My Canon HV20 Short is making the festival rounds – some notes about the workflow
I shot a short film titled A Killer App as the final project for a directing class at UCLA Extension. We used my Canon HV20 exclusively, with the aperture locked to as wide an aperture as possible – a 2.8 f stop in order to get as much light hitting the sensor and to get a shallower depth of field. Footage was brought in via Firewire into Sony Vegas and then converted to Lagarith Lossless using the methods described by Eugenia to export into After Effects for color grading, cinematic cross fades, power windows, visual effects and titling and then exported back into Vegas using Lagarith again.
The final cut was exported as an uncompressed AVI (a huge file even for a ten minute short) which was then used as the new master video file so that various export formats could be created. Among these were the ProRes 4:2:2 using the Avid HDxDN codec 10-bit at 1080p / 23.976 which we dumped onto a drive and handed off to a friend at a post facility so that he could transfer this as an archival master to an HDCAM SR tape. Yes, you will likely tell me that this is overkill as the HV20 records in a 4:2:0 colorspace and is a highly compressed format to begin with, but some festivals (Sundance for example) still require HDCAM tape for exhibition, and so we wanted to have our bases covered.
While working in Vegas we assumed that we would export at 32-bit video levels but worked in 8-bit for smoother playback and due to the fact that we had at least 4 video tracks and multiple audio.
But I have learned a lot since then.
First of all – these cameras only have about 4 stops dynamic range. This means that the actual mise-en-scene is very important. Don’t shoot people wearing black against white walls. Instead work with a narrower palette – try to keep contrasts narrower – and that applies to wardrobe, set design, lighting styles. Also, learn to use a light meter, and use it, and shoot as flat and neutral as possible; although colored gels may seem fun at the time, remember that this isn’t high school theater – that red gel will squish your actors face into the same color space as the wall behind them unless you are very careful, and you will find getting a proper skin tone out of them in post next to impossible. (Not to mention the fact that the camera’s respective color channels respond differently to different colors – you may not seem to be clipping your highlights, but you could be clipping a color channel).
In post I would begin by capturing or immediately converting captured footage into Cineform using NeoScene (which converts to a 4:2:2 colorspace) and cut that directly on the Vegas timeline in 8-bit while piecing things together and again exporting at 32-bit video levels. This is not going to be a comprehensive post about all the settings or best practices, but just some notes about how we did it and what we got. The bottom line is, we tried to stick to first generation material as far as possible, but we ended up going into Lagarith twice, both times exporting at 32-bit, and then once more for the final output. Needless to say the tech guys at the post facility called to tell us that the HDCAM SR version they watched looked super sharp and high end. Unfortunately, I haven’t seen it off the tape. They also said the sound was really good:
While working with the audio tracks (which were recorded using the Rode VideoMic with a 10db pad on plugged straight into the HV20) in Vegas, each character’s dialogue was checkerboarded – cut onto its own track and heads and tails were trimmed right to the edge. We made sure to have recorded and included real room tone from the day, and spent another two days looping any dialogue that was bad due to extraneous noise or for being too far off mic.
On the set of A Killer App, shot with the Canon HV20. Photo by Jessica Marshall-Gardiner
A lot of fun was also had building the environments, background ambience, sound effects -these little details can help a production enormously. The well known golden rule is that sound is paramount. Your video can be just OK, but if the sound is no good, then you are sunk.
We found some excellent soundtrack music by simply asking some appropriate sounding bands on MySpace, and then sending them a music release form which they signed, scanned and emailed back.
Region 0 NTSC DVDs were made and shipped out to a couple dozen festivals and we won an Award of Merit at Accolade, and were accepted in the Glastonbury Horror Festival in the UK. We have yet to hear from about half our submissions who don’t report until later in the year, but so far so good.
Incidentally, if you are not yet aware of Withoutabox.com and you are an indie filmmaker – then go learn it now. It is a one-stop shop for thousands of film festivals and you can submit directly through the site. Note that while use of the site is free, festivals are not – each submission will set you back an average of 25 to 50 dollars US.
A side benefit of using Withoutabox.com, however, is the eventual IMDB page you are given. This is a great way to get your film indexed and noticed by millions of daily visitors to the portal. Also, Amazon owns it so there are opportunities to put your short up for sale through that company.
Regardless of where you are in your development as an independent filmmaker, I hope some of the experience I have shared above will be of use to you.
Please feel free to add any notes in the comment section below about working with your Canon HV20 and Sony Vegas, Lagarith, Cineform, After Effects, post production workflow and deliverables or how you have been marketing and distributing your final product.
VIDEO: How To Import A Sony Vegas Project Into After Effects For Mastering
There are endless conversations about best practices and workflow for maintain the very highest quality picture in post production and many of them have to do with never recompressing your original footage once you get going. One of the FASTEST and BEST ways to do this is to work in Sony Vegas for editing and then bring it into After Effects for everything else that includes dissolves, fades, color correction, sharpening, deartifacting and finally output of a digital master.
But how can you get your awesome edit out of Vegas without rendering something and thus losing a generation of quality by having to apply some sort of compression?
This video may help answer that question, at least as far as a way to get your Vegas-edited clips into After Effects quite painlessly. Interestingly enough, the solution comes from using a rather antique file export format – the Avid AAF EDL file exchange format. Watch the video, and then post your comments here.
If you know a better way, I would love to hear it!
Two Very Short Films I Shot For My UCLA Directing Class on a Canon HV20
I am finally completing my certificate in Entertainment Media at UCLA – a course that has changed radically since I began it several years ago. In the beginning, it was a hybrid of radio, television and film theory, production, development and business. Since the “new media” program was created, the “new” part of the moniker has been dropped and many digital-specific classes have simply been folded into the central workflow concept. That alone has been a revelation – that the distinction between traditional and digital media can no longer be separated.
I wanted to share the first two short films I was assigned to create for a class called The Fundamentals of Directing taught by Peter Shaner over the internet. This in itself is amazing – although I do take many classes at UCLA campus – that a class that required video to be shown and critiqued by peers can be done exclusively online.
This first short, titled “A Very Brief History of Entertainment Media” (in the spirit of the curriculum) was in response to the assignment wherein we had to shoot a single take without dialogue that had a beginning, middle and end while demonstrating a variety of shot sized and angles. It was shot on my trust Canon HV20.
A Lowell Tota light, and Chinese lantern were used to light the large area. I shot it in 24P using Cinemode and posted it in Vegas Pro 9.0 using Magic Bullet to color time and add Misfire for the opening effects. I used Sony’s ACID Pro 7.0 to create the score. Total turnaround time from creation to delivery – less than 20 hours.
The second short, titled “Bill” was in response to an assignment that required we shoot a video, three minutes or less, without dialogue, that had a beginning, middle and end that utilized as many types of shot as possible (master, medium, CU, dolly, pan, objective, subjective, POV etc).
I wanted to start playing with classic spookiness in the tradition of Alfred Hitchcock (whose techniques could comprise a lifetime of learning and by no means am I even an apprentice to the technique). This meant voyeuristic shots, Dutch angles, shadows and deep contrasts (which are quite difficult to achieve using the narrow contrast range of a prosumer camcorder, or even most digital video cameras, excluding perhaps the Red or Arri digicams). For example note when the actress is walking by the swimming pool, how the sunlit area at the top of frame is way outside the contrast range for the sensor, because I am balancing to the shadier area through which she is walking; the HV20 (and this applies to almost any digicam’s sensor) simply can’t handle such extremes in contrast. I recommend looking up Ansel Adams concept The Zone System (no not the diet) to better understand how to look for the range of 12 zones within a frame. This is a concept that was introduced to me by Deland Nuse, my Cinematography instructor at UCLA.
I asked him how to better deal with this narrow range on a camera like the HV20 – given that it has a range of approximately four stops! He said to keep contrasts low within the frame, and yes that means the actor’s wardrobe, mise en scene etc. Otherwise you may be asking the camera to try and accommodate things at opposite sides of a range wider than it is capable of capturing; thus your blacks won’t be true blacks if you are adjusting for brighter, overexposed objects, and your highlight detail will suffer if you try to maintain detail in the darker elements by raising the gain.
I also wanted to play with better slow motion techniques and the various frame rates on the Canon and see how far I could push it. Suffice to say, without the time available to do full and proper de-interlacing and motion compensation via interpolated frames, my slow mo didn’t work out as nicely as I would have hoped. I shot it at 1/500 using TV mode. I fared better shooting 1/1000th (again in TVMode) to capture the droplets of water at the sink in the bathroom. But my favorite success story was using 1/12th to capture actress Aimee Lynn Chadwick walking down Hollywood Blvd to create a dreamy, over-the-shoulder shaky cam effect. I also used my Canon wide angle lens for some of these shots, and a Tiffen Neutral Density filter to capture the skies outdoors.
For some excellent slow motion workflow using the Canon HV20 and Vegas Pro, Lance Campeau wrote a step by step at hv20.com that demonstrates how he creates incredible slow motion sequences.
See the result of one of his videos here:
I would love to hear your thoughts, comments, feedback, suggestions – this is a learning process for me and I intent to get much better.
Thanks for checking it out.
