Burning Man 2013 – Beyond The Fire
This is how edits are meant to be. hundreds of shots, lots of diversity and a good choice of music. You feel that the person shot a lot of material and spent quite a bit of time editing.
From the 30th of January to the 1st of February 2008 the VideoForum event was held at Earl’s Court in London so that Television and video professionals may meet and talk in a number of conferences, seminars and tutorials as well as on stands. During this time I got to see what were the major trends in the video producing environment in London and England as a whole.
Cameras
Two Red Cameras were on the Showroom floor yesterday, one owned by Decodeuk and the other I am not sure about. It’s a nice camera in that it can shoot 2 to 4K but the price to rent per day is very high at the moment. It’s a technician’s camera rather than a cameraman’s camera.
Other camers that I saw and thought of interest were the Canon XH A1 which is a beautiful camera and all the controls are in the right place. Two drawbacks are that it seems to record in interlace and that it’s only tape based. If it recorded to hard disk i would seriously think of getting it. The second camera was the Panasonic HVX-200 because the controls are directly accessible from the body of the camera rather than sub menues. It’s interesting because it records as well to P2 cards as to tape so there’s the option of both. The PMW EX-1 XDCAM is another really nice camera. I’m fond of Sony cameras and this is one of the nicer ones. With the ability to take two two XDCAM EX flash cards it has a potential of around 32 Gigabytes. The Flash cards are small therefore easier to deal with and carrying spares should be good.
What I love about these three cameras as well as others is that they’re small as people move towards towards a new filming mentality. Of course you can go for the Sony F23, the F900 or others but these are small. Most of their size is due to the lens rather than the interior mechanism and they’re hand held rather than shoulder mounted. The VX1-E and subsequent cameras were great for shooting and once more these cameras are being made to create cameras that are very appealing to those that shoot video the same way as I do.
from Jim Demuth on Vimeo.
A well told, well edited short documentary about the people who drive the wall of death.
360 timelapse videos provide us with interesting new opportunities. Imagine for example placing the camera out to see near Weymouth beach and watching as the tide comes towards the camera and then beyond it towards the city. Imagine watching as the sun rises on one side of the Leukerbad Valley and sets on the other. Imagine that BBC Natural history unit sequence of sand dunes moving across the landscape one day at a time for a year.
Two days ago I was tempted to try a timelapse video with the Ricoh Theta S. My plan had been to take the camera up to La Barillette and film a timelapse. From this point of view you can see the whole of the Lac Léman. You can see from Geneva to Villeneuve on a good day. With a weather system like we have at the moment you can watch clouds form and dissipate. You can also see the shadows left by those clouds and more. With a standard timelapse camera you would see just a small part of the scene. With a 360 timelapse you could look out towards the Alps or around at the cars and hikers. You could look up at the mast and more.
I say that you could do this because there are high winds up there and you need a heavy tripod to keep the camera from falling and breaking one of the lenses. You also need to find something to do while the camera is working.
Yesterday morning was clement, we had clouds and blue sky so I was able to try a timelapse. I set the camera to take an image every ten seconds for an unlimited amount of time. The settings on this camera give you great flexibility with timing. You can go from every eight seconds to setting a much longer amount of time.
You can set the interval to take pictures from every 8 seconds to every 60 minutes and 59 seconds.
You can either preview the image as a spherical image or as an equirectalinear image. Once you are happy with the settings you can start capturing. In yesterday’s test I was able to get more than 600 images on a single battery charge when the camera was set to take a picture every ten seconds.
The obvious limiting factor with this camera for timelapses is battery life. As soon as the camera is plugged in to a power source it turns off and starts to charge. As a result charging and taking pictures at the same time is not possible. There is also the minor issue of having the USB charge port right next to the tripod screw. You would need to modify a plate to charge the camera at the same time. The camera lasted for about 100 minutes before the battery died.
With the Ricoh Theta S and final Cut Pro X post production is efficient. You are dealing with images with a resolution of 5,376 x 2,688 pixels. That qualifies as UHD. You can import the image sequences from your timelpases straight from FCP X cutting out the need for other apps. Once the images are imported your your event you can open a new project at full resolution. I added the UHD image sequence to the timeline, created a compound clip and then used the speed tool to adjust the duration.
I still need to do some research about how to export the edit at full resolution. As I was given an error message I decided to export the video as 1920×960. This worked flawlessly. I used the Spatial Media Metadata Injector to add the necessary image meta data and then uploaded the injected video to youtube.
I look forward to finding ideas and projects that will take advantage of what 360 timelapse videos have to offer. I feel that it provides us with an opportunity to better understand how time and light evolve in a spherical environment.
The tapeless workflow is a term used to describe video production without the use of tapes. That is to say that from the point the material is recorded in camera to the point it is distributed it never changes from being data. In other words television production has become a profession of data managment as some would say.
A few production companies came to give demonstrations of their tapeless workflow system, at least in broad terms. Red Bee and Virgin Media showed how they have collaboratively brought the post production process to being a tapeless one. In order to do this good networking capability is needed and so is storage. They had to digitise over 40,000 tapes as well as face many more challenges.
Some of these challenges have to do with meta data. Everyone is used to dealing with tapes. you shoot your material, you label it for post production and then store them for later use. When dealing with data though the mentality is different. Some productions have shot straight to P2 cards, backed up the day’s shoots to external P2 hard drives before sending them from China to London for example. Of course when doing this everyhting must be planned ahead.
Part of this planning has to do with the compatibility between recording format and editing. If you get this wrong then you either don’t get the quality you were looking for or you slow down the process. That was part of a case study between Panasonic and two of it’s camera’s during a shoot in China.
The second example was between Red Bee Media and Virgin Media in relation to the creative Village. The idea is that when the material is ingested by Red Bee media it’s saved to a central server from which it can be accessed by a number of workstations, from transcribing to tapelogging, editing and producer’s work stations. it also has to be available in two buildings.
There are a number of advantages to this workflow. The first is that the work is available to the producers when they have the time to check the material rather than when everyone has ten free minutes. As a result the editor can edit a rough cut and a number of producers at up to two hundred workstations may check the edit and say whether they like it. If they don’t then it’s quick to make any changes that are required. It also means that there’s far less mess and expensive equipment is not tied up.
When you’re working on post production dubbing to tape used to take a lot of time, real time and with DVD it’s quickly a messy affair. Files in an edit folder are far easier to deal with.
I really like the idea o the tapeless workflow and i’m going to work on that for my own work, first with affordable equipment and then work my way towards more fun alternatives. It’s what we expect. No more ingestion time, no more dubbing time, just straight editing, agreement and finally output to a number of formats. Of course that’s not as easy as it sounds but post production companies are working on making this a smoother process.