Dialog Box

Video on the web: Getting started

by Hillman Curtis

“Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.”

—Stanley Kubrick

Years ago the technical aspects of filmmaking were a real barrier for me. I knew nothing about cameras, film stock, lighting, sound, or editing systems—which at that time were mainly expensive Avid systems. Worse, I felt I had no way to learn. Everything was expensive: the film stock, the cameras, etc. And when it came to editing, you had to hire an editor and rent an editing suite. I’m a DIY (Do It Yourself) type. I prefer to retreat to a corner somewhere and make mistakes in private, and that didn’t seem possible with filmmaking in the past. It always seemed I’d need some sort of crew. So when digital video and DV editing software came onto my horizon, I didn’t hesitate. I could rent or buy a camera, buy the editing software, and begin. And I could do it myself.

This is an exciting time to explore digital filmmaking. Digital cameras are good and getting better. The same camera that director Danny Boyle used for his 2002 movie, 28 Days Later, is available for just a few thousand dollars (he used Canon XL1s for the film, manned by Anthony Dod Mantle, who may be the best DV cinematographer in the business). A single MiniDV tape, our “film stock,” costs less than 10 dollars and requires none of the expensive processing that film does. Editing software and the necessary computers are both reasonably priced as well, and the software is intuitive and easy to learn.

That said, there are a few things that are helpful to know.

Equipment

The list of basic equipment you need is pretty concise: a camera, a tripod, and a computer which runs an editing application. A decent microphone and headphones are also helpful.

Cameras

Digital video cameras may not be dirt cheap (yet) but they are certainly affordable. The key is making sure that whatever camera you buy has a FireWire port. Known as i.LINK on Sony models and IEEE 1394 generically, FireWire allows you to transfer footage from your MiniDV tape in the camera directly to the computer’s hard drive.

Digital video cameras fall into two primary categories: one- and three-chip. One-chip cameras are smaller, consumer-oriented products that use a single CCD (Charge Coupled Device) chip to process all the color information received by the lens. Three-chip cameras dedicate a different CCD chip to each primary color: red, green, and blue. Either type of camera is fine, but three-chip cameras offer higher quality.

Right now, I use a Panasonic DVX100, a three-chip camera best described as a miniature pro camera. It has external manual controls for every function—zoom, focus, iris, shutter speed, gain, ND filters, white balance, and audio levels. These manual controls are the main components of what qualifies it as a “serious” or “professional” camera. Additionally it has a wonderful Leica lens and built-in audio inputs adaptable to professional audio gear. Finally, it has a wide variety of menu functions that allows you to have ultimate control over your shots.

Learning to use your camera’s manual controls is vital to really getting the most out of your shoot. Here’s a quick rundown of the basics.

Zoom Most people have an intuitive grasp of what the zoom control does, but there’s more to it than just telescoping in and out. The focal length of a lens determines whether the environment around the subject is in focus or not—wide lenses show the world, while long lenses show only a very small arc of it. Focal length is also the primary means of controlling depth of field; with a wide lens, everything will be in focus, while a telephoto lens will yield a shallow depth of field, enabling the shooter to throw a background out of focus.

Focus Learn to focus your camera manually! When autofocus works perfectly (and it rarely does), it focuses on whatever is dead center in the frame. But what if the subject of your shot is off center? To focus manually, zoom all the way in on the subject, focus, and then pull back to your desired framing.

Iris Iris is the first of four ways to adjust exposure—the brightness of the image. Exposure is critical in video, because video tape has a very limited margin for error. If exposure is even slightly off, the image can either “blow out” or get lost in darkness. The iris is analogous to the eye’s pupil—the larger the diameter (the smaller the F-stop), the more light reaches the CCD chip(s). The iris control also affects depth of field—in fact, on any camera, there are only two controls that can alter DOF: zoom (mentioned above) and iris. The wider your camera’s iris, the shallower your depth of field.

Shutter The second control that affects exposure, shutter speed, refers to the amount of time each frame of video is exposed to the light. The shorter the exposure, the darker the image. Standard shutter speed for normal video is 1/60 second (or 60 frames per second), and for 24P video it’s 1/48 second. Besides affecting exposure, the shutter speed also alters the motion quality of the video. A slow shutter will result in a streaky image, while a fast shutter will result in a strobe effect (think Saving Private Ryan). Because of these motion issues, shutter speed is usually only manipulated to achieve a special effect.

Gain The third control affecting exposure, gain, is analogous to the volume control on a stereo. If an audio tape is recorded too low, you can always crank up the volume—but the result will be a lot of hiss. Similarly, the gain (measured in decibels) electronically boosts the signal coming off the CCD chip(s), enabling the shooter to work in very low-light conditions—but the image quality will suffer. So gain is generally used only as a last resort, when better lighting options are exhausted or unavailable.

ND filters The last of the four exposure-affecting controls, ND (Neutral Density) filters, are like sunglasses for your camera. Most “prosumer” cameras have one or two grades of ND filters built in, which can be employed with the flip of a switch. Any camera can also accommodate screw-on ND filters, which can be purchased at any professional camera store. For some mysterious reason, an ND3 filter darkens the image one F-stop, an ND6 two F-stops, etc. Unlike the other three controls affecting exposure, ND filters have no “side effects”—they simply darken the image.

White balance Even to our eyes, daylight (scientifically described as 5600 degrees Kelvin) is bluer, or “cooler,” than the light from a light bulb (3200 degrees Kelvin). Video cameras tend to exaggerate this difference, so for colors to appear natural (particularly skin tones), we have to tell the camera what sort of light is illuminating the subject. White balance can be set to a camera’s built-in daylight or tungsten preset, or it can be set manually. To set white balance manually, place a sheet of white paper in the position of the subject, fill the camera’s frame with the sheet of paper, and activate the manual white balance function.

Audio levels Professional cameras offer manual control of the microphone’s audio levels, which are the equivalent of exposure for sound. Essentially, the camera can’t handle the same range of volume as the human ear. So, in conjunction with audio level meters, the camera must be set to pick up quiet sounds (in which case loud sounds will be distorted) or loud sounds (in which case quiet sounds will be barely recorded).

Microphones

It’s easy to get lost in the beauty of a shot, but remember that a beautiful shot of a person speaking is worthless if you can’t make out what he or she is saying. Having good mics can really elevate a project. I own a Sennheiser ME66/K shotgun mic, which cost about $500, and I use it on almost every shoot. It’s a unidirectional mic that can be mounted on the camera or on a boom.
Here’s a quick rundown on mics.

Directional shotgun mic The most versatile and generally best sounding type of mic. A shotgun mic favors sounds coming from the direction in which it’s pointing (uni-directional). This makes the shotgun mic ideal for use in environments with unwanted ambient sound—but also requires that the mic be pointed directly at the subject. As no mic works well beyond three or four feet from the subject, a shotgun mic is typically placed in an isolating shockmount at the end of a boompole (also called a “fishpole”), which is held over the speaker’s head, just above the frameline.
Since shotguns are very sensitive, they must be protected from the wind when outdoors, typically with a furry windscreen (also known as a “softie”).

Lavalier mic The small clip-on mic that is typically attached directly to a subject’s shirt or coat. The advantage of this mic over the shotgun is that no boom operator is required and, when necessary, the mic can be hidden under clothing. Disadvantages include a less natural sound, the constant annoyance of clothes rustling, and the cable that connects the subject to the camera. Of course, a wireless transmitter/receiver device can be used—and these are great when they work well—but they’re expensive and susceptible to radio interference.

Built-in camera mic As a rule, this is the last resort for a couple of reasons. First, built-in mics are generally low-quality, omnidirectional mics, picking up nearly as much sound from behind the camera as in front of it. Moreover, since mics only work well when they’re in close proximity to a subject, you can’t position your camera more than a few feet from your subject when using a built-in mic.

Speakers and headphones

A good set of speakers and headphones are a worthwhile investment as well. They allow you to monitor, process, and correct audio, both in the field and in the editing suite.

Computers and software

I do all my video editing and web work on a Macintosh. I use the current version of Apple Final Cut Pro and I cut on a G4 laptop running at 1.5 GHz with 1 gig of memory. You can run Final Cut on a less sophisticated machine, of course.

Other programs include Avid, which makes a full range of editing software for both Mac OS and Windows. Adobe’s Premiere Pro is also a solid program. It stacks up well against Final Cut Pro, it’s cheaper, and it offers excellent integration with other Adobe programs, such as Photoshop and After Effects. At the time of this writing, Adobe Premiere Pro is a PC-only product. Sony also offers a PC-friendly program called Vegas Video.

External FireWire drive

Although an external FireWire drive is optional, I can’t recommend it highly enough. Hard drive prices have dropped considerably over the years, to the point of making them almost disposable. In fact, I budget a drive into every project I take on, and when the project wraps I stash the drive on a shelf and hope to never have to use it again. But I know the project is on it and ready to access, should a client call requesting a quick change or update. When shopping for a drive, keep in mind the basic formula: 15 gigs per hour of DV footage. You should also look for drives rated to spin at 7200 RPM and have a data-transfer rate of about 7 to 8 MB per second.

MiniDV deck

A MiniDV deck is basically a convenience. Typically, your MiniDV deck maintains a constant FireWire connection to your Mac—you just have to take the tape out of your camera and place it in your MiniDV deck. While you can transfer your digital video directly from the FireWire port on your camera to your computer, a MiniDV deck frees up your camera for continued use. It also sidesteps the hassle of continually connecting and disconnecting the FireWire cable. Final Cut Pro will recognize the deck when the program launches and you’ll be ready to capture your recorded video footage.

NTSC monitor

I began using an NTSC monitor because I was getting requests to record my web projects to DVDs. Because video looks very different on a TV than on a computer monitor, an NTSC monitor—or PAL in some regions—will help you color and frame your video correctly for a TV screen. In many cases, you may opt to create two versions of your project: one for a purely digital environment, like the web, and another for the analog, NTSC-driven realm.

Process

The path I take from start to finish is pretty direct: shoot the footage, capture and edit the footage in Final Cut Pro, compress my final cut for online playback, and upload the spot to the web.

Pre-production

Pre-production consists of all the planning that takes place before the shoot begins—including writing a script, choosing a location, securing talent and crew, renting gear, coming up with a shot plan, and rehearsing. Some rigorously controlled styles rely heavily on pre-production. My approach tends to be more spontaneous and improvisational, and is thus light on pre-production. (As I’ll discuss later, however, this can be as much a liability as an asset.)

Production

Production refers to the shoot itself, those days when the camera is actually rolling. I’ve found every shooting experience to be unique, and this book focuses on different projects to convey how varied the production process can be.

Log and capture

Logging and capturing is where you organize and transfer the digital data from your MiniDV tape to your computer’s hard drive. You connect your camera or MiniDV deck to your computer with a FireWire cable and, using the capturing feature in a digital-editing program, capture your footage. Although many people dread the log-and-capture process, considering it boring and mechanical, I’ve come to appreciate it as an essential part of the editing process.

There are two sides to logging and capturing—one creative, the other technical. Logging is creative because it allows the filmmaker to really learn his or her footage and make those first critical decisions about what to keep and what to throw out. Often, initial intentions must be thrown out, as the footage needs to be viewed with a fresh pair of eyes. Maybe some moments in the shoot didn’t work out—but new and unforeseen things happened, too. The filmmaker is asking him- or herself how this material can be used to make the best possible film.

On the technical side, the logging process allows the editor to create an organizational structure that will best facilitate the edit. Clips should be given meaningful—i.e., memorable and appropriate—titles, and then placed in folders that will make them easy to sort and locate throughout the post-production process.

Editing (post)

The edit is where you assemble the different shots from your production. It’s also where you build a soundtrack, color correct your footage, and add visual effects, titles, and transitions—like dissolves or fades.

I think I might be more of an editor than a director or cinematographer—at least at the time of this writing—and I’m a huge fan of the editing process in general. To me this is where the project really takes shape. Certainly in my documentary work, the edit is where I find the story.

Editing, or “post,” is just as creatively significant as the actual shoot or production process. The great director Stanley Kubrick once said that he considered the production phase to be simply a prelude to the edit.

Compression

Video is file-size heavy, and to make it a viable web medium you have to compress it. Compression essentially squeezes data into a smaller file so it can effectively pass through the web’s limited bandwidths. That data is then decompressed and played back on the receiving end through a player, such as QuickTime Player, Windows Media Player, Flash, or RealPlayer. These players are technically “codecs,” which is short for compression/decompression. I’ve heard this process described as analogous to sending and receiving a letter: first you fold it to fit in an envelope so you can send it, then the recipient unfolds the letter to read it.

Most editing software comes with a compression utility. In the case of Final Cut Pro, Apple dug deep and came up with a creative title for its utility: “Compressor.” This utility offers the user compression presets, as well as the ability to dial in your own settings. There are also a number of third-party compression utilities, such as Sorenson Squeeze and Media Cleaner Pro.

Why I use Flash Video

Until fairly recently, viewing web video required that you have one of the three big players: QuickTime, RealOne, or Windows Media Player. Consequently, when displaying video on the web, a typical strategy was to offer the same video in multiple formats. That situation has changed rapidly since Macromedia introduced Flash video in 2003.

Macromedia Flash is known for its eye-popping animations, sophisticated navigation, and rich Internet applications. With the release of Flash MX, video was added to the mix. Flash video uses a similar codec as QuickTime, and its display output can be of a very high quality. But unlike other players, the Flash Player is ubiquitous: it’s available cross-platform and cross-browser on over 95% of current computer systems—and that statistic is for Flash Player 6, the first video-capable version. It’s only bound to get better.

Another benefit to using Flash video is the incredible interactivity it offers. Because Flash video is embedded in a Flash movie, the sky’s the limit when it comes to integrating designer control and user interaction. Everything you can do in a Flash movie, you can do with Flash video. For example, you could create a marketing campaign where the soundtrack playing behind the product is also for sale, and allow the viewer to download and buy the music while the video is streaming.

With QuickTime, RealOne, or Windows Media Player, you launch a movie and it loads in a pop-up window, separate from the web page you were viewing. With Flash, though, you get an immediate, “in-page” experience. That is, when you open a web page that features a properly structured Flash video, you see the video immediately and it’s ready to play—in fact, it may already be playing. The first of my own projects that I deconstruct in this book, The Visitors portrait series, appears so quickly, and the subject is so stationary, that many people initially mistake the image for a static JPEG—until the subject blinks.

In sum

It’s important to stay current and take advantage of the latest developments in digital video, but only to the extent that they don’t overwhelm or intimidate you. The thing I try to remember is that my primary challenge is to tell a story or convey a theme, and I know I can do that with a simple portrait as well as with something more technically complex. I also remind myself that movies like 28 Days Later and Celebration, both shot on prosumer DV cameras and produced with relatively small budgets, are far more compelling than many giant-budget Hollywood movies that feature the latest in special effects and technology.

The point is not whether you take big or small steps…but to take the step that allows you to express yourself. In doing that, you will discover the technology as you need it. At least this is how I’ve been doing it. I hope this primer helps.