HD Video Camera

Getting the most out of your digital video camera can mean being able to create some really cool stuff. You just have to step outside the manual a bit and find the cool things you can do with your digital video camera and your editing software.

We have all seen them in a movie or a TV show, those very cool shots where they speed up time and capture a long segment of time and condense it into a very short amount of video. My very favorite example of this technique was an arty movie of many years ago that was called Koyaanisqatsi. (view trailer) In that movie they had some very interesting segments where they did time lapse effects to show driving on a bridge, flowers growing, clouds flying by and so on. Another example is many of the TV news stations nowadays have a camera that captures the day’s weather and then they process it down to a 20 second clip to show the clouds and weather racing by on screen.

Well this technique is not just a tool in the hands of the movie makers or the big TV stations. You can do this with your digital video camera gear too. I will go into two ways that you can accomplish this effect and get some cool results for your next video project. This one is worth playing around with in order to find the right settings to get the most dramatic effect.

Technique number one is to use the camera itself to do the time lapse recording for you. Almost all digital video cameras have the ability to do an interval recording. What this means in a nutshell is that you tell the camera how long you want to record for and how long in between recordings and it will go on autopilot for you for as long as the battery lasts or the tape runs out. This is what those cameras at the convenience store do, they record a few seconds of motion every 30-60 seconds giving the overall view of the traffic in the store over time.

Now if you want to capture some time lapse in your digital video camera you will need to get into your cameras menu and find Interval Recording (or in my case Int Rec, as I use a Sony PD 150 for my camera) When you select this option you will decide how long of an interval between shots you want and how long to record each time. If you are trying to capture something that takes a long time to occur and in which not much happens quickly you will want to set the interval at around a minute and the record time as short as possible on your camera. An example would be if you wanted to record a day in the life of a flower or the clouds rolling by in the sky. Suppose however that you want to capture an event that has lots of action and occurs over a much shorter time frame. Then you would want to shorten the interval between recordings and increase the time of each recording. So in this case you might record every 15-30 seconds and record up to 2-3 seconds of video each time.

I used this technique to capture an afternoon of work being done by a team of carpenters on my house remodeling project. The result was a flurry of activity as workers raced hither and yon nailing boards, carrying equipment and building walls. I have added it to my photo collection of the project. (Hey I had to live through the project so I might as well have a great record of it for posterity!)

Now suppose you have one of the great software video editing packages on your computer to work with your digital video camera. Now you can do it in post as they say in the business. You can record any length of video you want (subject to the limitations of your tape length) and then import it into your editing program.

Sidebar:

I use Adobe Premiere Pro for my editing jobs, but I have also used Avid DV Express, Final Cut Pro, and others in the non linear editing world. These are all great programs and are very powerful products that can create some very professional looking videos. You don’t have to have these products to create your own videos but if you are serious about digital video editing it might be a good idea to take a look at these options.

I digitize my raw video of the scene I am doing time lapse on into my computer (big hard drive, video eats up GB’s of space) and then import the clip into my time line. From th3e timeline you can then select the clip with a right click. From there you will be given a menu with options depending on the software you use. Select the option that says “duration”, “speed” or something similar. Change the speed of the clip so that time will speed up considerably. If you have an hour of video in the clip and want to shorten it to 2 -5 minutes then you need to increase the speed of the clip to 3 or 4 thousand percent of normal. This will require your software to render the clip at the higher speed and may take some time top process depending on the speed of your computer.

Once you have rendered the video clip at the new speed you will want to play it to see if the movie flows evenly or if you will want to readjust the speed setting to make it better. Sometimes you may want to shorten your raw video and adjust the speed down somewhat in order to get a smooth flow of action. Once you have rendered the clip at the new speed you can now cut and splice it as you see fit with the speeded up action intact. There are some things you will record that might only need a slight speed change, take for instance some digital video of your kids playing sports. Double or triple the speed of the clip and show it to them and you might have them rolling on the floor.

You can also use these techniques to capture the growth of a flower or plant over the course of days or weeks. Simply set you camera in exactly the same place at the same time each day and record an interval that works each day fro however long you want to document. May be you get the seedling just breaking soil and follow it all the way through turning into a full grown plant.

Another interesting idea is to capture the path of the moon across the night sky. Set up your camera on a tripod in a spot that can see the path of the moon for several hours. Set the camera to interval record and put the moon on one side of the frame so that it will pass across the frame as the night passes. This one may require some testing in order to get the exposure and framing right as well as the right interval to record at. Most likely you would want to set the interval as long as you can and the record time as short as you can but do a test run first to see what works.

I can’t stress enough that using your digital video camera can be great fun and you can achieve some cool results. Play around and test. You just might find yourself creating some very creative digital video to share with the rest of the world.

The great debate is on…HD vs Film. Which format best suits your particular project?

The HD world has changed dramatically over the past few years. Many believe the gap between film and digital video has been closed with the advent of new ultra-high resolution, 35mm-sized, single-chip HD cameras that offer superior color reproduction and exposure latitude comparable to 35mm. All professional filmstyle HD cameras are capable of true progressive frame, 24 frames-per-second (24p) capture and provide other film-style features, such as multiple frame rates, variable shutter and cine-like gamma curves that mimic the tonal qualities of film. In addition, all of these cameras accept 35mm film lenses and accessories (some require adaptors such as the P+S Technik Pro35 and Mini35) which assures the exact same focal lengths and relatively shallow depth-of-field associated with 35mm optics.

The movie industry has changed radically over the past decade. Now there are distribution opportunities for small independents that never existed before. Indies have already proven that they too can be successful and profitable at the box office. While HD cameras are now affordable and in the hands of many independent filmmakers, the rules still stand that to be successful in the movie market, you need to make good films. Film festivals and internet sites like YouTube have opened the doors to Indie filmmakers, providing easy access to large audiences. The number of film festivals around the world has exploded, from a handful to literally thousands and each festival receives hundreds and thousands of entries. Both Panavision and Arriflex have joined the digital revolution, recognizing the increased demand for digital acquisition, especially in TV and Indy film production where budgets are tight. A typical 100-minute low-budget feature production will save over $150,000 shooting HD versus 35mm and save $50,000 over 16mm. On a low-budget production, these cost savings are significant.

The digital workflow has taken over film in many areas, especially in post-production. Almost all editing today is performed on non-linear systems and the vast majority of special effects are created through a digital pipeline. In addition, HD is becoming the universal format for distribution, including HD television broadcast and home entertainment (HD-DVD and Blu-Ray HD players are now on the market). HD theatrical distribution will soon follow. Currently, the movie industry spends close to a billion dollars per year on prints, shipping, insurance and other costs, all of which will be eliminated with satellite distribution of HD films for 4K/HD projection. The projected cost savings to the movie industry is enormous and will ultimately be the driving force that will propel the world into HD exhibition.

Exhibitors will also benefit from HD projectors that are solid state and require little maintenance. Pricing on HD projectors will drop dramatically with economies of scale and will quickly be amortized considering the significant savings in operating costs compared to 35mm projection. For example, showtimes can be programmed into digital projectors allowing automatic start and full automation, thus eliminating the need for projectionists and saving theater owners time in training, salaries and expensive worker’s compensation premiums. Landmark Theaters has already begun the process of installing HD projectors into many of their theaters and others are following suit. Conservative estimates suggest that 50% of all theaters in the United States will be converted to HD projection within the next five to seven years and over 80% within the next ten years.

HD offers several distinct advantages over film during shooting, such as immediate playback and monitoring of your finished image. LUT’s are used to define different looks for the film or the final look of the film print and output that look onto a high-definition display. LUT’s can be saved for future film projects or episodes should you want to replicate a similar look. Camera settings can also be saved for future projects so that you can match a particular look exactly (very handy for TV series production). HD monitoring allows you to catch things and make corrections on the fly, while you are in the moment. HD cameras excel over 35mm at locations where you have mixed light sources and don’t have the luxury of setting up your own controlled lighting. HD cameras can white balance, film cannot. HD also excels over film in the effects world, where it is possible to view green and blue screen composites on the set, fine-tune alignments in real-time, and give the director a close representation of the finished product.

While there are many who continue to argue that HD is, and will always be, inferior to film, the truth is an HD feature properly lit and exposed looks very close to 35mm and the aesthetic difference is virtually transparent to the audience. Your average movie patron really doesn’t know or care what format the film was shot in. All they really care about, and all that really matters ultimately, is that they are entertained. A great story with the right cast and skillful directing goes a long way and it certainly stands to reason that as more people become used to watching HD films, the “look” of HD will become the accepted “norm”.

The writing is on the wall. Film will still be the format of choice for a while, especially on large budget features, but eventually one could certainly speculate that the entire process of making films will be entirely digital.