I'm an advertising photographer/videographer based in Los Angeles, California. My mission is to create striking advertising photography, corporate photography and editorial photography of people for major advertising agencies, fortune 500 corporations and major magazines. I shoot photography and video assignments throughout California including Los Angeles, San Francisco, San Diego as well as the rest of the world. As a photo educator I am happy to share my unique vision and methods. I'm currently teaching classes at College of the Canyons in video production for professional photographers and photography students. I give workshops, seminars and lectures on short form video production at colleges, organizations and conferences around the world.

Photographs in Video Production

Posted: July 21st, 2013 | Author: | Filed under: Hoodman, video production, Workflow, Zeiss | Tags: , , , , | No Comments »

As a professional photographer I have a ready supply of stills that I have taken over the years of landscapes, stilllifes and locations.  These images can be a useful addition to my videos.  Remember “video is simply a bunch of stills put together”. This is one of the ways I multi-purpose my work. There is the different that in some video clips something(s) will change position from frame to frame to make it live action but there are many subjects that don’t necessarily have that attribute.  To name a few: landscape without wind or flowing water, buildings, tabletops and so on, you get the idea.

One of the big advantages of using a still in video is if there is any retouching that needs to be done it is only to one frame as that one frame is duplicated over and over when made into a video clip.  This duplication also means the clip can be as long as you need since there is really no end to the number of times a frame can be reproduced.

When preparing a still for conversion into a video clip you should keep some things in mind.  The nominal resolution of video is 72 so that is the minimum resolution your still should end up as.  A higher resolution will not produce a better image and will take up more file space.  You should end up with an image that is a least the size of the video frame you are using so for Full HD you should start with at least a 1920 X 1080 image.  If you plan on any moves like a pan, tilt, push in or pull out you will need to start out with a still with larger dimensions.  For example, if you plan to push in 200% you need to double the size of the still image.  A Full HD frame being 1920 X 1080 times 2 would result in 3840 X 2160 still image that would allow a 200% push in without showing the pixels larger than normal.

If you don’t know what you are going to exactly to do with each still image you convert you might start out with an approximately 4000 X 2200 @ 72 image and see how they work out.  You don’t want bring in overly larger an images as it will cause unnecessary processing time yet they should be big enough to comfortably try some moves.  If you find you are going to make more than a 200% move on an image you can go back and process a larger image for that particular shot.  That is one of the beauties of using still in video, you can resize and recrop your clip after the shoot.

The image should be output from your image manipulation software as a JPEG at the highest quality with a color space of Adobe RGB.  A tiff is not necessary and although the image will be converted down to a Rec. 709 color space which is like the sRGB color space the additional colors the of Adobe RGB might be useful in the conversion.

Start thinking about some of your images that might be useful in your videos and we will see how easy it is to use stills in a Premiere Pro project in my next entry.

Some of the equipment in my toolbox Ziess Distagon T* 2/28 and Planar T* 1,4/50  lenses which I use to get the sharpest images both for photographs and video plus the RAW Steel Hoodman 1000X UDMA7 CF cards which the fastest and american made cards to record my still images and video.

To be continued.

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