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WELCOME

WELCOME. WELCOME Mark Dobrowolski Videographer / Editor Instructor at the Pittsburgh Technical Institute Teaching Video Production and Post-Production. WELCOME Thank you for having me here. Video Acquisition For Web-Based Video Content: Big Issues for the small screen.

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WELCOME

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  1. WELCOME

  2. WELCOME • Mark Dobrowolski • Videographer / Editor • Instructor at the Pittsburgh Technical Institute • Teaching Video Production and Post-Production

  3. WELCOME • Thank you for having me here

  4. Video Acquisition For Web-Based Video Content: Big Issues for the small screen

  5. Video Acquisition For Web-Based Video Content: Big Issues for the small screen Part I – Before the camera rolls….

  6. For video being authored with the intent of being delivered to desktops, laptops, tablet systems, and mobile devices, there are a host of issues that must be addressed in the Pre-Production phase of a project. OVERVIEW OF TONIGHT'S Topic

  7. 1997:

  8. 1997: I need a website

  9. 1997: I need a website 2002: I need an attractive website

  10. 1997: I need a website 2002: I need an attractive website 2010: I need an attractive website filled with video

  11. Video….are you sure?

  12. When considering a video production specifically for web delivered content, ask yourself and your client… “Does it have to be video?” Video….are you sure?

  13. Can the content be delivered in a less costly , less bandwidth intense method? HTML Simple Document flash animation Narration etc. Video….are you sure?

  14. The Evergreen Question - What is the likelihood of the script content requiring a change? Products with Short Life Cycle “Most Popular” anything Technology All pop culture reference “New” anything Client says it’s “It’s OK…for now” Video….are you sure?

  15. “I just want to change this one thing.” - Anonymous Client Video….are you sure?

  16. Consequences of a Re-Edit Video….are you sure?

  17. Consequences of a Re-Edit • Possible reintegration of an off line project Video….are you sure?

  18. Consequences of a Re-Edit • Possible reintegration of an off line project • Triggers a Quality Control cycle Video….are you sure?

  19. Consequences of a Re-Edit • Possible reintegration of an off line project • Triggers a Quality Control cycle • The problems of rendering video files Video….are you sure?

  20. Consequences of a Re-Edit • Possible reintegration of an off line project • Triggers a Quality Control cycle • The problems of rendering video files • render and review of a master file • compression time • final review of the deliverable Video….are you sure?

  21. Be sure the client understands what is entailed by using video to deliver a message…and offer alternatives. Video….are you sure?

  22. Video….WHAT IS IT GOOD FOR?

  23. Despite the difficulties involved in producing and utilizing video , the medium has tremendous value. Video….WHAT IS IT GOOD FOR?

  24. Video….WHAT IS IT GOOD FOR?

  25. Moving images when combined with sound creates, by far, the single most impactful STORYTELLING device in existence. Video….WHAT IS IT GOOD FOR?

  26. Moving images when combined with sound creates, by far, the single most impactful STORYTELLING device in existence. • Video can provoke a powerful EMOTIONAL CONNECTION in the viewer even with mundane topics. Video….WHAT IS IT GOOD FOR?

  27. Pre-Production – Sets & Wardrobe

  28. All compressed video format reduce the quality of the source material. Pre-Production – Sets & Wardrobe

  29. All compressed video formats reduce the quality of the source material. • This loss can be minimized by careful consideration during the pre-production process. Pre-Production – Sets & Wardrobe

  30. Sets and Wardrobe Choices • Avoid the gradient trap Pre-Production – Sets & Wardrobe

  31. Sets and Wardrobe Choices • Avoid the gradient trap • Large gradient fields are difficult for even the best compression algorithms to handle. Pre-Production – Sets & Wardrobe

  32. Sets and Wardrobe Choices • Look for High Frequency Detail Pre-Production – Sets & Wardrobe

  33. Sets and Wardrobe Choices • Look for High Frequency Detail • Detailed wall paper or fabric patterns Pre-Production – Sets & Wardrobe

  34. Sets and Wardrobe Choices • Look for High Frequency Detail Pre-Production – Sets & Wardrobe

  35. Sets and Wardrobe Choices • Look for High Frequency Detail • Landscapes – tight mesh of small complex organic shapes (that move) Pre-Production – Sets & Wardrobe

  36. Pre-Production – The Digital Format

  37. Panasonic DVCPROHD / AVCHD-Intra • Sony XDCAM / HDV / AVCHD-Intra • JVCJVC H.264 QuickTime / HDV • REDRED CODE Pre-Production – The Digital Format

  38. Panasonic DVCPROHD / AVCHD-Intra • Sony XDCAM / HDV / AVCHD-Intra • JVCJVC H.264 QuickTime / HDV • REDRED CODE • Each formats has a signature reaction to a photographic opportunity • Each format will react differently to the compression process Pre-Production – The Digital Format

  39. PRE-PRODUCTION PRODUCTION POST-PRODUCTION VIDEO PRODUCTION – THE PROCESS DELIVERY

  40. PRODUCTION POST-PRODUCTION PRE-PRODUCTION VIDEO Production – THE PROCESS NOW DELIVERY

  41. FINAL THOUGH • TEST YOUR FOOTAGE • & • PICK THE CAMERA YOU NEED Pre-Production – The Digital Format

  42. Video Acquisition For Web-Based Video Content: Big Issues for the small screen Part 2 – Lights, Camera, Action …stay tuned

  43. Thank you for your time.

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