This instructional video teaches you how to work as a Digital Asset Manager (DAM) preparing double-system video and sound files for use with Final Cut Pro 7.
UCF Film student Zachary Beckler explains how to handle importing data, organize files, transcode video, and the manual syncing of sound.
This video was updated July 27th, 2011.
A clear signal with a perspective in relationship to the slated image.
Yes. To not achieve an ambient shift per set-up would require the microphone to consistently maintain its location through out all coverage of the scene. Consider for a moment why this may not work best for your film.
No. Production sound recording is to achieve a clear signal with a perspective in relationship to the slated image. Therefore, as per the image, there will be a lot of sculpting to do in post production. Sound, like the image, must be “color corrected” to make sure everything matches into one seamless whole. Imagine the amount of sub-competent DP’s we have running around if we held them to the same standards of production. Continue reading »
What is Double-System Sound Recording?
Double-system sound recording is the process of recording the sound for a motion picture on a machine that is separate from the camera. This process – with both a sound recording device and camera – dates back to the earliest days of the talking pictures in the 1920s and explains the distinctive “clapper” that Hollywood moviemakers use at the beginning of each shot. If you visit a Hollywood movie set today, you’ll probably still see an assistant holding up a slate in each shot that makes a sharp clapping sound, so later on an editor, “synching up” the separately recorded film and sound, will have a handy reference point where sound and picture match up. Continue reading »
The relationship between ISO and noise level is not as straightforward as many would think. This graph shows data from tests done at CanonPhotoGroup.com to compare noise at different ISO ratings on the 5D Mark II. In my testing, the 7D exhibits similar patterns.
This thread on DVXUser further illustrates, this time with the 7D.
I usually shoot at ISO 320 on my 7D with satisfactory results. If I can spare the extra stop, I will use ISO 160 for a cleaner image. It is also important to note that at higher ISO ratings, other artifacts besides noise begin to show. I have heard that these cameras switch to lower bit depths to allow for increased sensitivity but I haven’t seen a technical explanation.
This past winter vacation myself [Dan Watkins] and fellow UCF filmmakers/classmates Christopher Lopez and Edgar Jorge endeavored to complete three short chamber pieces centering around the International Drive/ Magic Kingdom area of central Florida.
Knowing that the nature of such a project would most likely entail staging a small play in a public setting, and attempting to capture both sound and image while remaining as inconspicuous as possible, the only options that seemed to make sense were DSLRs and wireless microphones. With this in mind I ventured on a location scout, ultimately settling on a bus stop located on the non-convention center side of International Drive. The mixture of headlights provided by passing traffic as well as an ominous green light that (inexplicably) bathed the parking lot behind us would not only provide ample source for proper exposure with the Canon 7D, but it would also create a beautiful color palette for the film as a whole. Continue reading »
A UCF Directing 1 short film that I [Jon Perez] shot called Nite Boy/Day Girl called for a party scene for one of the segments. Rather than setting up a shoot day and trying to get extras to show up for a “party scene,” we just threw a big party and made it clear that we would be shooting the people dancing inside. This video is a compilation of the Nite Boy/ Day Girl footage.
What’s interesting is that, this video, as well as the film the footage was originally shot for, would just not have been plausible to shoot under the conditions we put ourselves in if we didn’t shoot on a DSLR. The actual weight and form factor of the Canon 7D made it possible to sustain being on a small dance floor packed with drunk dancers.
Nothing is color corrected in any way. Aside from the multi-colored LED strobe, the dance floor was pitch black, meaning, all light emanated from sources within the space that the dancers brought with them (i.e. laptops, glow sticks, cell phones, LED glasses, etc.). In order to expose I shot at ISO 3200, shutter speed at 1/30 and the lens I used, a Nikkor 50mm AF 1.4, was wide open the whole time. Generally it’s very frustrating to deal with, much less try and shoot a film in such unpredictable lighting conditions, yet, it’s exhilarating when chance works out. Continue reading »
In the upcoming months the University of Central Florida’s Film Department will begin production of another digitally photographed graduate thesis feature film. This project, and the processes within, will be journaled here. Please check back as we get closer to pre-production and begin generating content.
Credit: Taken from renowned video glitch artist Takeshi Murata's Monster Movie
http://www.youtube.com/watch?v=t1f3St51S9I
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