Unit 23

Unit 23: Capture Pictures and Sound for Non-linear Editing

To help me answer this Unit to the best of my ability I will use the editing process for the "Projects Trailer" and "Short Film 3" I created as my examples. I will reference this when needed using the appropriate screenshots.

1.1: Identify the function of capturing equipment

Capturing equipment is used to record a moment that can be saved and viewed as many times as you want until it's deleted. It can also be edited on software to make a concise piece of video using audio and video files, still images and special effects. Cameras are used to primarily capture footage. The picture below show certain features of a video camera that will be used in capturing equipment:

The purpose of capturing audio equipment is to transfer recordings of voice-overs, background music, sound effects and so forth, onto a computer to be mixed with the captured video.

1.2: Explain the reasons why materials are captured

Materials are captured to produce a final product. The footage captured on the camera will not be identical to the final cut. It's needed so you can join the footage together, cut parts out, add special effects and enhance/alter the video and audio clips. This is all done so that the end user can view the end product. It's important that you know where the final product will end up before you begin the post-production stage. For example, the style of a video meant for YouTube will contrast significantly for a video shown on TV. A lot of YouTube videos involve someone talking to the camera directly and thus to the audience who are watching at home. TV shows and movies rarely "break the fourth wall" because, for the most part, they're a piece of fiction and doing something out of context like speaking to the audience will pull people out of the illusion. Therefore it is worth remembering where your final product will end up when editing your clips in post-production so you can fit your style to suit.

1.3: Describe different formats of logs, explaining how they are used

Logs are basically a list or record of things to be done or things that have been done. A great example of a production log is in the format of a shot list. I have previously carried one of these out by writing down all the different types of shots needed and in the order we need to film them in along with any special requirements that need considering. We used this shot list as a guide when filming. Another format would be an equipment log where we would make a list of the equipment needed on what days and of what quantity. This is to ensure the right amount of equipment are transported to the set on the date previously arranged in pre-production. An equipment log, accompanied by a shot list go hand in hand because they will tell you what shots needed filming on what days along with the specific piece of equipment needed to film those shots.  

Example of log format.
(Full version can be viewed on the Projects page)

1.4: Establish how to deal with copyright protected materials

Firstly, you have to find out whether or not the material you are going to use is copyright protected. If you are using another person's invention or product it is important that you identify who the intellectual property owner is so you contact them directly asking if it is acceptable to use their creations in your work. They may give you written permission stating it is fine so long as the appropriate recognition for the original owner has been made. Alternatively they might decline which would then prevent you from using their idea as permission cannot be obtained. There are some allowances to this rule however, you could research into whether the publication in question is allowed under the Fair Dealing Act 1998. In the UK fair dealing is limited to non commercial use including research, education and news reporting. On the other hand, publications where the creator has been dead for more than 70 years are technically in the public domain. So, certain Shakespeare play scripts and very old silent movies are copyright free. So, if you can prove that the use of the copyrighted material in your projects does not infringe the Fair Dealing Act, it is OK to use said material in your work.

1.5: Explain how considerations of picture and sound levels, format, aspect ratio and compression differ when material is for online or offline use

Offline editing is a term used to describe editing which is of low quality but allows you to fit more data onto hard drives which also improves playback, especially when you have hundreds of hours worth of raw footage. This allows the editor to quickly cut together the outline of the film before moving onto the online phase. Online editing is more to do with colour correction, higher resolution, audio levels and titles and effects rather than storytelling and timing which is done offline.

When exporting a video that has both video and sound elements it is important to consider the format in which you are exporting it. For example, if you want a video to quickly upload to YouTube then the standard HD 1080p .mov might not be suitable because the upload and processing time will take a long time. The length of the video also plays a crucial part in deciding what format is best. During offline use the smaller the file size, the faster the upload speed as the picture resolution and sound quality will be low initially to prevent the computer from freezing and slowing down the editing process. As for the aspect ratio or screen dimensions, it is more or less the same for both types of editing but it can differ if the ratio needs to change because of sound level problems etc. In order to get that cinematic feel the ratio needs to be 2.35:1. Aspect ratio refers to the width and height of a screen. Since most movies are filmed using wide angle lenses, the standard aspect ratio is 16:9. The width is 16 units and the height is 9 which means it is a suitable ratio for all HDTV and computer monitors.

2.35:1 Cinemascope Ratio

16:9 Standard HDTV Ratio

Video files are usually compressed when editing is complete. This is so they are small enough to be played on any broadband connections whether that be a weak connection or a strong connection. You also have to consider the video codecs and the audio codecs and research into whether or not they are supported in both online and offline use. Codec basically mean compression which shrinks large movie files, making them playable on almost any device. The most common format that is used in modern cameras/camcorders is the H.264/MPEG-4 AVC codec that can be transferred to hard drives, SD cards etc. Websites that support H.264 codec are YouTube, Vimeo as well as the iTunes store. 

1.6: Identify problems with working with high definition materials

As touched on above, high definition material creates a bigger file size than standard resolution. This means that it might not be possible to upload the material to a website, service or application that cap the amount of MB's the video can be made up of because understandably, high definition material uses more memory than a standard video would. HD materials also take a long time to render, especially if your computer is slow. If this is the case playback will also be effected because it will not play the clip that's being rendered, usually resulting in the video and audio from that clip being skipped completely.

1.7: Explain how to capture standard definition materials onto high definition projects

Standard definition can be used on high definition projects but there may be obvious quality differences. To prevent this, most professional editing software will allow you to set the project into the settings that you want at the beginning of the post production stage. To set all footage to high definition you would opt for a high resolution frame rate like HD 1920/1080 which can increase file size dramatically. Then all footage will be changed to suit the project, even SD footage. 

I have included a video which talks about converting SD material to HD to aid my explanation.

(Disclaimer: This video was not made by myself but has been included under the Fair Use Policy. No copyright infringement intended.) 

2.1: Obtain relevant information on source materials from written and verbal specifications

When planning a project it's important to list the footage you need to obtain so that you don't miss anything out on the day of the shoot. Primary footage (footage that you capture yourself) should be noted down on a project specification so all the team are aware of what needs to be shot and on what day. Secondary footage (footage that is either archived or downloaded from the internet) will be used after the primary source footage has been obtained and is ready for offline editing. 

2.2: Identify and locate specified materials from written and verbal specifications

The types of materials that are available to me in written specifications are shot lists and equipment lists as well as a script or anything else that could be viewed as a list or a set of instructions. Me and my team have created many pre production specifications during the course for the short film projects.

Standard equipment check-list.

As for verbal specifications, John Stockton our client for a couple projects gave us a verbal specification on how he wanted us to complete a specific project. This included using pictures and hand gestures to develop his verbal explanation. Notes were taken by myself so I didn't forget what he was saying. Both written and verbal specifications were recorded and maintained for future reference.

2.3: Log format changes required

 Log formats change depending on who will view the final product. For example if the end result is seen in the cinemas than the aspect ratio will most likely be 21:9 because of the size of the cinema screen. On the other hand if the end user is customers watching it on their HDTV then the ratio will be 16:9. Generally speaking, this is the only aspect ratio you can have on a TV because the screen size isn't big enough for a 21:9 ratio. The position and size of the black bars on your television depend on two factors; the aspect ratio of your television and the aspect ratio of the video you are watching. Any mismatch between the two will be filled by the black colour. This is called letterboxing. The picture below shows the black bars on different sized televisions and the main aspect ratios (4:3, 16:9 and 21:9) that are used in the video industry.

As you can see by the picture above, when you watch a 21:9 movie on a 16:9 widescreen TV, you will have black bars at the top and bottom of your screen. This is fairly common and proves that these two ratios are compatible on a screen of that size (55"). Most HDTV's nowadays have a screen aspect ratio of 16:9, allowing you to comfortably watch HD programming without any black lines on the screen. This changes if you buy a 21:9 TV and use it to watch 16:9 programmes. As you can see by the picture above, you are presented with two black lines that are removing 1/3 of the screen. To sum up, log formats may need to change depending on who will see the final product or if the final product will be sent to multiple destinations. So it may need to be in HD 16:9 and in a MP4 format if it's for a professional event. If it's to be distributed to lots of people it's probably better to save it as SD so it can play on most devices.    

2.4: Use aspect ratio or other format/standard conversation to rectify any problems

If you're using multiple cameras that are different in model and make, you may come across a problem during the editing stage. The problem is that the clips may be in different formats. Thanks to modern editing software, this problem can be rectified. To make all of the video look the same you may need to crop and stretch the footage. This can backfire because cropping the video too much may result in a low quality clip and stretching the footage can make the image look squashed and unnatural.    

2.5: Provide sufficient supplies of working materials which are ready for use

Having the right amount of equipment you need on set is important for a number of different reasons. The first (and most important) being if you need to shoot a scene from two different angles and you have two cameras and two tripods available, you can do that. This saves time because you don't have to do another take for just one shot but at a different angle. Secondly, to avoid shooting in different formats on multiple cameras, they should be set in the same format before the shoot begins which will save time in the editing process. Also, having several SD cards available will allow you to shoot more footage. It's always best to shoot more rather than less because you can cut footage you don't need out. If you don't record enough material you may need to return to the shooting location another day which will waste time. If you don't have access to the location anymore you may find a couple of scenes are missing when you put the footage together.     

2.6: Implement arrangements for source materials in unsuitable formats to be transferred in the correct format

2.7: Assess accurately the technical quality of source materials, taking any required remedial action

When you capture video and audio and then import those files onto editing software, you may see and hear a considerable drop in video and audio quality. This is because the footage isn't going to be exactly how you thought it would be when playing it back on your camera. Common problems that people oversee when reviewing the footage on set are dark shots, low audio and reduced colour saturation. These problems can be solved easily in post production; a simple brighting effect will help to alleviate the darker shots, the volume of the audio can be increased, removing the hum and background interference for a more crisp recording and increasing the colour saturation and temperature of the shots so the colours look bright and are appropriate for the theme of the film. 

Unfortunately, not all problems you may face can be as easily solved. For example, if the tone or pitch of a piece of audio is the main problem then it may be necessary to re record the dialogue in a recording studio and dub the line over the footage.     

3.1: Select an appropriate resolution and storage location, ensuring there is sufficient storage available at the required resolution

An appropriate resolution would be HD 1080p and a storage location big enough to hold that much memory would be my internal hard drive located in my iMac. With 500GB of internal storage, that is more than enough for my project. I can easily manage how much storage I have available by clicking on "System Properties" and selecting the "Storage" tab.

Storage destination.

I have used about half of my internal memory. There is sufficient room for
high resolution material.

3.2: Ensure the line up is correct and to the required technical standard

It is very important to check the equipment thoroughly before commencing with the shoot. This is to ensure camera settings like the exposure, brightness and resolution are set to the appropriate technical standard. Audio equipment such as a mic equally needs to be checked prior the shoot to make sure they are turned on, free from static interference and are connected to the camera body.

3.3: Take remedial action if equipment problems occur

If problems do arise with the equipment while on set we'll take remedial action wherever possible to make sure the shoot still goes ahead as planned. If the equipment is beyond repair we would use other equipment, making a note of the damage so it can be repaired or replaced at a later date. If one crucial piece of equipment is damaged like a lens then we may need to come back another day to shoot those shots. It may waste time but accidents do happen and it is good practice for us to prepare for these types of scenarios in future shoots.

3.4: Check and line up correctly picture and sound levels and audio format as required

The screenshots are used to answer this question. They depict myself editing the "Projects Trailer" I made. 

I started by creating a new project as I added a still image on
the timeline.

Then, I dragged the relevant clips that'd been imported from
the camera onto the timeline, cutting them until they flowed
fluently from one shot to the next.

Video files stored in one place so
I can view them straight away.

Audio files were also kept together
and were separate from other elements.

Next, I aligned the audio over the appropriate piece of footage. To make this stage easier it is a good idea to use a clapperboard or simply clap with your hands when you take an audio recording so you can mix them with other audio files.

I tampered with the "Loudness", "Background Noise Removal"
and the "Hum removal" of each audio clip so I could get the audio to
sound natural with little to no background interference.

It's a good idea to use headphones when playing back the audio clips so you can hear everything with no distractions. This will help get the volume levels to the right percentage. Headphones will allow you to hear if the background music fits over the audio and if it doesn't then the volume of the soundtrack needs to be increased or decreased depending on the circumstances.

This is the final edit for the "Projects Trailer" which has both video and audio clips mixed together smoothly. The trailer is available to watch in it's entirety on the Projects page.

4.1: Input accurate information about source materials during capture

There are times when we may need to log specific information. This is especially apparent if we have captured tons of material and need a way of quickly identifying a specific clip. For example, if we recorded an interview with a bunch of different people, we would need to note down the names of those people along with the clip number that they are present in so they can be referenced in the final edit. A log format would be efficient to store this information, allowing us to refer back to it during post production. 

4.2: Select correct time code source during capture

Timecodes basically record and identify each solitary frame in a video clip. By default time codes appear in the format of "hours: minutes: seconds: frames". Timecodes support a number of features on the editing software that I use, Final Cut Pro, including timeline playbacks, syncing video and audio items and also moving and trimming clips. The correct timecode source depends on what I am using the footage for. The most common type used universally in film, TV and any type of video/audio production is linear timecode (LTC) which is the most suitable time code for me. Using linear timecode is a great way to match up separate recorded audio and video clips, creating a more precise final cut.  

4.3: Select specified tracks accurately for capturing from source materials

The picture above shows the editing process for Short Film 3 "The Interview". I have included a range of video clips from the footage I imported at an earlier date. The editing was done offline to create a smaller file size when exporting. You can see I have included multiple video clips that have been trimmed so the whole piece flows fluently from one shot to the next. Title effects and end credits were used to make it look more professional as well as adding another element of filmmaking. Audio files were also mixed together comfortably with the audio attached to the clips. Sound mixing was needed to get the voiceovers and source audio to sync. Background music was used throughout the film, it was the right tone for the theme of the movie. As you can see from the screenshot I was able to tell the difference between each element on the timeline because of the colour of the clip. Video footage is blue across the bars of the clip, audio files and background music are green and the effects are purple. To make it even more convenient for the user, the media is positioned on different tracks. The primary track is used for placing source footage, it's usually the one at the bottom. Any still images or effects will be put on different tracks to make it easy to select a specific clip. Background music and narration/sound effects are separated into two tacks to make it easier to tell the difference between the audio.   

All audio clips were named (Voice 1 etc.) so I knew what needed to go where on the timeline.

4.4: Monitor the technical quality to identify any problems during the capturing process

The orange line in the picture represents the effect trying to render. If a number of elements are rendering at the same time the time line and indeed the whole editing software may lag so it is important I refrain from adding any new content onto the timeline until the rendering for that clip is done. Playback will also be affected as it will buffer or just skip past the clip that is rendering all together. I will be notified when rendering is complete by the orange line disappearing.

Another technical problem that I encountered while editing was the effect know as letterboxing. As you can see from the picture, the actor's eyes are out of frame. This is because I did not intend on capturing these clips at the cinematic ratio 2:35:1 when we filmed them so a lot of shots looked like this. After realising the mistake made, I quickly reset all shots to have an aspect ratio of 1.78:1. 

That resolved the problem.  

Re captured aspect ratio.

4.5: Store captured materials as required, ensuring that they are labelled accurately and unambiguously

Finally, after I have edited together the final product it was time to store the captured materials by exporting them from the editing software into a standard file type like an MP4. Depending on who the audience is it my be necessary to import a copy of the edited cut onto video hosting websites like YouTube which can be done easily through the editing software itself.

Screenshot shows file has been labelled accurately with all relevant information included in the window. The length of the video, how many frames per second, resolution quality and of course file size can all be seen in the "Import" window. 

All videos that are featured on this blog were first imported onto YouTube where I could then extract the video's code and paste it on

the blog. YouTube also provided me with opportunity to edit minor parts of the video like altering the brightness level and turning on "image stabilisation".

My master copy was kept in a named folder in "My Documents so I could easily locate it if I                                                                                            ever needed to.

Background tasks allow you to see things that are going on in the background
of the editing software. If while editing, the software is laggy check the background tasks as this might be
the cause.

4.6: Maintain accurate records in the required format

As for any documents that were not on the computer we had to archive these files as well. We scanned all paper files using the photo copier onto a file on the computer system which we could all access. The original documents were placed in a folder which, again, we all had access to it.

5.1: Check unclear or ambiguous requirements promptly with the relevant parties

The first requirement that was unclear was with regards to the editing software. We used to different editing packages during the course and these were Adobe Premiere Pro and Final Cut Pro. Unfortunately, I only had access to Final Cut because it was only installed on my laptop which limited access for other team members who had to wait for me to bring my computer in so we could edit together. A solution was eventually found and that was that my employer would buy Premiere Pro which would save time as one half of the team could one video and the other could edit another. Unfortunately, there were some technical difficulties as the software couldn't install because it required an administrative password.  We liaised with the relevant parties, which in this case, were the IT team who quickly resolved the issue by entering their account details and allowing the software to be installed.

5.2: Report technical quality problems to the relevant parties

I, nor the team encountered any technical problems during the editing process. But problems could of risen if we didn't have sufficient RAM, processing power etc. fitted into the computer. This could have a knock on effect with your whole experience of using the software with regards to dropped frames, damaged audio files as well as the software completely crashing when attempting to upload large video files. 

5.3: Report equipment problems to the relevant parties

During the filming all the short films we never really came across any major equipment problems. Of course there was a number of times when we had to halt the shoot because the battery in the camera had ran out and we never brought a spare. Apart from a little inconvenience there wasn't anything major we had to deal with. If we had encountered a big problem like if a lens got smashed then we would need to speak to our trainer, as he provides us with the equipment so therefore John is the relevant party we would need to report to.