or from a mixer.• Unlike Dynamic, Condenser microphones require a power source. If you don't power
from an external source must boost in line. Will require some kind of battery.
Balanced/Unbalanced Audio Connectors –• Balanced audio connectors are less prone to RF(Radio Frequency), hum and buzz.• Unbalanced audio connectors can be ¼ inch or 3.5 mm and are more prone to RF, hum
and buzz.
XLR ¼ inch 3.5 mm
Audio Mastery
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Work Arounds
Matthews Sound Blankets - Moving BlanketsCourtesy of Matthews
Egg Crates or Shipping Foam
Auralex Styrofoam Wedgies
Beachtek DXA-2J next to Beachtek DXA-5D Courtesy of Beachtek
Comprehensive EXF Mini - Courtesy of Comprehensive
Hosa XVM XLR Female to 3.5mm mini male - Courtesy of Hosa
Improving How You Look To Your Audience
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Talk to The Camera: Three Views of the Teleprompter Courtesy of Second Screen Academy
Teleprompter displaying text
Auralex Styrofoam Wedgies
Teleprompter with cowlingInterior Teleprompter
Tools to Turn Your iPhone into a Controllable Video Capture Device
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vReveal – Courtesy of vReveal
Wide Angle Lens – Courtesy of Photojojo
Adaptor for audio – Courtesy of Sescom
Miniature Shotgun Microphone – Courtesy of Vericorder Technology
Filmic PRO – Courtesy of Filmic PRO
Plus portable digital recorder and Plural Eyes by Singular Software
Camcorder Alternative
Consumer to Prosumer Cameras• Allows you to visually see audio and
light levels (via Zebra).
35mm Cameras Capturing VideoPros: • Enable depth of field with large sensor.• Use of great glass lenses.• Exceptional ISO/light sensitivity.Cons: • Limited recording time due to sensor
over-heating. Improving. • Poor sound quality.• Requires mounting rig for shoulder or
mounting on a tripod.• Rolling shutter effect (going away).
Photo courtesy of www.idcphotovideo.com 77
Picking Up Steam
Image courtesy of Panasonic Inc.
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Panasonic AG-AF 1004/3 – type MOS Sensor AVCCAM Camcorder
Pros:• More cost efficient than using hybrid 35mm camera add-ons• Use of existing 35mm camera lenses = good glass• Real Depth of Field• No constraints on video recording time• No requirement to sync audio• Use of normal rigging for tripods• Focus Assist Function – sharpen detail in view finder• Zebra & Color Bar Displays – Zebra for assessing highlights
and/or peak white. Color bars for editing match camera output.• XLR balanced audio inputs vs. 1/8 inch minis• Audio monitoringCons:• No 35mm sensor so have crop factor• Only Panasonic lenses allow for power zoom, aperture and focus
– all other adapted lenses are manual.
Picking Up Steam
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Sony NEX FS100UK
Pros:• More cost efficient than using hybrid 35mm DSLR camera add-
ons• Exmor Super35 CMOS Sensor• Real Depth of Field• Embedded Timecode
Cons:• All manual control lensing• Control Access & Design• Some difficulty associated with using prime lenses other than
NEX lens
Sony NEX FS100UK
Video Promotion for Small Businesses, Artists, Consultants
• When showing your product, animate it.• With a location, walk in and around as if you were a viewer.• With paintings and photographs, move camera across the painting or photo – think
Ken Burns.• Use lighting to create dimensionality for sculpture or installations.• Create a mood using music, sound effects. For example: bells, foot steps, thunder.• Create a back story and cut back and forth between you talking directly to the
camera and your work.• What can you say about your product or service? If you can show it with footage
and stills, do it.• You can talk about process, materials, specialized tools, why you applied the paint
the way you did.• You can talk about influences, inspiration, why you are passionate about what you
do.
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Resources & SourcesWeb Video: Making It Great, Getting It Noticed By: Jennie Bourne; Dave BursteinPublisher: Peachpit PressPub. Date: August 05, 2008Print ISBN-10: 0-321-55296-2 101 Quick and Easy Secrets to Create Winning PhotographsBy: Matthew BambergPublisher: Course Technology PTRPub. Date: April 14, 2009Print ISBN-10: 1-59863-902-1 Film Directing - Shot by ShotVisualizing from Concept to ScreenBy: Steven d. KatzPublisher: Michael Weise Productions & Focal PressPublication Date: June 1991ISBN #: 0-941188-10-8 Stoppees’ Guide to Photography & Light: What Digital Photographers, Illustrators, and Creative Professionals Must KnowBy: Brian & Janet Stoppee Publisher: Focal PressPub. Date: October 22, 2008eISBN-10: 0-08-092798-X Home Recording for BeginnersBy: Geoffrey FrancisPublisher: Course Technology PTRPub. Date: January 01, 2009Print ISBN-10: 1-59863-881-5 Digital Lighting & Rendering, Second EditionBy: Jeremy BirnPublisher: New RidersPub. Date: April 27, 2006Print ISBN-10: 0-321-31631-2
Info on Walk Cycle: http://www.idleworm.com/how Info on Light Reflection Tools: California Sunbounce: http://www.sunbounce.de/Info on Camera Motion Control: Tiffin: http://www.tiffen.com/
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Resources & Sources
Perfect Exposure for Digital PhotographyThe Zone System of Metering & Shooting (DVD)By: Tim CooperISBN 9780981602905
The Lighting Technician's Handbook By: Harry C. Box Publisher: Focal Press
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