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Jim Krause | Classes | P351 Video Field & Post Production

Lab #2


  • Turn in Camera Aquisition Exercise & review problems
  • Look at Syllabus - What's due?
  • Camera followup / advanced tips
  • Review Workflow.
  • Review Nexis Storage
    • Launch Nexis, login with your CAS, & mount your workspace
    • Note that you have a drive for you and others, which are shared
    • Jim's suggestion:
      • Make a folder in your personalNexis drive for media (Each time you come back from a shoot, make a folder for it and place it in there.)
      • Make another folder for storing Premiere Projects
  • Launch Avid Media Composer- (Make sure it works)
  • Review Continuity
  • CARRY OUT: Storyboard & Continuity sequence (30 point exercise)

Camera 202

Review Lab #1 exercise & issues

Remember to check and be in control of the basics.

Before shooting always:

  • Set the recording format, bitrate, pixel dimensions, and frame rate. (E.g. XF AVC recording format at 45 mbps, and 1080i.) Use 60i, 60p, or 30p for TV broadcast and 24 for film/cinema distribution.
  • Make sure gain is turned off or set as low as possible. The gain value will be displayed in the viewfinder as "___dB".
  • Check your shutter speed, which is typically 1/60 for 30fps TV and 1/48 for 24 fps film
  • Check for proper white balance. Either use the proper preset (E.g. indoor or outdoor) or manually set the white balance.
  • Check ND filters. When shooting inside or in darker environments, it's usually best to have them off. NDs are most useful in brighter environments as they reduce the amount of light entering the camera.
  • Set timecode (optional). Standard practice is to use drop frame (DF) time code and to ask the producer if a certain preset is desired.

When shooting always:

  • Record at least 3 seconds of pre-roll and post-roll. In other words, record for 3 seconds before cueing talent or starting camera moves. After the action or camera move is completed, keep recording for at least 3 seconds. Pre-roll and post-roll are extremely useful in editing.
  • Use Zebra stripes to determine proper exposure.
  • Use the magnify button and peaking feature to set sharp focus. This button magnifies a portion of the viewfinder to allow for sharp focus. The Peaking feature is also a useful focus assist tool.

Media Workflow Review ------------------------------------------------

Know where your media goes! Be sure to back it up in multiple places.

  1. Create a "master" folder (E.g. "P351_Spring_2021) on your own external media drive.
  2. Create a sub-folder for each shoot and folders for project files, audio clips, and graphics.
  3. When you create a new project, name it before importing any media and save it into your project folder. (E.g. "Storyboard.pproj")
  4. Copy media from shoots and other elements to the proper folder before importing.
  5. NEVER IMPORT OR LINK TO MEDIA THAT"S ON YOUR DESKTOP OR IN THE DOWNLOADS FOLDER. Copy any media to the proper folder and then import/link.
  6. Make safety backups/copies to multiple locations (Nexis, Box, etc.)

When you come back from a shoot & before you import & edit:

  • Copy entire card contents to your media folder (Everything from the top (root-level) directory, which incldues, Private, DCIM, Contents, etc.).
  • Eject card
  • Import or link to media from editing software

Nexis Storage

It's available in the Production Lab and Franklin Hall and is a great way to store, access, and share media. It's usually fast enough to edit HD off of. (Not 4K or with numerous multiple users)

1st time instructions:

    Launch it from the dock
  • Create a master folder labeled as your IU username. (Mine would be jarkraus.)
  • Create any desired subdirectories
  • You can access this folder from any of the Production Lab computers and in the Frankiln Hall editing bays.
  • Anyone enrolled in our lab can see and access the files in our folder..

CONTINUITY ----------------------------------------------------------------

  • Physical Continuity - props & clothing change from shot to shot. If your talent has sunglasses on in one shot, they need to be on in the next shot.
    • Have one crew person watch for these potential problems.
  • Time Continuity - if a clock, candle or position of the sun appears in more than one shot, the time must be consistent with the scene.
    • Keep references to time out of the scene. Try to shoot scene under similar lighting conditions.
  • Technical Continuity - shots don’t match in image quality or sound.
    • Make sure filter is set, microphone is working, etc.
  • Event Continuity - The same person in two consecutive shots and has changed “magically” from one action to another.
    • Have the frame clear before and after each action to provide time to cut. Cut on action and overlap your shooting.
  • Spatial Continuity - the 180-degree axis has been crossed.
    • Check your storyboard and draw an imaginary line once you have arrived on set.

Storyboard / Continuity Sequence exercise

See the on-line assignment for specifics.

  • Use close-ups to show key elements/story points
  • Repeat and overlap action when shooting (E.g. same action shot two different ways)
  • Don't use unmotivated pans & zooms
  • Cut on action to motivate your edits

Strive for high quality video and continuity in all senses of the definition. Be sure to record natural audio.

NOTE: You have the rest of lab today to shoot them. Please upload your edited 6-8 frame project to IU Box the start of next week's lab and BRING IN YOUR MEDIA for our Avid Editing Session.


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