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Clint Milby's "DSLR Post" Now In HDVideo Pro!

HDSLR Shooter’s own Clint Milby has a new article in HDVideo Pro Magazine, “DSLR Post”, and it’s all about DSLR post production!
HDVideoPro-December-2013
In “DSLR Post”, Clint tells you everything you need to know to get started in DSLR post, including a brief history of the H.264 codec, compression issues, and how NLEs have adapted to solve these problems. He then details post production solutions from Adobe, Red Giant and Blackmagic Design, giving you a very well rounded look at the tools availible to those looking at DSLR post production.
You can find “DSLR Post” in HDVideo Pro’s current November/December issue, as well as online at www.hdvideopro.com. Here’s a bit from the article below:

In the beginning, the postproduction workflow for DSLR production was simple. Essentially, the H.264 codec (still used by most DSLR cameras today) had to be transcoded to an intermediate codec like Apple ProRes or Avid DNxHD prior to editing. Once in ProRes or DNxHD, it was easy to take those files to an NLE and begin working. Although the process worked, it was very time-consuming and took up more storage.
H.264 was a format that was designed to provide good-quality video with much lower bit rates. There are many forms of the codec, including the Blu-ray disc format, AVCHD and Sony’s new XAVC, which is the highest level of H.264. For DSLRs, both Canon and Nikon capture H.264 that are wrapped in QuickTime MOV containers.
Adobe’s Prelude CC (top) can ingest, log and transcode your footage. SpeedGrade (above) is Adobe’s new color-grading app, which was added to their Creative Cloud.
NLES EMBRACE H.264 (WELL, SORT OF)
In 2009, Final Cut Pro, Adobe Premiere Pro CS5 and Avid Media Composer 5 adapted to accept the H.264 files natively. However, the intense compression would tax computer hardware to the point of crashing, which would happen often. H.264 compression is also inherently fragile, which becomes apparent when color grading and performing visual effects.
Adobe and Avid tweaked their software to go “native,” letting you work directly with H.264. Both NLEs performed admirably, but only if you had up-to-date hardware to handle the files. In some cases, the results could show some wear and tear. Many times, you were left with harsh, contrasty, oversaturated images pockmarked with pixelated artifacts.

Written by Jake Fruia

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