(Note: all the info here is for PAL HV20E, for NTSC HV20, there are some slight differences, but the general idea remains the same)
I, like many who are making video on a budget, got a Canon HV20 not long ago. You know, it's THE camera to get in 2007, mostly due to its excellent image quality, true progressive scan mode, and some other interesting features like zebra, manual audio gain control, external microphone input and headphone jack for audio monitoring. All for a reasonable price tag.
What is CINE mode
One of the favourite combos is 25P/CINE mode, and for a reason: getting the ever elusive "film look". 25P offers a true 25 frame/sec, progressive scan mode, and as it has been stated before, it also offers the best low light performance. CINE tries to stay at 1/50th shutter, opens aperture as much as possible before gain creeps in, and gives you a low contrast, high latitude image (less likely to get blown out), which is perfect for post production. It also features a soft image, which to some is due to less in-camera sharpening, to others is an effect necessary to avoid "choppy" transitions between frames in 25P. Whatever it is you may like it or not.
It's been debated on lenghty forum threads whether CINE mode loses image detail or not, without ever arriving at a conclusion. It seems that it loses some mid to low frequency detail. That lost detail is not recoverable in post. Unfortunately, there's no way around this, and you should bear in mind what are your priorities. Do you want a crisp, detailed image? Try TV or AV. Do you want the advantages of enhanced latitude, and getting closer to "film look"? Go CINE. Above all, do your own tests and decide for yourself which mode is the best for the project at hand.
+info:
http://www.dvinfo.net/conf/showthread.php?t=100882
http://www.hv20.com/showthread.php?t=750
http://www.hv20.com/showthread.php?t=1142
http://www.dvinfo.net/conf/showthread.php?t=96017
http://www.vettaville.com/canon_hv20_cinemode_softness.htm
jueves, 13 de diciembre de 2007
viernes, 7 de diciembre de 2007
Tips on writing your first music video treatment
I've been recently asked to make a video for a very well known local artist. He's had a few videos in MTV Latin America already, so the task seemed quite daunting, given the fact that this would be my first music video ever. After talking with the label, it was pretty clear that our budget would be very, very tight, so the idea would be to maximize what we could do with a very small crew, available lighting and locations, kind of "run n' gun" style.
I quickly realized that making a music video is both a very liberating and complex process. You have lots of freedom regarding how to approach it, most continuity constraints are relaxed (or completely forgotten), and you have a very interesting opportunity to experiment new ideas and techniques. You can go as "artsy" as it gets, and still be on a mainstream showcase for your work. On the other hand, this amount of freedom can lead to indecision, ambiguity, and ultimately chaos.
Balancing control and chaos, that's what this game is all about, and this is where the music video treatment comes in handy. This document reflects what I found in the process of making my first music video treatment.
I hope you find it useful!
What is a music video treatment
A music video treatment is a short document (one to two pages long) where the basic concept of the video is explained. It should be easy to read, having as little technical jargon as possible, and it should precisely convey your vision for the song. The main goal of the treatment is to help visualize what the video will look like, how it will develop, and what it will be about. It should convince the artist and/or label that your idea is the best suited for the song.
Visualizing the video
There are several techniques to help you visualize the video, depending on the artist, the song, the relationship you may have with the artist and how you feel comfortable working. Some directors like to work in a very collaborative process with the artist, others prefer to work on their own. Nevertheless, never forget it's you who are in charge, and that the artist trust you on making it happen.
Get to know the artist
I think that taking the time to know the artist really pays off. You show respect for his work, and better prepare yourself for writing the treatment. It's very different if you're writing a treatment for a seasoned artist, who may have a very strong image, to writing for a band that's just beginning. Maybe the artist is very experimental, so you may feel comfortable bidding with an uncommon idea, and so on.
You also get to know the artists projected personality and strong points (and maybe even shortcomings), so that your idea melds well with him.
Brainstorming / free association
Make yourself comfortable with the song. Listen when traveling. Listen at home. Listen at work if you're like many of us who have a day job. Whatever it takes to make you feel intimate with every nuance and detail that may help figure out the direction of the video.
Listen to it, and let ideas flow freely. Let the lyrics, tone and mood of the song suggest images, colors, situations. Don't analyze too much at this stage, the idea here is to get how you feel about the song.
Meet with the artist
If possible, have a meeting with the artist. I have found out that videotaping this first meeting pays off (as long as you and the artist feel comfortable, of course), as there's probably too much information flying around to be able to get it all. This way you can focus on developing ideas and concepts instead of writing or trying to memorize key concepts, thus letting the talk flow freely. Later, in the comfort of your home or studio, you can go through all the talking, logging what you think is important.
The song is the backbone of the video. Its structure can help you set the pace and rhythm, and order the different sequences or ideas you have in mind.
As everything in filmmaking, another valuable technique is to research how others have done it.
As some directors point out, having a unique feature helps defining your video. Think about it. There are tons of videos of bands performing. How many of those you really remember? Having a unique feature, a quirk, may help people remember your video. It doesn't have to be something obvious, maybe just a small detail does it. This quirk can be anything; a location, clothing or costumes, or a plot turning point.
Conclusion
As you can see, there are many techniques that may help you develop the idea and writing a music video treatment. You may feel some of them are useful, others may not. Ultimately, there's no right or wrong way of doing it, the important thing is that you develop a workflow you can rely on, where you feel comfortable working, and which lets you learn from your own mistakes. And that's the beauty of it.
Feel free to comment and/or contribute to this thread on the comments section.
Have lots of fun!
I quickly realized that making a music video is both a very liberating and complex process. You have lots of freedom regarding how to approach it, most continuity constraints are relaxed (or completely forgotten), and you have a very interesting opportunity to experiment new ideas and techniques. You can go as "artsy" as it gets, and still be on a mainstream showcase for your work. On the other hand, this amount of freedom can lead to indecision, ambiguity, and ultimately chaos.
Balancing control and chaos, that's what this game is all about, and this is where the music video treatment comes in handy. This document reflects what I found in the process of making my first music video treatment.
I hope you find it useful!
What is a music video treatment
A music video treatment is a short document (one to two pages long) where the basic concept of the video is explained. It should be easy to read, having as little technical jargon as possible, and it should precisely convey your vision for the song. The main goal of the treatment is to help visualize what the video will look like, how it will develop, and what it will be about. It should convince the artist and/or label that your idea is the best suited for the song.
Visualizing the video
There are several techniques to help you visualize the video, depending on the artist, the song, the relationship you may have with the artist and how you feel comfortable working. Some directors like to work in a very collaborative process with the artist, others prefer to work on their own. Nevertheless, never forget it's you who are in charge, and that the artist trust you on making it happen.
Get to know the artist
I think that taking the time to know the artist really pays off. You show respect for his work, and better prepare yourself for writing the treatment. It's very different if you're writing a treatment for a seasoned artist, who may have a very strong image, to writing for a band that's just beginning. Maybe the artist is very experimental, so you may feel comfortable bidding with an uncommon idea, and so on.
You also get to know the artists projected personality and strong points (and maybe even shortcomings), so that your idea melds well with him.
Brainstorming / free association
Make yourself comfortable with the song. Listen when traveling. Listen at home. Listen at work if you're like many of us who have a day job. Whatever it takes to make you feel intimate with every nuance and detail that may help figure out the direction of the video.
Listen to it, and let ideas flow freely. Let the lyrics, tone and mood of the song suggest images, colors, situations. Don't analyze too much at this stage, the idea here is to get how you feel about the song.
Meet with the artist
If possible, have a meeting with the artist. I have found out that videotaping this first meeting pays off (as long as you and the artist feel comfortable, of course), as there's probably too much information flying around to be able to get it all. This way you can focus on developing ideas and concepts instead of writing or trying to memorize key concepts, thus letting the talk flow freely. Later, in the comfort of your home or studio, you can go through all the talking, logging what you think is important.
- Ask about the mood of the song.
- Ask what he feels about the song.
- Ask what the lyrics are all about.
- Ask there are references that could help (a movie, other music videos, even books, whatever may help better inform you about their concept).
The song is the backbone of the video. Its structure can help you set the pace and rhythm, and order the different sequences or ideas you have in mind.
- Listen to the song carefully.
- Make notes regarding features of the song that stand out (it could be anything from a twist in the lyrics to a percussion hit, a tonal change, etc). Those features could help define turning points in the video.
- Divide the song into verse, chorus, bridge. Let the macro components of the song inform your music video structure.
As everything in filmmaking, another valuable technique is to research how others have done it.
- Youtubing is very fun, and if done with a critical spirit, you can learn a lot. You can spot what you like and what you don't. You can get ideas of what works with what kind of music, etc.
- Googling, as usual, is another important part of the process. You can learn about a particular technique or idea you may want to try, read other people's treatments, etc.
- Visiting forums like dvxuser and pana3ccduser gives you the opportunity of getting in touch with real people that are out there making stuff. You can get feeback and answers on almost any questions you may have, share experiences, and showcase your own work.
- If you are like me, you hate reading on the screen. Any books on the general topics of filmmaking come in handy, and as I found out, there are some (if not many) books on the subject of music videos:
As some directors point out, having a unique feature helps defining your video. Think about it. There are tons of videos of bands performing. How many of those you really remember? Having a unique feature, a quirk, may help people remember your video. It doesn't have to be something obvious, maybe just a small detail does it. This quirk can be anything; a location, clothing or costumes, or a plot turning point.
Conclusion
As you can see, there are many techniques that may help you develop the idea and writing a music video treatment. You may feel some of them are useful, others may not. Ultimately, there's no right or wrong way of doing it, the important thing is that you develop a workflow you can rely on, where you feel comfortable working, and which lets you learn from your own mistakes. And that's the beauty of it.
Feel free to comment and/or contribute to this thread on the comments section.
Have lots of fun!
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