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Refined Video Process

Here is an even more detailed step-by-step breakdown of my process for prepping Canon 5D Mark II video for editing in Adobe Premiere CS4. This is a follow-up to my original post regarding this process.

Is this the only process that works? I doubt it, but it’s one I’ve found that works for me. I’m open to suggestions.

The overall process is broken into sub-processes:

Capture

• Capture footage on Canon 5D Mark II
  
• Copy raw video files (I refer to these as “original files”) from CompactFlash card to “Inbox” on computer
  
• Create backup of files
  

Prepare Files for Edit

• Create a new folder that will hold all of the project files. For the purpose of this outline we’ll refer to this folder as “Project Folder”.
  
• Within Project Folder, create the following set of folders:
  
  • Original
    
  • NeoScene 640×360 (this folder holds the “proxy files”)
    
  • NeoScene 1280×720
    
  • NeoScene 1920×1080
    
• Copy the original files into the Original folder
  
• Open files in Quicktime (the NeoScene application is currently only available for Windows, but the codec also works on Mac through Quicktime)
  
• Export the files from Quicktime using the NeoScene codec (Note: The converted files are HUGE. I don’t comprehend why this is, but the file size is significant. Because of this I initially just create the proxy files and mid-size files (1280×720) for standard-definition and web output. I will save the HD conversion and output for when editing is complete and I’m ready to create HD media.) Retain the original file names for all files!
  
  • Use Quicktime & NeoScene to generate converted video files sized at 640×360 and save into the “NeoScene 640×360″ folder.
    
  • Use Quicktime & NeoScene to generate converted video files sized at 1280×720 and save into the “NeoScene 1280×720″ folder.
    
  • Use Quicktime & NeoScene to generate converted video files sized at 1920×1080 and save into the “NeoScene 1920×1080″ folder. Again, only required for HD final output.
    
• Drag and drop (do not copy!) the files in the “NeoScene 640×360″ folder into the root of Project Folder. These serve as the proxy files during editing.
  

Prepare Premiere for Edit

• Create a new Adobe Premiere project. For the New Sequence I use the Available Preset under the HDV folder called “HDV 1080p30.”
  
• In the Media Library in Premiere, navigate to the root of Project Folder
  
• Import the video files you placed in the root of Project Folder (the NeoScene 640×360 proxy files) into the Premiere project
  
• Drag a video file onto the timeline. You’ll notice in the preview screen that the video appears as a thumbnail instead of filling up the window. This is because a 640×360 file is placed on a canvas that is actually 1920×1080. Just select the video clip in the timeline, then select the Clip Menu > Video Options > Scale Frame To Size. The clip should now fill the entire canvas. This doesn’t actually change the size of the clip or the canvas, it just allows you to view the proxy file as though it were the full size.
  

At this point the video files and project file are ready for editing. The next and final sub-process will export the project to the desired format for final presentation.

Export Project Media

This process assumes all editing is complete.

• Replace the proxy files with high-resolution files (Note: This step can be completed while Premiere is running.)
  
  • First, use the Finder to navigate to the root of Project Folder. Select all of the video files in the root of Project Folder and drag them into the “NeoScene 640×360″ folder.
    
  • Then, open the “NeoScene 1280×720″ or “NeoScene 1920×1080″ folder, select all the video files within, and drag them into the root of Project Folder. The files you use in this step depends directly upon the desired final output size. For web or standard resolution I use the 1280×720 files. When exporting to HD I use the 1920×1080 files.
    
• Export the project to the desired format

This seems like a very long and convoluted process, but I’m used to it and it runs smoothly. Of course, I would much rather not have to convert the Canon video files at all, but we can dream.

Hey Look, A Cloud!

Wilderness

This has been my view when I wake up in the morning for the past few days.

Red Hot Headshot

Red Hot Annie

Jinxydoodle Went to Town

Outtake from my session with Siren Jinx over the weekend. Note the appearance of Roary the Lion front and center!

Siren Jinx

Sometimes Things Break

Tomorrow I’m sending one of my lenses in for service. Unfortunately, this is one of the lenses I use for All That Glitters. Without looking at the lens, the service center can only estimate 2-3 weeks turnaround time for the repair, which definitely puts some scheduled portrait sessions in jeopardy.

I’ll know more about the turnaround time once the service center has a chance to look at the lens and give me a quote for the cost and time required for the repair. Here’s hoping both are manageable and there is no significant delay to the project! I have my eye on August for being a big month, both in Chicago as well as surrounding areas.

Thanks to everyone for their support thus far. I’m happy to report that I have 10 shoots in the can. My goal for this first year is 100 portraits. The project is just getting started but I can already tell there’s excitement out there for where it’s going. I won’t be able to pull this off without continued support from the performers and fans alike.

I’ve begun researching performers in the following towns:

• Indianapolis, IN
  
• Detroit, MI
  
• Grand Rapids, MI
  
• Minneapolis, MN
  
• St. Louis, MO
  
• Milwaukee, WI
  
• Madison, WI

Do you have a suggestion for who I should photograph for the project? Do you want to be involved? Drop me a line!

What Burlesque Means to Wham Bam Pam

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