Video lingo how this is gonna work I'm going to be your translator for a lot of this so robin's going basically talked to you guys about video lingo and explaining some of the subjects and I'm going to just interject with ways that I know is relatable to photographers kind of translating into the language that we're familiar with it will actually all make sense I think video link it was probably one of the easiest parts teo understand so what kind of jump in that starting off with frame rate okay, how many of you here know what frame rates are okay a couple hands but frame rate eyes it relates to video is not shutter speed okay that's the most common misconception or the most common confusion is that frame rates has anything to do with shutter speed it does not okay what shutter speed you're shooting in will affect the look of your video for sure but frame rates is what the internal components of the camera are doing to capture video okay howmany period people have watched their local ...
news okay, you watch the local news and when they show something from the field like they're showing a reporter standing there or if they're showing b roll as we call it or footage of a scene may be a crime scene or something, the footage and the cameras that they're using are usually shoot a shot at thirty frames per second okay, thirty frames per second is the broadcast standard. Okay, you watch on tv is broadcast that thirty frames per second, so things that are filmed in thirty frames per second tend to look more lifelike. More real life, more home video it's got a very fluid motion to it sixty frames per second is very similar has that real smooth motion? It doesn't look like film like movies that you guys watch. You'll see a distinct difference between movies and your news, right? And that's because film creative film is generally shot in america at twenty four frames per second, so there's twenty four and there's thirty ok in europe, they used the pal standard. I don't want to get too involved in what palace versus ntsc all you need to know is in america the film standards twenty four frames per second in a europe it's twenty five points for second I guess I did in germany they use power you're asking me I feel like, why do you ask that no to define friends for seconds were kind of shooting out the numbers that you before the finding what frames per second is frames for a second is basically think of a flip book guy's married those flip books like you flip like this it looked like a movie, but it was all a bunch of different pictures frames per second is all of those pictures that make up one second of video so it's, how many pictures essentially make up one second of it? How many frames are in one second of video? So we talked about twenty four frames per second, which is the standard that you guys will use and set your cameras too. There are twenty four still frames in one second video, so I think if you had that flip book and you won't like this for a second and you got past twenty four or their thirty frames for a second, you did you same foot book, but you got to thirty pages, so it definitely affect the way that things look because I'm sure you've noticed that movie is for some reason look different and have a different feel to it that your network news and it's because of the frame rate, there's a lot about things, obviously, but the frame rate definitely is different. So does that make sense? Basically think flip books like kid's foot book that's frames for a second when whenever you've heard the term twenty four p that's, what twenty four p s it's twenty for progressive frames per second? Okay, I'm not gonna get into what progressive is, it doesn't matter because the old way doesn't even matter anymore, okay, generally for what we're doing as artists or as web content deliverers or for weddings and portrait's things like that were not broadcasters were not in a broadcast facility like a bit of lives, you know and doing it like that so twenty four frames per second is what you always want to shoot in atleast I recommend you shoot twenty four frames per second there are exceptions there are times where I will shoot thirty frames per second but we're not going to get into that just this moment. Okay, so basically when we get into setting up the camera later on I'm going to show you how to put your you're cameron twenty four frames per second it's going to give you that larger than life look, it looks like movie looks like cinema looks like film that's where that comes from let's, talk a little bit about resolution. All right? Most of us here probably have high definition televisions at home. Okay, when you went to go purchase your high def television they were likely to numbers that were on the sticker is around the data ten etienne seven twenty these air both high definition resolutions. Okay, one is this larger than the other other and a good way to look at this and kind of determined the difference is imagine you're working in photo shop or aperture or light room and you have an image and you go teo whatever menu item image size okay and it says it's this many pixels wide by this many pixels down that's when when dealing with tv resolution it's a simple is that the pixel dimensions of ten eighty is nineteen twenty across by ten eighty down all it's really that simple and seven twenty p s twelve eighty across by seven twenty down okay these are the two standards right now in five years and make it bigger I mean there's a thing called four k which is four thousand pixels okay and that's where the future is going but for right now all we need to know is ten eighty and seven twenty and I think we mentioned before that you really want to try toe shoot as large as you can you always want try to shoot at ten eighty because you could always scale down can't scale back up so if you have the data on the ability to do that on your camera definitely try to shoot ten eighty you have a question curious please you marie why do we go by the measurement of the verden klein rather than the horizontal justcause screens can be wider it so long as they're not deeper pixel dimensions or television resolution has always been measured in vertical resolution standard definition is always was always five twenty five I don't want to get too far into this but since you asked three old days of television it was measured in scan lines okay old tv images or used an interlaced scan or if you ever see sixty I or thirty I that means interlaced okay so every frame of video used to have two fields okay of alternating scan lines odd and even and two fields made up one frame so what you would actually see while you were watching tv when we were growing up was fields videophone t really fast to make up frames of video like this it's it's imagine going through your fingers and that that is called in early scan and I don't use that anymore generally broadcast does generally for film and web web video production it's progressive frames which means there's no more fields in this interlaced stuff it's frame frame frame frame frankly khanum strip okay going straight across so that's the only difference so ten eighty and seven twenty year measured in those pixel dimensions and that's all you need to know okay ten eighty seven twenty those two numbers going pop up a lot when they when you're looking at the menu on your camera's going to pop up when you're in your video settings in your editing program it's going to pop up so it's just good to know the difference what you will not be needing on the bottom there is thie old standard definition format of seven twenty by four eighty and that should seven for eighty is the old standard definition with the box format nobody's really shooting this anymore if you are that's fine but eventually you'll have to upgrade it's just the way it works. Who recognizes that logo pretty common right this is called quicktime quick time is it's been around for a long time? It's a video format file extension dot a movie okay widely widely used in the world of digital video okay, quick time is a compression we're not a compression quick time is a format. Okay, so when we in code video all right you can use the quick time compressor there's also a navy I compressor have you ever heard of dot fbi or dot mpeg or dot h two six four these are all different types of compressions. Quick time just tends to be the most universal and the most widely used what time is the equivalent of j for us? So when you hear it like all the compressions air remember the words but it was dot movie dot tv I all these things for us that would kind of translate to the same effect of dot jpeg dot tiff dot see her too, right? And there is a very again just like with photo compression formats there's a huge world of this this millions and millions and millions different types of compressions you just need to know that when you see the dotted movie that's a video file and it's compressed in some way you could have un compressed pretend to which we don't really generally you deal with yet one of the questions actually we typically get is when you take video clips and you see the dot and movie file and right underneath their next to it is a dot th em file and people like, well, what is that for that's? Just the thumb nail file you I don't actually use that file it's for when you preview like the first frame of the video so just people often ask that what you're concerned about is the dark movie file that has come up yep so why do we use quicktime? Like I said before it's the most universal it can be played on both mac and pc is viewable but with anyway by anybody with quick time player on saw on their computer there's not a single pc or math it's made today that doesn't have some sort of quick time enabled kodak built into it so that's why we tend to use at the most and it is the easiest and the most flexible toe work with in editing here's a little known fact the images that come out of your camera the actual video files to come out of a dslr are not generally men for editing we usually have to convert them to some other form in orderto work with um the beautiful thing about fusion is when dealing with video and photo shop and light room and these other programs it will handle it natively natively means from the camera into the system into the program and then back out again which is great filmmakers as you know I make my films and my longer pieces I actually have to convert to a different format okay and that's because and I'm going to give you a tidbit of information that you just you really don't need to met remember this but what comes out of these cameras is the h dot two six four compression it's bundled in a shell of quick time basically if you ever see each to trailer dot six four don't worry it's okay yeah yeah it is part of what's going on and that's that has that will come into play when we go to encode out to new video files okay? So let's say shot video we brought in the photo shop we played with it and now we got to make a new video file because you can't just save it it's not like a photograph where you go open j peg safe and then overwrites the old data and then you have a new new image with video you actually have to create a new video file you can't deceive to that video file now it's changed you have to create a new one so we're gonna get into that more of that later but again this is the video lingo so it's really you know so again the cannon video format the nikon d for video format these air h two sixty four quicktime headed again age to sixty four quick time and these are just some of the extensions or numbers or letters or things you might see pop up this is normal okay don't let it confuse you all you need to know is it's all quick time yeah it's all the time it's all dot movie okay for the most part you might see dot a v I once in a while don't freak out some of the older night cons shoot in the dot every I method and compression and that's why it's just a different kodak the beautiful thing is most video editing programs will handle all of these formats okay in some form or another so don't worry one is not better than the other generally just what they've chosen to do quickly let's talk about hosting your video and this kind of ties in with what we're talking about right now because when it comes to compression and it comes to the types of data files each of these will handle it differently okay and it's kind of important to know this but don't feel like you have to memorize it at this point in our presentation I use video for my films okay, so if I produce a long film and say it's a five twenty five minute film something like that I used indio I like the imbed herbal nature of it I like the compression I like the way it looks and maintains my colors and looks great that's for my full films and if you produce a fusion peace at home let's see used by movie videos a great place to put it okay way don't generally advocate the use of youtube for professional video delivery on presentation seriously because ads air coming up across your videos at this depending on your account, right? So I mean it's great for promotional marketing and things like that for you know, you know, social media but for if you're going to live or something client you don't abandon and across it ok period so we kind of avoid youtube in that respect, but video is great for that and then one of the new ones that are that we just started using it smugmug pro have you guys heard of spunk before they're great! I've used them for my photographs for the longest time it's a great easy way to put up your photographs so that your clients can have online galleries and your clients can purchase them more recently, however, they've made videos able to be put on there which has been around for a while but now you can actually purchase the videos from there so your clients can purchase downloads of different resolutions for the video which is fantastic I mean we're here to make money so if smuggling is going to make it give us the ability to make money easily that's awesome there if you haven't used one word for it they're just they're so good it's fully integrated I don't have to do anything I just wake up in the morning hey and check my email and it says ching, baby, somebody loves you and it's you've gotten online order basically and made three hundred dollars in your sleep, so it is really great and now you could do the exact same thing with you when we get into talking about marketing later on, you're going to see how that directly ties in even more because with smugmug we can show somebody of video piece online for a limited time just a wet their appetite and then when they want percocet okay here's the percocet so they're just because it was put up online isn't necessarily mean you're giving it to them for free so we'll get into that limit more later too and then an emoto is the place where we make our video a lot of our slide shows for fusion and you can just host it there as well they actually have the capability for you to share the link and the video with somebody without an emoto branding all over it which is great. The other thing that's nice is an emoto is directly linked to smug look, so if you want to make it in a motive video, you can automatically send it to smugmug for them to sell it as well. To have questions online, I just actually wanted to give a shout out to both an emoto and smoked duck who not only are they giving away prizes, but also everybody wins because they are giving discounts in honor of this class. So go to the blogged and the creative liveblog and the first post their explains all those so just one teo believe an emoto andi smugmug, both giving a pretty hefty percentage thirty percent off for smugmug one year of service with the promo code creed of joy uh valid through july twentieth and then an emoto is twenty percent off one year of service with an emotive pro with promo code vanessa and rob c l for new subscribers through july and honestly, they're both really affordable. They are really it's amazing like I don't I don't know, I don't want to tell inamoto, huh? Great darkseid from the reserve price raising fantastic, really. But anyway, these there are three basic online hosting and delivery methods on we're gonna get into that and much more detail, so in a nutshell that's video lingo we don't really need to delve in more than that when we get to audio, there will be a little bit more additional audio lingo before right now that's enough just to kind of introduce you to these things. So as we moved throughout the program and I say, well, this is shot in quick time and I'm shooting in twenty four frames per second now you know what I'm talking about instead of looking at me like yeah, so that's it q and a and we have a lot of cute stuff coming in you has here so in the queue today, right here. Questions about video lingo. All right, wait. So in the chat room, alex and it's us, this junk off from belarus sixty frames per second is only available at seven. Twenty peanut ten adp. What if you need teo? What if you need it? The slow motion and the rest of your footage is ten. Eighty p thirty frames per second. That's a great question. What he's asking what he's asking is okay, some camera shoots sixty frames per second. Well, why would you shoot sixty frames per second if you ever look at sixty frames per second? Looks very fat, not fast, but it looks like thirty friends it looks like real time looks like real movement like real life but there's a process called over cranking okay so if you shoot sixty frames per second and then we slow it down by fifty percent for the percentage to get it down to twenty four what happens it slows the footage down but it slows it down beautifully and it looks like really good slow motion okay if you try to take footage shot at twenty four frames per second and slow down its going to look a little choppy it's not there's different there's reasons why it has to do with the number of frames and things like that so what do you say I wonder what cameron well what he's question was was what if I am shooting everything else a ten eighty but you can only shoot his sixty frames per second at seven twenty there's not much you can do you pretty much have to downscale your whole project seven twenty to make it match because what happens if you put seven twenty on a screen with ten eighty footage this is ten, eighty seven twenty gonna be here it's gonna be right in the middle of your screen you know black all around it like a man okay so we either have to scale he has to either scaled down his ten eighty to match that footage or he has to find a way to upscale seven twenty if he up scales the seven twenty it's going it's going toe lose quality and resolution just like taking a j peg and stretching okay, so that those are really the only two methods. So the best thing to do you think would probably be to shoot everything as some twenty for export everything out here and shot it two, seven twenty right that's one way another way and this is a work around and it's very unorthodox, but it can be done if done correctly, you can actually take get yourself a very high quality digital projector and project your seven twenty image onto a perfectly white, beautiful screen that maintains your colors and then film it at ten. This is back in the day when I was doing documentary work, we get all this old archival footage from places andi was shot in standard definition and we wanted to use it high definition while you broadcast it onto a wall projected onto the wall and then you shoot it in high definition didn't look nearly as good when you go take your videotapes toe walgreens or your pharmacy to transfer it to dvd. A lot of times now they projected and shoot it a lot of fur up converting the dvd to hd so I hope that answers his question three different ways to do that and they all work in some form or another great so another question is from my full of folks let's see okay question from ken wallace films do you ever use quick times in the dot em for v format, since that is native toe itunes? Yes, if I'm going to if I want to take a video or a fusion piece that I produced and put it on my ipad or on iphone or ipod for client like we've done that I've actually delivered fusion pieces, went out and bought on ipod touch, and that is the delivery method I put it on there, so what I have to do is take it from the dot movie extension and then transfer and transfer it transcoder teo for v, which is now most of most of the video editing programs that will do that for you, there's usually setting for apple devices, and that usually will convert it to dot and for being. So this for delivery? Yes, for editing? No. Okay, so, um and then jimmy shefer from north st paul, minnesota asks I've noticed that the cannon five d mark three has a record time of twenty nine fifty nine seconds. Would you suggest switching over to a newer camera that allows more time? Well, that's the thing with the d s lars, you really they're limited in terms of the amount of data that record toe one file and that khun vary it's not always five mark three we'll record up to twenty nine minutes and fifty nine seconds that means it might go over a little bit. It might go under a little bit. It depends on what you're filming. If you're filming something very high contrast with a lot of detail, it's more data information so it's going to take up more space, therefore it's not being recorded much time? If you're recording something like if you turn the saturation down on your camera and shoot flat, which will get into you'll find that your dated run times will go longer, ideally for fusion, though you're not going to be shooting in twelve minutes anyway, so if you have a five day mark two and you're thinking about upgrading to the mark three specifically for the extended run time thatyou khun record for probably not advisable, because when we shoot and we'll talk about that, you're only going to be shooting about eight to fifteen, maybe twenty seconds at a time, so that wouldn't even be an issue for you to address this question. More specifically, if he wants longer run time, shoot nikon, nikon, what it does, is it all? It will reach a certain max file size, and then it will continue on to another file, at least the d for well, I don't know about the d three s and lower cameras, but it'll continue on. But I think it's, a menu setting, could actually said that, too. But as far as this lars go, they're not meant to be run hours and hours and hours, and especially if you're doing fusion. Not something it's, not something you want.