Penfield Robotics Video Editing A Manual
Contents
1. 10 03 04 06 00 03 03 20 06 bud Properties BLD G ee TTT TT Show Clip Keyframes a V acity a Ts L Adobe Systersiinc To do a speed ramp you must right click the desired video clip in your timeline and select Speed Duration This will open up the speed ramp window Speed M001 Duration Reverse Speed Maintain Audio Pitch Ripple Edit Shifting Trailing Clips OK Cancel Adobe Systems Inc It s in this window that you can change the speed of your video clip Choose your speed or duration they re linked together so changing one will change the other accordingly select the Ripple Edit and Maintain Audio Pitch checkboxes and then click OK You can change the same clip to different values by cutting the clip where you want the values to change For more advanced users you can use keyframes to smoothly change from one speed to 46 another for a more professional effect Keyframes extend beyond the scope of this manual but are easy to understand Adobe s help menu in Premiere offers an excellent explanation on how to use them Green Screening Using a green screen for your video is a great way to make what is known as a composite image This is where you take two different videos and combine them together on the computer to make one video This is often used to add in a fake background to a scene or to add special effects such as explosions and bullets to an action movie2. Bitrate to 320kbps This is overkill but it takes up very little space so it doesn t hurt to have better audio than worse audio Note Blue Alliance videos must be as small as possible To reduce file size uncheck the box labeled Export Audio under the Export Settings window minimized in my screen see arrow You re now ready to export Click OK to save your settings and return to the Media Encoder main menu 19 Compressing a Queue Efficiently If you have only a handful of videos to compress you can apply your custom setting to each and then press the Start Queue button in the upper left of the window If you have more than a few videos in the queue however it is more time efficient to batch set their settings Begin by deleting every video in the queue besides the video you applied your custom settings to Now with only the correctly configured video in your queue you may add in all your other videos to the queue Be patient with the software it will lag for up to three to four minutes based on how many videos you add to the queue Once added they will all have the same settings as the original movie Press Ctrl S to save the queue in case the program crashes You are now ready to batch export your videos Press the Start Queue button to begin the job Depending on your computer speed and the number of videos you have to export the export may take between 10 minutes for a single f
3. Gain to low The main knob in the middle is how to turn your camera on and off An interview would be an ideal place to set your camera to manual Otherwise I d leave it at auto Refer to your camera s user manual to understand when and how to use many of the advanced features on your camera Every time you film you must make sure to set your white balance to keep the colors in your video correct Refer to the user manual for a more detailed procedure on how to do that This particular camera has two different white balance settings that can be used and quickly switched between Canon Inc The top of the camera is where you can find many of the playback settings YOU d use these when reviewing footage you ve taken on the camera T VIEWFINDER COMPONENT OU HD SD H 2 O z w z O Canon Inc Releasing the battery is always an important thing to know how to do with a camera The Canon XH A1s has a simple two stage release system First you must open the compartment then pull the release that is revealed The screenshot to the right shows the correct FireWire port to use to connect the camera to the computer This is the port you d use to record video directly to your computer skipping the tape in the camera entirely You must enable Phantom Power to use an external microphone with this camera The location of this setting can be either a switch or in the software Consult your cam
4. The actual process of using a green screen while filming is very simple A green cloth or screen covering the background you want to digitally cut out is all you need However the computer work is complicated and time consuming Only the most simple of green screen work can be done in less than two hours Most Hollywood movies require teams of hundreds of visual effect artists to create the scenes you see in theaters If you want more information on how to green screen recommend watching some of FreddieW s tutorials on his YouTube channel Adobe s help menu in Premiere has a few tips as well Audio Editing Audio editing in Premiere is similar to video editing There are multiple audio tracks layered just the Same as the video tracks A few distinctions would be that the order of the tracks does not matter and that there are both mono and stereo audio tracks Premiere will automatically place your audio in the correct channel so you don t need to worry about the different types You can cut and place audio in the same way as you can video There are a few audio transition effects in Premiere but Premiere is mostly a video editing program You ll need a dedicated audio editing program such as Adobe Audition for really modifying and editing audio tracks For the most part editing audio on the computer is relatively straightforward However you want to make sure that you re recording clean audio because there is no true computer correc
5. Set Key Frame Distance Use Maximum Render Quality aK 00 00 03 09 Use Frame Blending Estimated File Size 12 MB Metadata Marvel Entertainment Choosing all of these settings is fairly long process You start from the bottom blue arrow The Level determines the maximum bit rate of your video compression For a 720p video choose 4 1 For a 1080p video choose 4 2 Next set the Pixel Aspect Ratio to Square Pixels and the frame rate to 29 97fps ote The frame rate you want to use is 29 97fps drop frame This means that every so often the camera records 29 instead of 30 frames in a second The average of all the frames recorded is 29 97fps hence the label This was originally created for the NTSC TV broadcast standard due to technical issues with an even 30fps labeling system Make sure to set your frame width and height to the desired values You should change this last because the level option will wipe out what you previously entered 17 Bit Rate Settings If you think back to the beginning of this manual you ll remember that said bit rate is crucial to the quality of your video There are three types of bit rate Constant Bit Rate CBR A constant value at which the video will be constantly encoded This is the fastest bit rate setting Variable Bit Rate 1 Pass VBR 1 Pass You choose a target bit rate and a maximum and the compressor will decide on a frame by frame basis what bi
6. and then Preferences General Queue Appearance Start queue automatically when idle for Media Metadata Memory Z Preview while encoding Show Queue Elapsed Encoding Time Z Show warning when queue is stopped or when removing queue items or watch folders v Play Chime when finished encoding Y Remove completed files from queue on exit Output Y Increment output file name if file with same name exists Z Specify output file destination Browse Location C Users Matthieu Desktop Phone Trailers Adobe Systems Inc Everything can be completely ignored besides the Specify output file destination button Click Browse and select the folder you want to save your exported videos Note You should save your exported files on the same hard drive as your active project not an external hard drive This prevents hard drive failure and keeps your work safe Once your output location is selected you can confirm your changes and go back to the main screen of Media Encoder Now comes the fun part Click on the preset being used for your video Patiently wait a few seconds as the window opens For no apparent reason almost all Adobe software slightly lags on Windows but runs perfectly smoothly on Macs suspect Adobe Air is the culprit but am not sure 15 Y Export Settings 1 Format H 264 Preset HDTV 1080p 29 97 Hi v B i Comments Output Name Y Export Video VY Export Audio Open in Device Central v Su
7. There are two ways to compress video in Final Cut Pro just like in Premiere One method is to use the built in compressor and the other is to use the program called Compressor Using the program Compressor is by far the faster and more powerful way to compress video and allows for you to make batch exports Assuming you aren T editing your clips and all you need to do is export them into a smaller file you can simply start Compressor However if you are editing a clip in Final Cut Pro you can export the clip directly to Compressor To do so simply go to File Send To and then Compressor New Project Open Close Window Close Tab Close Other Tabs Close Project Save Project Save Project As Save All Revert Project Restore Project Import Share Export Motion Project Batch Export Soundtrack Pro Audio File Project Soundtrack Pro Multitrack Project Batch Capture Soundtrack Pro Script K Log and Capture Last Soundtrack Pro Script Log and Transfer Shake Media Manager Reconnect Media Set Logging Bin Color Compressor Print to Video Edit to Tape Apple Inc a a a a a a a a a a a 4 a a a a a a a a a E a a Note f you do not have access to the Final Cut Pro project file that lists all of these videos you can also click and drag them out of their folder in Finder and then into Compressor 27 You re now in Compressor C
8. Video production is an extremely time consuming job one that requires passion and patience This manual is intended to help you make the right decisions and avoid long and potentially hazardous problems while you make your video but is no substitute for true passion and interest in the art of video editing Matthieu Dora U Who Needs Good Video What is Good Video Novice filmmakers tend to think that they can make a good video the second they have a good camera However there is much more to making videos than having a quality camera regardless of what the marketing sticker on it says There are many different ways to quantify and qualify video quality but at the end of the day it has to look good Resolution Acronyms are heavily used in the world of video even in naming the resolution you re using These are some of the most commonly used video resolutions and their technical name Common Name Aspect Ratio Horizontal Resolution Vertical Resolution Total Resolution pixels pixels megapixels QVGA 360p VGA 480p 720p 1080p 4K 12 2MP DSLR As you can see standard definition video 480p is far inferior in resolution to 1080p high definition The rising standard is 1080p for cell phones and camcorders and 4K for cinematography Notice the massive resolution difference between video and DSLR at the bottom Still pictures are at phenomenally higher resolutions than any video Even a low end cell phone c
9. s m The best way to edit the color of a video is to play with every one of these sliders until the video looks the way you want it to recommend playing with the many other color correction in Premiere to see what works the best for you Speed Ramping Speed ramping is one of the simplest yet most powerful edits you can make to a movie It s a great way to draw attention to what is happening in a scene by dramatically soeeding up or down the clip Note Slow motion video requires more setup than vou d expect The typical speed of a cinema video is 24fps If you re shooting at 30fps the slowest you could speed ramp it is 80 24fps 30fps normal speed without your video looking choppy For real slow motion you need to shoot your video between 60fps and 320fps requiring a fancier camera However 320fps footage can be slowed down to 7 5 normal speed giving that Hollywood look to your movie 45 Cut Copy pace Editing Paste Attributes Clear Ripple Delete Replace With Clip K v Enable Unlink Group Ungroup s l Synchronize Merge Clips Nest Multi Camera Label Speed Duration Remove Effects Audio Gain Frame Hold Field Options Frame Blend Scale to Frame Size Rename Make Subclip s 00 10 Reveal in Project Edit Original Edit Clip In Adobe Audition Edit in Adobe Soundbooth Replace With After Effects Composition
10. grayed out and defaulted to Software Only Choose DV capture format if you re recording in standard definition and HDV if you are recording in high definition Moving on to the Scratch Disks tab you will see four separate boxes Click on the bottom box labeled Location and select where you want to save your video Changing this one box will automatically change the other four above it New Projec Scratch Disks Captured Video Same as Project Browse Path D Videos My Videos 741 9 GB Captured Audio Same as Project Browse Path D Videos My Videos 741 9 GB Video Previews Same as Project Browse Path D Videos My Videos 741 9 GB Audio Previews Same as Project Browse Path D Videos My Videos 741 9 GB Location D Wideos My Videos Name Un ited eee O Adobe Systems Inc Note Never set an external drive as your scratch disk Most commercial external hard drives have poor ventilation and will burn out if you stress them too much over several years Only copy finished video files to external hard drives Clicking OK will move you on to the last setup screen before you can actually use Premiere On this last screen you are presented with many many options for what codec compression decompression algorithm to use for your video Because we are using Log and Capture we can use any one we want However there are only a select few that work with the Canon XH A15 a fin
11. such as a stadium choose which settings you want to keep automatic so that you re not constantly fiddling with buttons while filming 42 Video Editing Video editing is not nearly as difficult as it first appears The interface is intimidating but takes only a short while to get used to Video editing can be broken up into these three major parts Cutting and placing the video clips together Adding effects to your video Cutting and editing the sound to your video This manual will overview how to use the tools to edit these three sections of a video but it is up to you to decide how to use these tools to make a successful video A general rule of thumb for video editing is that you ve only edited your video enough if you never want to watch it again Without further ado here s how to cut and trim your video clips Cutting and Placing Video Clips Preparing Your Video Adobe Premiere Pro and Apple s Final Cut Pro are very similar video editors Once you learn how to use One it s a simple matter of using the other one The biggest difference between using either one is the completely different keyboard shortcuts Thankfully the functionality remains the same between the two Before you can edit video you must actually have video to edit Start by copying all of your video files onto your computer s hard drive from your camera Cameras that record onto solid state media such as an SD or Compact Flash card require you to insert the
12. video projects As much information as is shown by all these windows log and capture requires the use of only the first window To do so click File and then Capture Alternately you can also press the shortcut key of F5 Learning keyboard shortcuts now will save you immense amounts of time and effort later on when your projects become more complicated 12 Capture Capture Device Offline Logging Settings Setup Capture Log Clips To Y Sm Untitled prproj Clip Data Tape Name eh uta Untitled Clip 01 Description Scene Shot Take Log Note Set In Set Out Log Clip U Adobe Systems Faren Handles frames The log and capture window is very straightforward Plug in your camera to the computer through a FireWire connection and turn on the camera Refer to the camera section on page 40 to learn how to do this correctly There are three steps to log and capture your video Step 1 Label your video see arrow Step 2 Press the record button or press the keyboard shortcut G Step 3 Press the record button again or the Esc key to stop recording A window will pop up asking you to confirm the name of your video clip Accept and you are returned to the log and capture window Notice that the name of your next video is automatically increased by one Setting your camera to view previously recorded footage will log and capture that footage from the camera s tape to the
13. 50 DVCPRO HD 1080i60 DVCPRO HD 1080p30 DVCPRO HD 1080pA24 DVCPRO HD 720p24 DVCPRO HD 720p25 DVCPRO HD 720p30 DVCPRO HD 720p50 DVCPRO HD 720p60 HDV 1080150 HDY 1080150 FireWire Basic HDV 1080i60 HDV 1080160 FireWire Basic HDV 1080p24 FireWire Basic HDV 1080p25 FireWire Basic HDV 1080p30 FireWire Basic HDV 720p24 HDV 720p25 HDV 720p30 HDV 720p50 arree HDV 720p60 HDV Apple Intermediate Codec 1080150 a a OIP HDV Apple Intermediate Codec 1050160 ao On s HDV Apple Intermediate Codec 720p30 HDV Apple ProRes 422 1080p24 anns IMX NTSC 30 Mb s 2400 IMX NTSC 40 Mb s 01 00 36 00 T IMX NTSC 50 Mb s IMX PAL 30 Mb s IMX PAL 40 Mb s IMX PAL 50 Mb s OfflineRT DVCPRO PAL OfflineRT HD 23 98 OfflineRT HD 24 OfflineRT HD 25 OfflineRT HD 29 97 OfflineRT HD 30 OfflineRT NTSC OfflineRT NTSC 24fps OfflineRT NTSC 24p 23 98 OfflineRT NTSC Anamorphic OfflineRT PAL OfflineRT PAL Anamorphic Uncompressed 10 bit NTSC 48 kHz Uncompressed 10 bit PAL 48 kHz Uncompressed 8 bit NTSC 48 kHz Uncompressed 8 bit PAL 48 kHz XDCAM EX 1080i50 VBR XDCAM EX 1080i60 VBR XDCAM EX 1080p24 VBR XDCAM EX 1080p25 VBR XDCAM EX 1080p30 VBR XDCAM EX 720924 VBR XDCAM EX 720p25 VBR XDCAM EX 720030 VBR XDCAM EX 720p50 VBR XDCAM EX 720p60 VBR XDCAM HD 1080150 CBR XDCAM HD 1080150 VBR XD 7AM HD 1080160 CBR Apo en mir R am s APA vunn v n 23 Log and Capture on F
14. 97 fps QO so source frames play at 29 97 fps Appleine There are three settings to change here ONLY if you recorded your original video interlaced These settings will change your video to a progressive video Refer to page 6 for the difference between interlaced and progressive video Resize Filter should be set to Better Linear filter Output Fields should be set to Progressive Deinterlace should be set to Best motion compensated 32 The final settings to be determined are the frame size This is an odd setting as various combinations of these settings will make the video work on either a Mac or a PC but not both Only the combination of settings below will allow the video to play correctly on both a Mac and a PC 2 8 8 inspector Name Selected Target Description 1 264 video with ster tion and frame rate Source Inset Cropping Crop to Left 0 Top Oo Right 0 Bottom 0 Dimensions encoded pixels gt Pixel Aspect 10000 Width Height Frame Size 1920 1080 1920x1080 Output Image Inset Padding padding Left 0 Top i 0 Right 0 Bottom 0 aeie Tre S Change the Frame Size to 1920x1080 and the Pixel Aspect to Square This will force the video to fit the correct size and aspect ratio on both a Mac and a PC For a 720p video change the Frame Size to 1280x720 YOU re finished Now click the Save As button a
15. Penfield Robotics Video Editing A Manual Matthieu Dora Penfield High School Graduate 2012 Penfield Robotics Student Leader 2010 2012 Robotics Media Lead 2011 2012 Table of Contents PT 3 Who Lee es Tete Video secu ssnsasicranstmanisnounessueseshecstonceamennaexeasinnccu bse vedeeainsnneeeeuvtonsachawossyun vaamucansnenvenraareantinnss 4 What 1S Good VideO sccsnisnnsiesatnessnaisnnenesivedanvashecadeietecnavaduveasssiindneedaveesducacodeans Goxesnuriiedeumniueneadwsiiedeuwedeuness 4 eie T 4 S a T 4 EEE ir sees tes Bre rics nes re E E EN AEE EENE AE E AE E 6 interlaced and e VO renee ee ee ee een eee 6 PMO TT 7 EID S e E scuauimenasaeineadumecenaancesGssauaesonesasoenaidedemnnis dea etasestusineiaisnonedeatnnadetians 7 LOHIT 8 Adohe PS SO coarser case anv E A EAE AT E E A E EE 9 SECU p Adobe Premiere Pro CSD ai Ern 0 E 9 Log and Capture ON PLeEMieLe cccssscccesscccesececenecccenecceesceceuececsnececeneesaenceseeeceseeceneneeeeeucetsgecessaecensaeeees 12 Enable Log and Captur Eessen 12 OSS VOC i E E E T 14 EXODO CS e E EE A AE 16 VACO SEINE e E A E AR 17 Sd aT 18 PUNO IIE 19 Compressing a Queue Efficiently sese ee eee eee ee eee eee 20 EIl oe E E E EAS 21 EME UF LOUC PO Ver E Cm eee nee Oe 21 Log and Capture on Final Cut Pro esse sees eee 24 Compressing Video in COMpresSSor sss sees eee eee ee eee eee ee eee 27 Destination Settings css eee eee ee ee eee 29 OOS SO CNS access cect E 29 Como eT aT 30 ires Mes
16. Photography love cameras No getting around that My passion has led me to read everything about all cameras scour their manuals and read forums on them until the wee hours in the morning Through my extensive time with the Canon XH A15 have come to dislike the camera know that its 4 years old but the video is SO noisy you can almost hear it that was a joke by the way What do mean by noise Read on to find out Good Pictures Not all pictures are equal Light is everything for photographers More so than focusing you need enough light to get a good shot There are various ways to get enough light for your photo You can reduce the shutter speed open up the aperture or increase the sensitivity of the image sensor on the camera All are valid techniques however each one has a tradeoff Shutter Speed Shutter speed can be slowed down but the picture becomes blurry if the camera shakes or the subject moves too quickly This screenshot shows camera shake in the photo Matthieu Dora Aperture Aperture is subjective An artistic shot may look great with a shallow depth of field but an interview would look odd if only the nose of the subject is in focus This example below is great as a photo and for 35 something like a music video but would look out of place in a documentary or interview The basic rule follow is that most situations require the subject to be completely in focus Otherwise it s up to you to decide what
17. Preview Batch Monitor Untitled Sequence 1 fa QuickTime H 264 Sequence 1 QuickTime H 264 mov OTS C Ger submitted 29 Double click on the QuickTime compression you just dragged on your video to open up the Inspector window for it This is where you change all the settings for the compression of this clip There are only a few things you want to change before you can save these settings as a custom compression profile Compression Settings There are numerous compression settings that must be configured before you can apply them to the video you want to export Incorrectly setting any of these setting will lead to your video looking different than what you want The codec that you want to use is known as the QuickTime H 264 codec It s found in the Settings tab under Apple Formats QuickTime da BSRR i TC L YAT i FP DP y 9 ae ey pl S lt Dy G a Ss gt 6J 5 0 Apple Inc As shown in the above screenshot the Inspector window is where all of the settings for the selected codec are listed The inspector window is broken up into 6 tabs The first is a summary page The second third and fourth have settings you want to change Video Settings In the second tab of the Inspector window as seen above disable the audio and then click on the Settings button for video In this new window are all the video compression options You have
18. agl 31 Mitiating the Bah sle sates evtestaeroncncecerectineaesenamendiecseeuendeabuccaeteawceeessnasuersanwoseuigecaseunasseueaneesosednerevet 34 PPM UO Tel 35 EIT e PCC Fes satan er pec E E a 35 KTTS lt dTe TTT 35 APOT Sao cae A ne aon anheeniwessseora seen cauueese es 35 Waat about VIC COs T 37 FIOW TO CONE Ee E Galil G TTT 38 CANIN A E e sue E tenia E E E E E E ia oni A E A T EE easiest 38 aR yle s aa 39 Ioe TTI S EE A E TE EAEE EE A E A EEE 41 Vaco EA NE bocne erea E E EE sanded E E E A 43 TSTS eT Te ea 43 Pren VOU NCS TT 43 faae eee 43 FACIE WIGS ee 44 NO ar TTT 44 COlOI COM CCL ION TTT 45 Kes Ae Tia 45 Creen SEUSS ITINE HTH 47 PUT OS ETH 47 OFC NS VIO ie cach tee conten EEE E EEEE E EEEN E AEE TEE E EEE E E EN 48 BION SAY err S E E dante cued noceatenaceaeucosesaauand sams aauetoeneonas 49 Preface wrote this manual with the intention of helping someone get started in the world of video editing While nowhere near a complete guide this manual runs through the basics of compressing recording and editing video There are two major sections to this manual The first explains how to record and export a large number of videos at once in a process known as a workflow The steps and settings list optimize a large workflow of dozens if not hundreds of video exports at once The second section of this manual explains the basics of video editing Specifically it explains how to make a Chairman s Video During my time as the Pe
19. al Cut Pro do not play nicely together have purposefully not mentioned this quirk with Final Cut Pro until now because wanted you to see what happens when you turn on the camera and computer on in the wrong order Sometimes you can get away with it but not always Turning them on in the right order alleviates this inconsistency 25 The most important thing to remember about Final Cut Pro is that it doesn t automatically name your files This is really frustrating because you will quickly lose track of which files are which The second you have finished capturing your clip double click on it in the Final Cut Pro file browser the upper left window and rename it there You re not finished however You must now right click on that now re named filed and select Reveal in Finder This will open up a Finder window showing you the file on the computer hard drive It is most likely named Unknown Rename that file to match what you called it in Final Cut Pro Congratulations you have now broken the file association between the file and Final Cut Pro You now need to right click on the now lost file in Final Cut Pro and select Reconnect Media There you have to select it on the hard drive and reconnect it for Final Cut Pro to find it Note As tedious as that may be it will save you a lot of time later on when you have to copy files or move these files to a different computer 26 Compressing Video in Compressor
20. amera can take a higher resolution picture than a professional camera can record video However that does not mean that the cellphone picture will look as good as the professional video Video quality is determined by many other variables besides resolution such as bit rate and frame rate Bit Rate You can have the highest resolution video in the world but it has to look good otherwise no one will want to watch it This leads to bit rate Bit rate is how much information is flowing through your video Here are two examples from the trailer to The Avengers demonstrating a high and a low bit rate Both are at 1080p resolution Note The fundamental units in a computer are called bits There are 8 bits in a byte Bytes are used to measure storage on a computer Bits are used to measure data transfer over the internet and to measure video bit rate The common abbreviation for bits is lowercase kbps mbps while bytes is uppercase KB s MB s There are 1024 21 bytes in a kilobyte KB 1024 kilobytes in a megabyte MB and 1024 megabytes in a gigabyte GB The average hard drive has 500GB of storage space A 6 Marvel Entertainment This screenshot is of The Avengers with a bit rate of 15mbps megabits per second Marvel Entertainment This screenshot is of The Avengers with a bit rate of 2mbps megabits per second These screenshots provide an extreme example but the quality difference between a high and a low bit ra
21. are the best way to cut a video clip The third method is not accurate and doesn t allow for you to preview where you re cutting The razor tool is the most commonly used tool in video editing and will be your primary way of editing videos Placing Video Clips While you can always play just one video clip at a time there are moments where you need two or more things to be playing at the same time This is where the other video channels come into play The stacking of videos in the preview window is reflected in the timeline As circled in the screenshot below the three videos are stacked in the same order as they are shown in the timeline The Effect Controls window arrow is where you can modify the size opacity location and many other atributes of the selected video clip Adobe Pan File Edit Project Clip Sequence Marker Title Window Help Sibir Lh R al L we jemo MV1_7223 MOV Video Effects gt amp Motion fx Opacity sl Time Remapping Audio Effects gt f Volume LR B a 8 H gm gm B B B H B Y g m gm g mi a Edit Parameter o v Video 1 Adobe Systems Inc Video Effects There are many visual effects that can be placed in a video While Hollywood style effects are very time consuming and complicated to use there are several simple effects that can be used to increase the presence of your video The three most common and simple effects are Color Correction Speed Ramping Green Screening Th
22. computer instead of what is currently being seen by the camera Your videos are now saved in the location you specified in your scratch disk ready to play Video taken directly off of any camera is in an uncompressed or RAW format This is excellent for editing but terrible for viewing You must compress your video before it s a reasonable size to play on normal computers For example the Canon XH A15 records RAW video that takes up 250MB minute That is a phenomenally large amount of video 13 Interestingly compressing video doesn t actually use Premiere Pro but Adobe Media Encoder CS5 5 Fortunately this is a simple and straightforward piece of software to use Turning it on presents you with its main home screen This is actually its only screen hence the simplicity in use 2 Adobe Media Encoder Ji hn OM Sei X File Edit Help b v Queue Ig V Auto Encode Watch Folders Source Name Format Preset Output File Status E Low Quality mp4 v v Waiting i v Current Encode Not currently encoding C Watch Folders Adobe Systems Inc You can see that have a file already queued for export Adobe Media Encoder is basically a large list Adding additional jobs will have them queue from the top down The first thing to configure in Media Encoder is the save location By setting a default save location you save yourself the work of having to change the save location of each file you re saving Go to Edit
23. e Digital Picture com N p n d Web 25 May 2012 lt http the digital picture com Reviews Canon EOS Rebel T3i 600D Digital SLR Camera Review aspx gt Cicala Roger LensRentals com Photo video thoughts from the largest rental house LensRentals com Rent Lenses and Cameras from Canon Nikon Olympus Sony Leica and more N p n d Web 12 May 2012 lt http www lensrentals com blog gt Drop Frame vs Non Drop Frame rate Final Cut Pro Avid and After Effects Training Final Cut Pro Avid and After Effects Training N p n d Web 13 June 2012 lt http www geniusdv com news_and_tutorials 2008 01 drop frame_vs_nondrop_ frame rate php gt Inc Canon Canon XH A15 Instruction Manual New Jersey Canon Inc 2008 Print Persistence of vision Wikipedia the free encyclopedia Wikipedia the free encyclopedia N p n d Web 10 June 2012 lt http en wikipedia org wiki Persistence_of_vision gt 49 The Avengers Movie Trailers iTunes iTunes Movie Trailers N p n d Web 21 May 2012 lt http trailers apple com trailers marvel avengers gt Video editing software Adobe Premiere Pro CS6 Adobe N p n d Web 2 June 2012 lt http www adobe com products premiere html promoid DINOO gt Adobe Premiere Pro Help Adobe Suppot Adobe n d Web 12 June 2012 lt http helpx adobe com premiere pro htmI gt
24. era s manual for the exact location 40 Internal Settings After you ve set all of the switches on the outside of your camera it s time to go into the menu There are several categories of settings video audio and signal HD SOR gt AORIO SAO 1 SET aT MENU GC ISG S G The main menu is shown on the left A few settings must be set each time you record a video while others can be set only once In the Signal Setup menu you should select settings to match the screenshot 30F means progressive video at 30fps while a Signal STD of HD obviously means High Definition video gI G E N GA ANF gU N p ERT E L Sasser MSs The Camera Setup menu contains the Autofocus Mode and the Gain Settings Keep the autofocus to Normal AF to prevent focus hunting while filming Note Focus hunting is when the camera rapidly changes its focus as it tries to find the correct focus It is something that you want to avoid in your videos as it distracts from the video itself Click on Gain Settings to enter that menu Here you can choose the values for low medium and high gain settings Using the values of 0 3 and 6 respectively gives clean video in most circumstances while still providing a decent sensitivity increase 41 The last major setting to configure would be audio had access to an external XLR microphone while filming It definitely increased the quality of my audio bu
25. g this manual you have become more interested in video editing and appreciate the hard work that professional filmmakers put in their movies You ll soon learn that making a quality video is far far more challenging than it at first may seem Even so it s an incredibly rewarding experience to be able to create a movie from your ideas like to think of it as a way to make your dreams a reality Matthieu Dora 48 Bibliography 4K resolution Wikipedia the free encyclopedia Wikipedia the free encyclopedia N p n d Web 20 May 2012 lt http en wikipedia org wiki 4K_resolution gt Carnathan Bryan Canon EF 70 200mm f 4 0 L IS USM Lens Review Canon amp Nikon Digital SLR Camera and Lens Reviews at The Digital Picture com N p n d Web 25 May 2012 lt http the digital picture com Reviews Canon EF 70 200mm f 4 0 L IS USM Lens Review aspx gt Butler Richard Andy Westlake and Barnaby Britton Canon Rebel T3i EOS 600D Review Digital Photography Review Digital Photography Review N p n d Web 25 May 2012 lt http www dpreview com reviews canoneos600d gt Canon U S A Consumer amp Home Office XH A1S Canon U S A Inc N p n d Web 18 May 2012 lt http www usa canon com cusa consumer products camcorders professional_ camcorders x h_als BrochuresAndManuals gt Carnathan Bryan Canon EOS Rebel T3i 600D Digital SLR Camera Review Canon amp Nikon Digital SLR Camera and Lens Reviews at Th
26. icky camera at best 10 le Presets Preset Description AVC Intra AVCHD Canon XF MPEG2 Digital SLR lt 4 n a SEO ZL OP a 0 LI RX A HDV 1080 TENET HDV HDV 720p24 HDV 720p25 FA HDV 720p30 mn Mobile amp Devices RED R3D mam XDCAM EX ma XDCAM HD422 XDCAM HD Custom Sequence Name Adobe Systems Inc Use the HDV 1080p 30 codec with the Canon XH A15 C First of all Premiere actually calls it capture However for continuity throughout this manual will be referring to it as log and capture lad Adobe Premiere Pro D Wideos My Videos File Edit Project Clip Sequence Marker Title Window Help Workspace Editin Effect Controls Program Sequence DL v no clip selected ns Untitled prproj i Item D in Ail S Name Media Duration gn Sequence 01 2s O F dpp ee 4 je r Ct nn D lt Audio 1 2 LA Adobe Systems the Premiere is broken up into 5 different boxes Notice that the actual windows shown may be different than the default set Window 1 A list of all the files associated with your active project known as a project library Window 2 The preview window for an item selected in the project library Window 3 The preview of the timeline This is the primary editing window Window 4 A list of all your previous actions A large undo list essentially Window 5 The timeline This is where all the action happens in your
27. ile to 25 hours for over a hundred files Note The instructions have outlined here are intended to be used to upload videos to the Blue Alliance Creating videos for other purposes will reuse many of these steps with the exception of bit rate and batch exports in Media Encoder Do not use the numbers provided here as a rule but as a suggestion If you know why to change these values chances are you know what you re doing and don t need to follow some of these instructions Again use this as a guide not as a rulebook 20 Final Cut Pro 7 Setting up Final Cut Pro 7 Final Cut Pro has an almost identical setup as Premiere but the options are hidden If you do not know what to look for you will not be able to correctly set up a project On default Final Cut Pro will remember your last project and open it without prompting This is very convenient in most cases but causes minor annoyances when you want to start a new project instead Opening Final Cut Pro will typically lead you to an error window about your camera being unplugged that you can ignore You should now see Final Cut Pro in its default state Unlike Premiere Final Cut Pro is divided into 4 windows The window that Premiere has over Final Cut Pro is an extra one that shows your history These programs are highly customizable however and you can easily add another window or tab within a window that you can change to on either program Window 1 A list of a
28. inal Cut Pro Final Cut Pro has a very intuitive log and capture window To open it click File and then Log and Capture or its shortcut of 8 Once again you ll get a warning if you don t have your camera plugged in as do in these screenshots Ser x niaii Total Free Time AV Unknown Logging Clip Settings Capture Settings i Total Free Space 4 8 CB R Aes S Not Set Log Bin Untitled Project A Reet 001 18 Name Prompt Description Scene Unable to Initialize Capture Device Device is not connected or the capture preset is not setup correctly You may still log offline clips This might also happen if you play DV footage in an Shot Take DV device Ji J is Hs COO Angle Log Note _ Good K Markers AN AA em em Capture arle ale lt aea t ommynication Not Set T tog Clip t Total Free Time AV Unknown Logging Clip Settings l Capture Settings Scratch Disk AV Unknown Before you start recording your video clips you need to set the scratch disk to the correct location Otherwise Final Cut Pro will save your videos in a default save location that is generally not where you want your videos saved Click on the Capture Settings tab to switch and then the Scratch Disk button to open up the scratch disk window Click on the first Set button see arrow in screenshot below to choose your default save
29. is manual will cover the first two categories but green screening requires a small manual of its own There are many useful resources online for learning how to do proper green screening A general rule of thumb for video effects is that the more realistic the effect the more time it takes to make 44 Color Correction Color correction is a simple way to make your video have the atmosphere you want Most cameras have very dull colors and lack contrast and saturation Color correction increases these values for the video clip making it look far more stylized and polished Premiere Pro keeps all of its effects in the Effects window There is an entire category of color correction effects but for simple changes the Fast Color Corrector is to be used Simply drag the Fast Color Corrector onto the video clip you want to edit to apply that effect to the clip Nothing immediately changes but if you select the clip and open its Effect Controls window you ll see a host of new options as shown in the screenshot below Effect Controls Demo MVI_7225 MOV Video Effects gt amp Motion K amp Opacity d Time Remapping v f Fast Color Corrector Output Composite vw Show Split Layout Horizontal w gt Split View P White Balance E Hue Balance and Angle Hue Angle Balance L gt Balance me gt Balance gt Saturation Auto Black Level Auto Contrast Adobe Systems Inc
30. ll the files associated with your active project known as a project library Window 2 The preview window for an item selected in the project library Window 3 The preview of the timeline This is the primary editing window Window 4 The timeline This is where all the action happens in your video projects 21 Audio Video Setup works as well but because of its increased complexity recommend using the Easy Setup instead Final Cut Pro About Final Cut Pro User Preferences System Settings Easy Setup Q Audio Video Settings xQ Provide Final Cut Pro Feedback Services Hide Final Cut Pro Hide Others Show All Quit Final Cut Pro Apple Inc 22 Next click the Use button to see a huge list of all the possible codecs you can use Click on HDV 1080p30 FireWire Basic This will allow you to record in progressive 30fps video as opposed to interlaced 60fps video Cinema Tools 23 98fps from DV NTSC Cinema Tools 23 98fps from DV PAL Cinema Tools 24fps from DV NTSC Cinema Tools 24fps from DV PAL Cinema Tools DV NTSC NDF DV PAL 24 25 DV NTSC DV NTSC 24p 23 98 DV NTSC 24p 23 98 Advanced Pulldown Removal DV NTSC Anamorphic DV NTSC FireWire Basic DV PAL DV PAL Anamorphic DV PAL FireWire Basic DV50 NTSC DV50 PAL DV50 NTSC 24p 23 98 DV50 NTSC Anamorphic DV50 PAL Anamorphic DVCPRO PAL DVCPRO PAL No Device DVCPRO PAL 48 kHz Anamorphic DVCPRO HD 10501
31. location Accept your changes and return to the log and capture window 24 Scratch Disks Scratch Disks Video Audio Video Audio Capture Capture Render Render lt None Set gt lt None Set gt A lt None Set gt y z Capture Audio and Video to Separate Files Waveform Cache Set 4 8 GB on students 2012 12mdora Documents Final Cut Pro Documents d Thumbnail Cache Set 4 8 GB on students 2012 12mdora Documents Fina l Cut Pro Documents Autosave Vault a 4 8 CR on students 2012 12mdora Documents Final Cut Pro Documents Minimum Allowable Free Space On Scratch Disks 2047 MB Limit Capture Export File Segment Size To MB Limit Capture Now To Minutes Cancel OK AAA Log and Capture Total Free Space 4 8 G8 Total Free Time AV Unknown I Logging Clip Settings Capture Settings 3 Not Set Log Bin Vered Project 1 Ja Ce Reet 001 ee Name U Ga Prompt Description BP A Scene e Shot Take P J Angle Ee 2 Log Note Good K Markers f Capture tot Set No Communication z Not Set L Log Clip Y p Nov Click the capture Now button to start recoding the video off of your camera If the capture now button is greyed out as in my screenshot you need to turn off both the camera and Final Cut Pro and then turn on the camera first and then Final Cut Pro Note You take a risk by not plugging in your camera before initializing Final Cut Pro The Canon XH A1S and Fin
32. memory card into a card reader and then copy all of the files into the desired folder on the computer Cameras that use tape such as the Canon XH A1s require a more elaborate and time consuming technique Refer to the Log and Capture section of this manual page 12 for Premiere Pro and 24 for Final Cut Pro for directions on how to do this Note The video files must be saved on an internal not an external hard drive to prevent burning out the external drive External hard drives are not designed for the rigorous use video editing asks of them and will burn out quickly when used in that manner Now that you have all of your footage saved on your computer you can open Premiere Pro and set up the project and sequence There are two ways to import files into Premiere The first is to drag and drop them into the project window my favorite technique while the second is to go to File Import or press Control I in the menu bar Cutting Video Clips With your files now imported into Premiere it s time for you to link them together into a rough semblance of your video Drag each file into your timeline in the desired order There are several ways to edit the length of a video clip You can drag from either end of the clip to cut off the video from either end You can click the razor tool keyboard shortcut of C and cut the clip You can drag a clip onto the section of a second clip that you want to delete 43 The first two methods
33. mmary Output C User tthieu Desktop Phone Trailers Low Quality mp4 NTSC 1920x1080 29 97 fps Progressive AAC 160 kbps 48 kHz Stereo VBR 1 Pass Target 32 00 Max 40 00 Mbps Clip Low Quality mp4 1920x1080 1 01 29 97 fps Progressive 00 00 03 09 No Audio v Basic Video Settings Codec MainConcept H 264 Video TV Standard NTSC PAL Frame Width pixels Frame Height pixels Use Maximum Render Quality 00 00703 09 Use Frame Blending Estimated File Size 12 MB Metadata MarvelEntertainment There is a lot happening here so check the numbers in the screenshot to see what am referring 1 Under Format select H 264 This is a universal format that works on almost all devices 2 Click on the Output Name to choose where you want this files saved This should already be correctly configured if you changed the Default File Output Location in the previous page 3 Finally click on the video tab This is where all the settings are configured for your video 16 Export Settings Source 4 gt Export Settings v Basic Video Settings Codec MainConcept H 264 Video TV Standard NTSC PAL Frame Width pixels Frame Height pixels Frame Rate fps Field Order Pixel Aspect Ratio Widescreen 16 9 Profile Main Level 4 2 Render at Maximum Depth v Bitrate Settings Bitrate Encoding VBR 1 Pass Target Bitrate Mbps Maximum Bitrate Mbps v Advanced Settings
34. nema movies are really blurry That blur is what tricks your eyes into seeing smooth motion Unless you re an advanced user who knows how to counteract this problem the simple solution is to always set your shutter speed to 1 24 or its nearest faster equivalent of a second when shooting at 24fps Interlaced and Progressive Not all frame rates are created equal A 30fps video can be either progressive or interlaced Progressive is the better technology because it means that all the horizontal lines of the video are refreshed 30 times a second Interlaced video means that every other horizontal line of video is refreshed 30 times a second This means that every horizontal line of video is refreshed 15 times a second instead of 30 times a second in interlaced video Note Interlaced video can be seen when you pause a VHS tape VHS was the first widely used commercial video recording method and like all pioneering technology had a few drawbacks VHS records video at 360i which means that only half the resolution of the video is present in each frame This was done to reduce the cost and complexity of creating the VHS tape C Audio Of course no movie is good without clean audio You can write and film the best movie in the world but it will be completely disregarded if the characters are unintelligible and the wind noise unbearable The quick solution to this problem is to use an external microphone What does that mean It s a microph
35. nfield Robotics Media Lead exported every match recorded into both a 1080p and a 720p version Refer to the next page for information on these video standards kept the 1080p version for future reference and uploaded the 720p version to www thebluealliance com The Blue Alliance is a website dedicated to tracking the statistics of all robotics teams and matches throughout the world uploaded all of my matches to it so that they were publicly available to whoever wanted to see it The Blue Alliance has a strict requirement of each video being as close to 25MB per match as possible Unfortunately such a small file size makes it impossible to post clear high resolution video To compare my 1080p videos average 110MB a match The settings explain in this manual allow for excellent looking HD video that is still small in size In robotics the Chairman s Award is given to the team that best exemplifies community service and spreading the word of FIRST For Inspiration and Recognition of Science and Technology in the community The Chairman s Award submission must include a video typically documentary in style explaining why the team deserves the award Interview styles tips and tricks are explained in this section of the manual to make your video the best it can be To conclude if you re not interested in making good videos in investing the time and effort it takes to make a good video you most probably won t make a truly great video
36. nnot feasibly record every match because of fire codes crowds or other uncontrollable issues Camera Settings Configuring a camera is a three stage process The first is to set all of the buttons on the outside to their respective positions The second stage is setting all of the software settings to their correct settings Finally you have to actually mount the camera to a tripod and set the white balance and exposure correctly This third stage is beyond the scope of this manual but can be learned by reading the camera s user Manual Exterior Settings will not explain the function of every button on this camera but there are a few important ones that you must know to competently use the Canon XH A1s The settings I m detailing are for a controlled environment You ll want to switch many of these settings to automatic when you cannot control the lighting and appearance of your scene POS REESE L m hi t f US 700M SS P 4 e ND FILTER f 7 OFF r CH1 S OFF l w e Canon XH Als HDV 1080i AIN OUTPUT WHITE BAL CUSTOM KEYS CUSTOM PRESET CAM Be BARS PUSH AE ON OFF SELECT Canon Inc The left side of the camera houses most of the switches needed Setting these to manual is useful for filming an interview where you have plenty of time to setup and can control your lighting and scene From the left you want to turn off the Auto Gain Control and the Auto White Balance Make sure to set
37. of the lens but this will typically look bad in video An interview would look dreadful if an aperture of f 1 2 renders only the subject s nose in focus with the rest of the face out of focus However there are times when a shallow depth of field is desirable This is one setting that is left to the cinematographer s discretion ISO can also be boosted to higher levels to compensate for low light in your scene But this will make the colors in your video look bland noise apparent and overall make your video look like it was shot ona cell phone camera To conclude the real solution to a high quality video is having enough light This can mean filming in the sun or using studio lights to artificially increase the brightness of the scene It s up to the cinematographer to decide if there is enough light on the scene 37 How to Configure Your Camera will be running through my typical setup procedure for when used the Canon XH A1S to shoot robotics matches Robotics matches present a unique set of circumstances that can be challenging to film correctly Here are a few constants that I ve notice after filming several regionals and the championships at both Atlanta and St Louis through the years The lighting is awful It makes your white balance look like it was set for purple lighting It brings out the worst noise I ve ever seen tis very very dark People continually stand in front of your camera You ca
38. olution to 1440 x 1080 instead of 1920 x 1080 With that out of the way there is a way around having to use tape Log and Capture Log and Capture bypasses the tape and records your video directly to your computer s hard drive will explain how to set up both your camera and computer to log and capture for both Adobe Premiere Pro CS5 5 and Apple s Final Cut Pro 7 Note The sequence settings explained in this manual are assuming you are using the Canon XH A1S or a comparable HDV format camera Cameras using different compression systems will require slightly different settings that are not explained in this manual Adobe Premiere Pro CS5 5 When you first start Premiere you are presented with a screen that looks like this ij Adobe Premiere Pre p File Edit Project Clip Sequence Marker Title Window Help Pr ADOBE PREMIERE PRO CSS 5 Recent Projects New Project Open Project Adobe Systems Inc Click on New Project and you are presented with a screen like this A C k New Pro gt ec cE General Video Rendering and Playback Renderer Mercury Playback Engine GPU Accelerat w Video Display Format Timecode Audio Display Format Audio Samples Capture Capture Format HDV Location D Wideos My Videos Browse Cancel have a compatible video card that allows me to choose a GPU graphics card accelerated Mercury Playback Engine You will most probably have that box
39. ompressor is organized into 5 windows Compressor file Edit job Target View Window Help AAA Unutled FMOAF Add File Add Surround Sound Add image Sequence History Inspector Preview Batch Monitor 1 195 Never submitted C Submit we anti settings Destinations 6 fo l Apple 7 4 Destinations l Custom 0 Destinations 00 00 00 00 py H a fs 00 00 00 00 aii n T lt 00 00 00 29 lt Source 720x480 29 97 fps Duration 0000 01 00 in out n v a ioro VA Clear Reverse Sort Order Window 1 shows all the files you are exporting This screenshot shows only one file Window 2 shows a preview of the video clip you have selected Window 3 is a list of all the default save locations on one tab and compression settings on another tab Window 4 gives you details on your selected item in window 3 Window 5 lists the render process of your current job This screenshot has no job in progress The arrow points towards the two tabs that matter in Compressor These two tabs contain almost all the options you ll ever change while using this program Note You can close window 2 to save processing power and reduce lag in the program The Settings tab is a huge list of all the Apple compression presets Most will not apply to compressing video for The Blue Alliance The Destination tab is a list of all the possible save locations for your video
40. one that isn t built into your camera plain and simple There are many types available but the most common and versatile is the shotgun microphone 7 SENNHEISER A Sennheiser shotgun microphone High Winds Ah high winds the bane of clean audio Wind noise is the number one thing that ruins good audio It can come from a fan the wind or even too much ambient noise say in a stadium Placing a wind sock on a microphone deadens the ambient sound of the wind or crowds and makes your subject far more audible LZ SENNHEISER A wind sock for a shotgun microphone N Canon XH A15 The Canon XH A15 is the camera I ve had the opportunity to use on loan from Penfield High School for the past two years A light and compact professional body camera the XH A11S is a great camera to use where mobility is key Canon Inc An analog camera it records to Mini DV tape This is both a good and a bad thing Pros of Mini DV Cons of Mini DV Tape lasts forever Tape is annoying and expensive Easy to organize your shots Copying footage off of the tape takes forever Video quality is impacted by overused tape It s analog Get with the 21 century don t like tape l Il say that right now It s a great backup medium but severely limits your video potential It takes forever to copy footage off of it each tape has a one hour limit making time lapse shots tricky at best and it limits your maximum res
41. s or jobs as Compressor calls them 28 Destination Settings Compressor depending on how you open it typically defaults to the destination tab when opened It s very simple to set a destination Click the button to add a new destination and select Local to choose locations on non network locations You should now see your custom location listed under the Custom folder in the list Compressor File Edit Job Target View Window Help Preview t l a e C aina nss asx a o E Add File Add Surround Sound Add image Sequence G QuickTime H 264 Source Sequence 1 QuickTime H 264 mov G 1 job ltarget Never submitted L Submit Destinations AOO inspector EE v 01 00 00 00_ JPY Ci ee gt Lessa 4 Destinations p Pnn v 01 00 00 00 TT N w Dives aal LA S A PTR TT la Custom 0 Destinations Source 1280x720 29 97 fps Duration 00 02 55 20 fin out Gear Reverse Sort Order Compression Defaults The settings tab requires a bit more effort than the destination tab Expand the Apple folder then the Formats and QuickTime folders Select the QuickTime H 264 compression default and drag it onto your first video to compress like have in this screenshot below Compressor File Edit Job Target View Window Help 2s Untitled i ti 7 Rx a Ei 2 i Q Add File Add Surround Sound Add Image Sequence History Inspector
42. suits your scene Matthieu Dora Finally the sensor sensitivity ISO can be increased Unfortunately that presents noise in your picture What is noise It s essentially false color readings by the camera The camera is looking so hard for light that it starts to think that stray photons hitting the image sensor are actually from the picture it s capturing Noise can look ugly and the first thing that photographers look for in a photo is noise You ll never see noise in a professional movie but it s all too common in amateur videos There is significant noise present on the candle on the following page Noise looks like a light speckling on the picture most common in dark areas of your picture Certain types of lights such as stadium lights make noise far more prominent than do natural sources such as the sun It s harder to get noise in a naturally lit scene than an artificially lit one The solution to avoiding noise is to keep the ISO of your photo known as gain for videos at lower values 36 Matthieu Dora What about Video Videos have even tighter tolerances than photos for these settings In photography you can theoretically go down to an unlimited length shutter speed if you don t have enough light Video is limited by the frame rate If you re filming at 24fps you can only go down to 1 24 a second shutter speed Aperture is another limited variable You can go down to the max the widest opening aperture
43. t rate to use between those limits This encodes the video more efficiently than CBR as it reduces the bit rate if the frame has no use for the extra data flow Variable Bit Rate 2 Pass VBR 2 Pass The most efficient bit rate setting but also the slowest The compressor will actually encode the video twice optimizing the compression on the second pass This encode takes almost double the time as a single pass variable bit rate encode Video Resolution Constant Bit Rate VBR Target VBR Maximum 720p WEP aOlerliia EZAT 1080p Max Quality 1080p Note 720p video at 2 2mbps can show artifacting in videos with a lot of motion and scene changes Robotics matches do not cause this problem but other footage might The values provided should be used as a guide not a rule Export a few seconds of your video in a place where the scene changes a lot and test different compression values Each video has its own sweet spot 18 gt Export Settings v Audio Format Settings Audio Format AAC v Basic Audio Settings Codec Output Channels Frequency Audio Quality v Bitrate Settings Bitrate kbps 160 v Advanced Settings Precedence Bitrate Frequency Use Maximum Render Quality 00 00 03 09 Use Frame Blending Estimated File Size 12 MB Metadata OK Cancel MarvelEntertainment There are very few options here Set the Frequency to 48kHz the Audio Quality to High and the
44. t required special audio settings in the camera to make sure the sound was recorded from the external not internal microphone These settings assume that you plugged in your external microphone to channel 1 N GR NAIS gt WY rT gt inh ACTA za o Fn Ane NERS Mike S CHUCHU ONASI MA GHR D E E UL CLYALL Cx SSRN 8a VWeLos In the Audio Setup menu you are presented with a dizzying amount of shorthand Thankfully most of this can be ignored In the root menu change the Output CH to CH1 CH1 to make that the sole channel in use If you are using two external microphones or the dual internal microphones set the output channel to CH1 CH2 so that it uses both microphones a JONAS pee PEiRt pee 9 EI S CINNE ISN HT AS me ML ALR MEO ZX Le Re Les NV Ee SETRTIN MENU COSE SE Rs Ss MENU G oN Next configure the actual input of each channel Set the CH1 Input to XLR MIC to use the external microphone Channel 2 should remain at INT EXT MIC to use the internal microphone If you are using two external microphones set both channels to XLR MIC If you are using both internal microphones set both channels to INT EXT MIC Note Don t forget to enable phantom power to each channel that is using an external microphone otherwise the microphone won t work And that s it Your camera should now be configured for interview work If you re filming in an uncontrolled environment
45. t the bottom of the Inspector window to save this custom codec profile It ll now be listed under the Custom tab in the list of codecs Initiating the Batch Export Select all of your videos in the compressor queue and drag your custom profile onto them It may take 2 3 minutes for Compressor to apply the settings to all of your videos This is the difficult part Select every single compression that is attached to all the videos and change their destination to your custom one you created earlier recommend doing this in groups of 5 10 videos at a time as one wrong click will force you to start selecting them all over again Make sure to save your queue This prevents you from losing work if Compressor crashes which it often does with such large queues You re now ready to start compressing Press the start button and off you go Note prefer using Adobe Media Encoder over Compressor because it takes 1 40 the time to compress these videos Media Encoder typically takes 8 10 hours to compress 90 odd videos into 1080p Compressor on the other hand takes over 300 hours to do the same compression Unfortunately using Final Cut Pro to log and capture your video locks the raw video to Final Cut Pro until after you ve compressed it to a different format This is extremely frustrating for anyone and the only solution from what can tell is to not use Final Cut Pro cannot speak of Final Cut Pro X having never used it 34
46. te is obvious A good looking video needs both a high resolution and a high bit rate However the higher the bit rate the more space the video takes up Take those two screen shots for example The 15mpbs version of the 1 minute 33 second trailer is 174 4MB while the 2mbps version is only 23 3MB The difference in size is as staggering as the difference in quality Frame Rate The last big factor that affects video quality is the frame rate of your video Normally never an issue there is a minimum bar to frame rate that can trick the viewer into thinking they are viewing smooth motion and not moving pictures 24fps Cinema standard speed used for smooth creamy pans and cinematic style video 30fps Consumer standard speed your normal internet video 60fps High consumer speed used in high quality productions and where minor slow motion is desired 120 to 1500fps Professional high speed video requires extensive planning and equipment All of these speeds will lead to smooth video in all situations with only a few exceptions The first is if you slow down your video below 24 frames per second it will stutter because your video doesn t have enough frames to make smooth motion The other reason is more complicated A high shutter speed reduces motion blur when a subject moves in the shot You want motion blur in video but not pictures 24fps would look awful without motion blur Notice how all freeze frames of action scenes out of ci
47. tion for bad audio recommend investing in an external shotgun microphone that plugs into your camera for the best results This way you have both a higher quality microphone and one that you can move to a different location than the camera Taping the microphone to a pole or boom and then hanging it out of frame near the subject is the best way to get good clear audio Background noise is another consideration A silent or at least quiet background will ensure that you record clean audio for your video There is nothing more annoying than a great video marred by the sound of a buzz saw in the background You might even have to ask people to not make noise for a few minutes as you record your video clips Always pay attention to your audio as bad audio can ruin an otherwise praiseworthy video 47 Conclusion This manual has been a blast to write and must congratulate you for reading all the way to the end While not a complete source for how to do video editing hope that this manual helps you not only edit video but record and compress it This manual is written from the perspective of FIRST Robotics Therefore the compression settings are designed for recording robotics matches without audio and the workflows detail in this manual work best for large numbers of videos that require little to no editing However the concepts and tips that provide throughout the manual can be applied to any form of video editing hope that by readin
48. to set most of these to get a small good looking video This screenshot is configured to correctly compress a 1080p video Compression Type H 264 B Motion mee a Rate Frame Rate 29 97 fps Data Rate Automatic Restrict to kbits sec Key Frames Automatic D O Every frames Optimized for Download d Q AIl M Frame Reordering Compressor Preview Quality Least Low Medium High Best Encoding _ Best quality Multi pass Faster encode Single pass Tee Te 31 The bit rates for 720p and 1080p should be Video Resolution Bit Rate 720p 2 200 kbps MELE NEIS EZA 8 000 kbps 1080p 6 500 kbps Max Quality 1080p 12 000 kbps The third tab in the inspector window has three settings that should be changed only if your video is interlaced If you have followed my directions so far you can skip this tab v Better Linear filter eves Best Statistical prediction E Resize Filter Better Linear filter Output Fields Same as sours Anti alias 0 Details Level Ga 0 Reviming Control l enas ana Rate Conversion Fast Nearest frame Rate Conversion Fast Nearest frame Set Duration to 100 000 of source Set Duration to 100 000 LZ of source Set Duration to 100 000 of source O G 00 02 55 20 OG 00 02 55 20 O 00 02 55 20 O so source frames play at 29 97 fps O so source frames play at 29
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