– It’s too damn cold! Nothing is happening.
– Pulp Muppets has surpassed 3000 hits. Check it out if you haven’t already.
Sorry, people, but there ain’t no easy answer to that!
If you want your movies to LOOK better, I would say that lighting and camera composition are the most important things.
If you want your movies to be more ENTERTAINING, I would say writing and editing are the most important things.
None of these things have simple catch-all solutions, so I recommend that you check out the Knowledge Base and the forums for some hints and tips.
And make your movie…it doesn’t get made on its own.
Just about any microphone on a boom (a long pole) is better than using the mic. built into your camcorder. Directional (or shotgun) mics. are usually the best choice. (See the Knowledge Base for more info on microphones.)
Even the cheapest audio hardware that comes standard with most computer systems is adequate for the amateur film maker. There are higher quality audio cards that can be added to your computer, but you should only consider them if you’re really picky about the quality of your sound, or are looking to pursue a career in the audio field.
On the editing side of things, I find that most decent video editors (Final Cut, Avid, Premiere, Vegas Video) have enough audio editing and mixing tools to keep the amateur movie maker happy.
My audio knowledge is a bit weak, so if anyone wants to provide more newbie info please send me an e-mail at email@example.com.
Another “what can you afford” question. Most editing programs have the ability to do simple effects, including chroma keying (green/blue screen). However, programs dedicated to effects (or extra plug-ins you can buy for most editing programs) will do a much better job than whatever comes standard with your editing program.
After Effects is a popular choice and you can easily get help/advice from thousands of people on the web.
If you are serious about perusing a career in visual effects, Shake seems to be the big up and coming program these days. My personal choice for the most bang for the buck is Combustion, which also has a decent foothold in professional effects studios.
Honestly, if you’re just starting to get into this whole movie making thing, I suggest you concentrate on learning how to use the basic tools to tell an entertaining story before you get caught up in the eye candy. A visual effect should contribute to telling the story. If you don’t know how to tell a story first, you won’t know how to make the most effective effect.
This is more of a “what can you afford” type question. If you’re serious about perusing a career in editing try to get an Avid product. You can’t go wrong with Final Cut on the Mac (and it’s giving Avid a run for it’s money in the professional field). I personally use Vegas Video with no regrets on the PC, but would not recommend it for “career” editors. Whichever editing program you go for, make sure it has at least these features:
1) Allows “split edits”.
A split edit is when the picture and audio cut at different times. (e.g. You see a shot of someone talking. The picture cuts to a reaction of another person while the audio from the previous shot continues.) A lot of the el cheap-o editing programs that come with camcorders only allow you to cut the picture and audio at the same time. Split edits are a MUST HAVE feature. You can’t do any kind of respectable editing without them. Watch ANY movie and you’ll notice that the majority of edits are split edits.
2) At least a few tracks of audio and the ability to mix them.
Some el chep-o programs only allow you to use the original audio recorded along with the video and another track for adding music. This simply isn’t enough. You also need extra tracks for sound effects, ambiance, etc. Four tracks would be the bare minimum, but most decent programs allow you to have as many audio tracks as your computer system can handle.
3) Lets you control and export/import video to/from your DV camcorder directly.
Okay, I guess it’s not a must have feature, but using 3rd party programs to handle your video I/O is a pain.
Well, that can be a touchy question, and I don’t want to start a Mac vs. PC flame war here.
It is my personal belief that the less you know about computers, the more a Mac system makes sense. There are a lot more software/hardware options and support out there for the PC, but you will run into compatibility problems more often than with a Mac system, and unless you know how to fix them you can run into some major headaches.
Despite not having as many options, there are still some excellent programs out there for the Mac that will allow you to do just about any movie making related thing you can imagine.
Get whichever system you’re more comfortable with. Just about any G5 equipped Mac or Pentium 4 equipped PC has enough horsepower for DV editing and audio work. Get at least 512 MB of RAM and a second hard drive of 100 Gigs or more to dedicate to video data, and you’ll be in good shape. Firewire ports (to connect your DV camcorder to your computer) are pretty standard these days, but you should double check that your system has one.
I won’t get into any specific makes or models of cameras, but I’ll tell you what I think are the bare minimum features your camera should have.
1) Manual control of everything.
If you are serious about MAKING movies, about capturing the images YOU want, you must have a camera that allows manual control of EVERYTHING. You can’t learn camera techniques for yourself if the camera is making the exposure decisions for you.
2) External microphone and headphone jacks.
Sound is 50% of the picture. To make a good movie you need good sound. The mics. built into most camcorders aren’t very good and pick up noise from the camera (tape transport, zoom and focus motors), and any physical fumbling you do with your hands. Also, the further away your actors are from the camera the worse the sound will be.
An external mic. on an extension cord lets you get away from the noise the camera makes and closer to your actors. Headphones allow you to monitor the sound while it’s being recorded. This will let you know immediately if there are any audio problems (mic. bumps, airplanes flying overhead, etc.) instead of later in the editing room after all the actors and crew have gone home.
3) MiniDV or Digital8
The only difference between MiniDV and Digital8 is the size of the tape. Digital8 gives you the bonus of being able to play the old 8mm formats with your new camera, but MiniDV is much more wide spread and I would suggest you go for it instead. Some film festivals will accept movies on MiniDV, but not on Digital8.
Stay away from cameras that record to DVD. The image quality isn’t as good, the data format isn’t as “editing friendly” and there is way more support and options for the DV format.
I would strongly suggest you get an extra battery and external microphone. A wide angle lens adapter is also a nice thing to have.
There’s plenty of other features that would be great (audio record levels, progressive scan, 16:9 aspect ratio, image stabilization (optical is better than electronic), high definition, interchangeable lenses, etc.), but they will of course cost more.
If your camera meets the above 3 criteria, you will have a very good foundation for learning and experimenting with the basic movie making techniques.
Here’s a great page that compares and rates just about every camcorder out there. I highly recommend it:
NOTE: Don’t spend ALL your money on the camera. Keep in mind you will still need to buy some support equipment such as a microphone, tripod, computer software (and a computer to run it on!), etc.
HDV uses MiniDV tapes, but it is otherwise a different beast all together. HDV info to come.
There are some professional flavours of DV (DV-Pro, DVCam, etc.). Depending on the exact model, the only difference may be the quality of the camera’s optics (lenses). In other cases, there may be a difference in the size of the video cassette (larger = longer run times), or the speed at which the tape runs (faster = fewer drop outs (errors)). But, lets stick to MiniDV/Digital8 which both use the exact same codec: DV (DV25, if you want to be exact).
The DV codec works in YUV 4:1:1 colour space, which is explained in detail HERE.
The images captured by your camera’s CCD(s) start off as RGB, and then converted to YUV 4:1:1. Once this is done, a Discrete Cosine Transform is then applied. Okay, I don’t really know what that means, but you thought I was pretty smart there for a second, didn’t you? What it does is throw out more info, starting with what you are most likely not going to miss, which tends to be the finer details.
But, of course, colour sub-sampling and loss of fine detail can only be taken so far before it becomes apparent. DV footage may look nice at first, but a closer look reveals how much “damage” the DV codec does to the original image.
DV compresses data at a ratio of nearly 10 to 1. Considering that 90% (!) of the image data has been lost, it looks pretty damn good.
Still, this amount of data loss does cause problems for some things such as green/blue screen compositing. Take a look at this image. The colour channels have been separated and displayed as greyscale, so you can better see what’s going on.
Note that the red and blue channel have a “halo” around the subject. This is because the red and blue channels are at a lower resolution, due to the 4:1:1 colour sub-sampling. The green channel fairs a bit better, which is why it’s best to use green screen for chroma keying when shooting on DV.
The DV format is Interlaced and has a lower Field Dominance. For an explanation of what the hell Interlacing and Field Dominance is, check out the video standards page, comming soon..
Colour Space is a method of defining colours using a numerical system. There’s lots of crazy colour spaces out there, but lets stick with the ones you are most likely to run across.
Addative colours are used when working with light, such as in your computer monitor or TV. A blank screen is black and colours are added to produce an image.
Different intensity combinations of these three colours can produce all the other colours of the rainbow. When all three primary colours are at the same intensity, the result is a shade of grey.
Hey! Wasn’t I told in school that the three primary colours were Red, Green and Yellow? Those are the three primary SUBTRACTIVE colours. Also, the exact colours are actually Cyan, Magenta and Yellow. See CYMK below.
These are refered to as subtractive colours because they are used for pigments, such as those you find in a printer. A blank page starts off as white (all the colours of the rainbow) and pigments are applied to subtract the unwanted colours.
CYMK is mostly used in pre-press aplication and you probably won’t come across it too often in the corse of movie making (except when you’re printing DVD lables of your latest flick:)
An interesting thing to note is that RGB and CMY are the opposite of each other.
You can see this on a colour wheel where: Red is across from Cyan, Green is across from Magenta and Blue is across from Yellow.
This is a handy thing to know when it comes to colour correcting an image. For example, if your image is too yellow, it can be cancled out by adding blue (the opposite colour). And it follows that green counteracts magenta, and red counteracts cyan.
HLS stands for Hue, Luminance and Saturation. Sometimes the last two letters are swapped (HSL), but it means the exact same thing.
You can see how it’s simple enough to pick a colour (Hue) and then modify it to the shade (luminance) and saturation you desire. Easy peasy.
Okay, this colour space is harder to wrap your brain around, but it is found in most digital video formats (including MiniDV) so it’s worth understanding.
First of all, I don’t know why they use the letters Y, U, V (must be some big brain scientific reason). It’s (a bit) easier if you think of it as Luma, -Red, -Blue (denoted as L,-R,-B). So excuse me, all you notational purists out there while I continue to use L,-R,-B to explain how YUV works…
L,-R,-B capitalizes on a weakness of human visual perception in order to reduce the amount of data used to create an image and still give the PERCEPTION of no data loss. The trick is to save less colour information than you do luminance (brightness) information. The human eye is more sensitive to luminance than it is to chrominance so you can get away with throwing some of it out.
This is done by “sub-sampling” the colour information. This means that the colour information is captured at a lower resolution than the luminance information. The sub-sampling ratio is often denoted as 4:2:2 or 4:1:1. This mean for every 4 pixes of luminance info, there are only 2 (or 1) pixels of colour info. For example: Suppose you have a picture that is 100 by 100 pixels in size. With 4:2:2 encoding, the luminance of the image is saved at a resolution of 100×100, but the colour info (both -Red and -Blue) is saved at a resolution of 50×100. In the case of 4:1:1 encoding, the luminance is still at 100×100, but the colour is sampled at 25×100.
Of course, before the image is actually displayed, the colour info needs to be scaled up to match the resolution of the luma info.
The luma info is a grey scale (black & white) image. White is made up of ALL the colours of the rainbow. So if you start with white and then subtract red (-R) and subtract blue (-B), what you’re left with is green. Neat, huh?
This also takes advantage of another attribute of human perception. Our eye’s are more sensitive to green than to other colours. In L,-R,-B colour space, green is what is left of the luminance (after red and blue are subtracted) and since the luminance is sampled more often than -R and -B, that means by default, green is sampled more than red and blue.
L,-R,-B (YUV) may seem overly complicated, but (hopefully) now you can see how clever it is in the way it’s geared towards the way human perception works.
Some high end video gear can record in 4:4:4 colour space which means that the colour info in not sub-sampled. The potentially confusing point is that 4:4:4 is usually YUV space, but sometimes it’s RGB space depending of the equipment specs.