HD Workflow Seminar at Apple

HD Video Workflow Seminar (Apple Offices, Reston)
June 9, 2010

Developers are key – iPad, iPhone, etc.

People use applications on the iPad more than they surf the web on the iPad.


Acquisition – Ingest – Editing – Finishing – Delivery – Backup – Archive

What effect does choosing P2 over XDCam have on the entire workflow?

[M] KiPro ProRes VTR ($4,000) – records direcly to Apple ProRes for native editing


4444 – 330 Mbps

422 HQ – 220 Mbps

422 – 145 Mbps

422 LT – 100 Mbps

422 Proxy – 45 Mbps

[M] Wacom tablet

[W] Media Silo – www.mediasilo.com – website for client review

[M] New MacBook Pro

Asset Management

Shrinking Production Schedule – people are expecting faster results.

The Editor is the workflow hub.

[M] Final Cut Server ($999 for unlimited users) – Server runs on a Mac Pro for small workgroups; server runs on a Xserve/Xsan for larger workgroups.  Seamless collaboration.  Easy asset cataloguing.  Cross Platform Client – can run on Windows or Mac for review.  Uses the new Apple ProRes 422 (Proxy) for offline editing.   Automatic proxy creation and project linking.  Great organizational tools.  Redesigned architecture for improved search time and performance.  Multiformat delivery.  Flexible configuration.

Preview interface with lightweight proxy videos; metadata; list of all Final Cut projects where a specific clip is being used; room for annotations.

You can check out Final Cut projects (with original media or proxy media), work on them, and then check them back in.

[M] Get by AV3 – indexes your media based on phonetics; searches audio for words

[M] Mac Captioning – Closed caption software (line 21 data)


Uncompressed HD = 165 Mbps

Mostly used for feature films, special effects, visual effects, etc. Runs on RAID system.

Firewire 800 = 70 Mbps (can not play uncompressed HD)

Panasonic P2 – shoots in DVCPro HD or AVC-Intra.  Final Cut can edit either of these natively, although the computer has to “decompress” on the fly.

Sony EX-3 – shoots in XDCam.  Files are smaller than P2 (compression uses “missing frames”), but the computer has to work really hard to edit it natively.

Shared storage – centralized storage that everyone can tap into (Final Cut server with XSan); every user feels like they’re directly attached; uses fiber (not Ethernet).


You can create HD Blu-Ray media on a regular DVD using your computer’s DVD burner drive, but you’re limited on the amount of space (about 25 minutes). If you want to create a true Blu-Ray disc, you need to get a Blu-Ray burner & discs.

Use SHARE in Final Cut to create Blu-Ray files (and other types of output – i.e. iPhone, Apple TV, etc.)

[M] Air Video – 3rd party software; will convert (server side) and stream media on the fly to various devices (i.e. to iPhones, iPads).


Video Streaming – Air Video can stream videos in almost any format to your iPhone and iPod touch. You don’t need to copy your videos to the device just to watch them.

Live Conversion – If the videos in your collection are not in format supported by iPhone, Air Video will convert them on fly. You don’t need to wait until the entire video is converted. You can start watching it almost immediately!


Atempo – www.atempo.com

Backup and Archive solutions.

Atempo Digital Archive – connects with Final Cut Server and Final Cut Pro.  GUI application.  Archive and retrieve directly within Final Cut Server menu.

Backup – protects dynamic data; creates a point-in-time copy of your primary storage

Archive – preservation of content; reduces storage cost by using less expensive storage; organizes storage by metadata

Can be managed on either Mac or Windows operating system.

Atempo has built in non-dependency to the product so that if you need to move your archives or transfer them to another type of storage, that’s possible.

Takeaway:  Build a server.  Backup the server.


Aperture 3 Seminar at MBS

Aperture 3 Seminar at MBS
Orlando Luna

External HDs

G-Tech pocket RAID drive

eSATA pancake RAID drive – good for video (140mbps)

eSATA pocket RAID drive (120mbps)

eSATA = 120-140mbps

Firewire = 80mbps

New Features in Aperture 3

1) Places – you can use your iPhone to take a quick photo to get the coordinates of your location and then add this data in later manually

2) Faces – turn off in Preferences – General

3) Flagging Images – extra tag to mark images that you’re working on.

4) Trash bin

5) Labeling

3 Stars – Great Images

4 Stars – Selects

5 Stars – Finished

Smart Albums – use search criteria to group images

-Under EXIF data, you can sort by:

a. Aperture setting

b. Camera Serial Number

c. etc.

Keyboard Shortcuts

V – rotates through different views

M – shows you the Master image

P – Quick Preview

Aperture 3 will automatically switch you out of Quick Preview mode if it needs to.

To change Preview settings:

Preferences – Previews

You can easily switch between libraries.

File – Switch to Library

A vault does not back up original images that are not stored in an Aperture Library (referenced images).  It just backs up the Library.


Portraiture, Tiffen, Silver Effects, Noise Ninja

Audio Devices for 5Dii

Audio Technica, Rogue, h4m Samson device, Beachtek

-Orlando records audio separately and syncs afterwards

DSLR Workflow Seminar at MBS (5Dii, Final Cut Pro)

DSLR Workflow – 5DII, Final Cut Pro
Jem Schofield


Every DSLR uses a different type of compression:

Canon – H.264 compression

Panasonic – AVCHD & lite

Nikon – AVI, motion JPEGs (HD image is not as large as Canon’s)

Compression using H.264 is the preferred method of compression for web distribution (F4V).  Also used by BluRay.

MPG2 HD is the HD version of MPG2 (standard DVDs).

Canon cameras shoot at the highest data rate of the DSLRs.

7D vs 5Dii

The 7D sensor is smaller than the 5D (full frame) – less sensitive to light (not as good in low light); less shallow depth of field; crop factor (1.6x)

7D is more “weather proof,” but seems to overheat a little more that the 5Dii.

Color rendering between the 2 cameras is slightly different.

7D has a 60fps option which people use to create slow motion.

Frame Rates

24p – Produces more of a film look.

30p – More forgiving with motion.

To go from 23.98 to 29.97 is a fairly easy conversion.  Going the other way, from 29.97 to 23.98, is more difficult.

Canon has a new firmware update for 5Dii – 2.0.7

Longest term investment you can make with camera equipment – Tripod System.

Jem uses the Miller DS20 system (carbon fiber solo legs).

Next – Lenses  (Jem uses Zeiss ZE and Canon lenses with the Canon 5Dii).

Next – Audio.  See below.

Next – Camera Body (think of this as your CPU w/ a life-span of 3-5 years)

Hand Holding

Two biggest challenges with hand-holding a DSLR:

1)      Focus

2)      Shaking

What do you do?
Get a handheld rig (RedRock Micro, Zacuto, Cinevate) and a “loop” (Zacuto) to magnify your viewfinder.

RedRock uses a base plate system so you can transition easily from a tripod system to handholding.

Make sure to have a follow-focus system on the rig as well.

If you get a SteadyCam, make sure it’s a vest-based system.  If you don’t have a vest, it’s impossible to get smooth motion.

Don’t try to make your body steady.  Find a rhythm.  Create a stylized look where the camera is constantly moving (i.e. a slight sway).

Shutter Speed and Frame Rates (standard settings)

24p – 1/50  (there is no 1/48 on a DSLR like there is on a traditional video camera)

30p – 1/60

Rolling Shutter

DSLRs use a rolling shutter instead of a global shutter so the image is not recorded exactly all at once – the result is that if you move the camera quickly back and forth, you will get a “rubbery” image (like when you wiggle a pencil rapidly).  Nikon is worse than Canon.

Dolly Systems

CamTram system.

Slider system (sliding and panning).


Lapel mic – Sennheiser, Lectrosonics, Countryman

Shotgun mic – Sennheiser Me66/K6

When you boom, you generally want to boom from above (avoid AC noise, etc.)

Recorder – Zoom H4N – $300 (SD card system); record in WAV files; XLR input

Nasty Clamp for boom mic (to clamp on tripod, or elsewhere)

Nasty Clamp for Zoom recorder (also on tripod)

*Lenses with Image Stabilization produce motor sound in 5Dii audio (i.e. 70-200mm).  Make sure to turn off IS when shooting video.

Jem puts one shotgun mic into the 5D with a mini jack for reference audio (using the manual controls) and one into the Zoom via XLR.


ALZO 770L (very small, battery powered, outdoor balanced LED)

CL-LED 600 (48 watts)

***I don’t really like the look of the LED lights.***

LED lights skew green, so you have to use magenta (minus green).

Use a Light Meter

Post Process

On set, back up to RAID-1 two terabyte drive ($300).  At the end of the day, back up to G-Drive.  Client pays for both of these.

Keep FCP project on local drive and all media on external RAID drive.

***We should get a RAID drive that can be shared between our computers.***

Multiple formats? – Often, Jem will start with Compressor to equalize all formats into one codec.  If you shoot on P2, you’re automatically funked. Standard HD pixels are square.  HDV uses rectangular pixels. Transcode everything to ProRes first (square pixels), and then edit.

***Get Log and Transfer plug-in for FinalCut Pro from Canon.***


File – Log and Transfer

If you’re coming directly off of the card, you can archive the entire card (Archive to Disk Image), or just the contents (Archive to Folder).

You can also set the format that the Canon H.264 footage is converted to – i.e. Apple ProRes 422 (Proxy) – in Import Preferences.

ProRes 422 (Proxy) produces files that are slightly smaller than the camera’s.  This generally looks good.

ProRes 422 (LT) produces files that are about 2x as large.  Most of the time, you don’t need to go above this.  This is what Jem uses.  Jem doesn’t even keep the camera’s original H.264 files.

You can set In and Out points, and the plug-in also gives you timecode (from the time of day).

To sync audio, Jem uses the PluralEyes plug-in ($150) – looks for audio wave forms and matches them up.

Jem’s Output Workflow:

Export as QuickTime movie.

Use QT Pro to create M4V file (iPhone).

Use Adobe Media Encoder to create F4V file (.75 mbs/sec).  16×9 = 640×360 or 960×540.

Jem changes suffix to FLV from F4V.

Uploads everything to Blip.  Creates a player inside of Blip (640×360) w/ auto detect to detect whether someone is using a computer (FLV) or mobile device (M4V).

Creating an MPEG-2 file from Final Cut Pro (for plasma screens)

In Final Cut Pro, choose:
-> Send To – Compressor

In Compressor, use:
-> Apple – MPEG-2 – Program Stream

Protected: Adding a Video to the Plasma Screens (Digital Signage)

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5Dii Inspiration – Kim & Adam’s Wedding Video

JoeSimonProductions — December 07, 2009

This was shot using the Canon 5D MKII and 7D, Glidecam 4000HD, Cinevate Pegasus.

15 f/2.8
24 f/1.4
24-70 f/2.8
50 f/1.4
70-200 f/2.8
85 f/1.2

Cinematographers- Joe Simon, Ryan Koral
Editor/Colorist – Joe Simon