Thursday, 24 October 2013

Yr2 Week 2 (Fri 18 Oct - 7D editing workshop)

Continuing off from yesterday, we went into DMW 2 and began looking at how to edit for the 7D, a camera which has not left the best of impressions frankly. Quickly going over some of tech info from yesterday, a couple of new points were also raised with relation to video quality ad specs:
  • The video is compressed down to H.264, which is more a delivery (viewing) format than one for editing, with a fairly limited colour range (8 bit information/256 shades of colour)
  • The 7D uses CMOS sensors, which aren't quite fast enough to capture the whole frame i 1/25 of a second, so it takes partial images instead (this is why you get distortion when the camera moves i.e. Rolling Shutter). Simply put, it scans and dumps the images taken onto the card.
  • The format for editing this is called ProRes LT. (MPEGStreamclip for FCP7/10 will transcode the footage to this automatically, and 7DNXHD for AVid is similar).
Then, we discussed the workflow for editing a camera like this one:
  1. Sync external sound and video up (this can done with a secondary program called Plural Eyes)
  2. Top & Tail it!
  3. Export to ProResLT
  4. Look for rolling shutter
  5. Fix said shutter in After Effects and re-export
  6. Do colour correctio
  7. Edit like normal
  8. Secondary grade/Final Touches
  9. Export back to H.264 (for vimeo ad web. Otherwise, keep it in ProRes for projection).
We did a miniaturized version of said workflow on FCP10 with a piece of footage from Heinemann's short The Ice Cream Van, where a man reprimands a boy for missing the van and that he should be 'quicker' next time. Unfortunately, my computer had a few 'hiccups', so I couldn't quite finish the whole edit, but the process felt natural enough, and Plural Eyes was a definite aid and timesaver. To cap off, it's refreshing to get back into editing again, an area that I've always felt comfortable in, but my sentiments on the 7D have not changed: I still prefer to use other equipment.

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