Category: Video Production

  • Before Ctrl+Z: Exploring Film Editing’s Golden Age with Walter Murch’s ‘Her Name Was Moviola’

    Currently in post-production, Oscar-winning editor Walter Murch is working on a passion project, ‘Her Name was Moviola‘, a documentary about cutting film the way it “used to be done”.

    What is a Moviola? Well, simply put the Moviola was a tool used in the process of editing film from the 1920 all the way to the 1970s.

    la moviola” by luarembepe is licensed under CC BY-SA 2.0.

    Not a flashy device, but a workhorse of the film industry! Editors like Walter used the Moviola to birth masterpieces like “Citizen Kane” and “Gone with the Wind”, shaping the language of film editing for generations.

    Although I’ve never used a Moviola, I have an appreciation for the craft of early film editing, decades before the advent of non-linear editors like Avid, Adobe Premiere, and Final Cut Pro.

    I started editing video on 3/4″ U-Matic A/B roll editing systems in the 1990s and although not the same, it was the video’s precursor to non-linear computer-based editing software. Both film and video were tactile experiences, with physical media to manipulate. I can hear the U-Matic tape machines clicking and whirling as it took commands from the editor controller. The Moviola was even more tactile, as editors physically interacted with the film, threading, marking, splicing, and reviewing.

    There’s no better person to enlighten the future generations of our past than Walter. He has spent a lifetime focused on his craft and giving back. Remarkably open, Walter has shared his thoughts through books, documentaries, interviews, and even a letter to film critic Roger Ebert, “Why 3D doesn’t work and never will. Case closed.”, which is a great example of Walter’s thoughtful views.

    “If we don’t do something like this soon, it will be too late. Those of us with the muscle-memory of how to dance with the Moviola are exiting the scene, and all the necessary support equipment is disappearing into landfills with each passing day.”

    – Walter Murch

    You can learn more about the film on the website: https://moviolathemovie.com/

    There’s also an active Twitter/X: https://twitter.com/MoviolaTheMovie

    On October 1st the group announced they were going into the final stages of post-production. A release date has not been announced yet, I’ll be keeping an eye on this one!

    You can learn much more about this project and the motivations behind it, in this great interview with Walter Murch on the Pro Video Coalition website: https://www.provideocoalition.com/her-name-was-moviola-an-interview-with-walter-murch-about-film-editing-with-the-moviola/

  • Trim video without re-encoding using ffmpeg

    I’ve been taking the time to learn ffmpeg and some of the really useful stuff you can do with this command line tool (CLI).

    Here’s one example of a situation I find myself in frequently and have not had a great solution until now.

    The ability to trim a video file without re-encoding!

    “Re-encoding” means loss of video quality in my mind. Not quite as bad as copying a VHS tape, known in the analog world as a “generation loss” Having the ability to trim a video file WITHOUT suffering any quality loss, that was a WOW ffmpeg moment for me.

    This is an issue that comes up frequently in community media and I’m sure all video professionals have delt with this issue.

    You have some raw footage you wan to keep for the future, but the camera operator forgot to stop recording and the file has a bunch of “junk” at the end.

    Or you digitized some analog tapes and during the process you walk away only to come back to “snow” or “junk” at the end of the tape that you have now just captured.

    Or you have a video file with the standard leader of color bars and countdown at the beginning. You want to trim the footage, but don’t want to lose video quality in the process…

    So you either keep all the extra “junk” taking up space on your drive or you open up your editing software and edit out the junk and take the hit and re-encode.

    Right now, I’m cleaning up a 70TB Synology NAS that is nearly full. I found several large files that fit the above examples.

    Using ffmpeg and a rather simple command line, I was able to clean up some of these files and free up some space.

    Here’s an example of the command line I used:

    ffmpeg -i BestVideoEver.mov -ss 00:37 -t 51:14 -c:a copy -c:v copy BestVideoEver-trimmed.mov

    To break this string down just a bit, here’s what’s happening

    -i = Input Video
    -ss 00:00 = In-Point (everything before will be removed)
    -t 00:00 = Out-Point (everything after will be removed)
    -c:a copy = Copy Audio (Copy NOT re-encode)
    -c:v copy = Copy Video (Copy NOT re-encode)

    Finally “BestVideoEver-trimmed.mov” is the ffmpeg output file, which you can set to a specific destination if you want, for example:

    ffmpeg -i BestVideoEver.mov -ss 00:37 -t 51:14 -c:a copy -c:v copy /users/michaelwebber/Desktop/BestVideoEver-trimmed.mov

    Anyway, that’s it! Something I learned how to do recently and wanted to share just in case others find it useful.

    If you want to learn MUCH more about ffmpeg I recommend reading this blog post. Covers a whole bunch of topics including how to install ffmpeg and many of the cool features. Never knew you could edit video and even add text graphics with ffmpeg. I really recommend this blog post at img.ly, an in-depth, well-organized post.

  • Zoom TV Interviews

    Feeding our Blackmagic ATEM Switcher with Zoom Participants

    Four computers running Zoom feeding Blackmagic ATEM

    A few weeks ago I had a blog post on my Zoom and Stream Deck configuration to support TV interviews. The setup continues to evolve and I wanted to take a moment to share an update.

    The biggest problem we have with Zoom is the Audio-Follow-Video auto-switching within Zoom. We prefer to see people full screen and don’t want to depend on the gallery view, in fact I try to avoid it.

    Using the spotlight or pin tools in Zoom just doesn’t work fast enough for our purposes. We want to cut between participants just like we would in a traditional in-studio interview show. This includes reaction shots and cutaways.

    Multiple Zoom Calls Into Switcher

    The new setup we’re experimenting with uses multiple PCs, all with separate Zoom connections, each set to full screen with a single participant “pinned”. The output of each PC feeds the Blackmagic ATEM via HDMI as a source.

    I was a little concerned about lip-sync or slight delays between PC connections to Zoom. Thankfully that’s been a non-issue, everything syncs!

    Primary Audio

    To be clear, we’re only pulling audio from ONE of the PCs (input #1) with the gallery view display. All other switcher inputs are video only.

    Once setup and configures, which does take a few minutes to establish all the Zoom calls, it works great! We can now switch between headshots, in the same way we would if guests were in-studio. I can bring in lower third graphics without fear the Zoom auto-switching and don’t need to chase pinning and spotlighting people.

    The only downside is the number of PCs needed… To have a true single shot of everyone you need one more PC than you have participants. (one is always dedicated to the gallery or multiview.)

    So in this case I have FOUR workstations running Zoom for a three-person show.

    Couple of Notes & Tips

    • “Hide self-view” on the PC displaying the gallery view.
    • All other Zoom workstations should have their mic and cameras OFF as they are for view only purposes of feeding the switcher.
    • All Zoom workstations must be set up in a dual-monitor setup, with the pinned zoom person on the second monitor. Then you want to open up the chatbox and place it on the first (primary monitor) THIS IS CRITICAL! Placing the chat box open on the primary monitor avoids pop-up alerts on your full screen pinned video. (Hopefully, that makes sense)
    • You also want to “Hide all non-video participants” on the main gallery view feed so you don’t see all the extra zoom caller PCs feeding the switcher.

    Happy to answer any questions and would love to hear anyone with suggestions on how I might improve things.

    What a mess! Our experimental COVID-19 rig is constantly changing. The lessons learned from this will no doubt alter our planned studio and control room upgrades scheduled for this year.
  • Production Switcher to Zoom

    Production Switcher to Zoom

    Blackmagic Web Presenter, the perfect tool for the job.

    After several weeks on backorder, our Blackmagic Web Presenter arrived from BH Photo!

    The “black box” is a simple device that works out of the box. No drives, no software. Simply take the output of your video production switcher, professional SDI camera or HDMI source into the BM Web Presenter. Then connect a USB cable to your PC/Mac and the audio/video signal appears as a 720p HD webcam to the computer.

    We had ours installed and working with Zoom within minutes.

    Program Return for Zoom

    On a daily basis, we’re producing live interview programs and government meetings using Zoom. We need the guests and participants on Zoom to be able to see our in-studio hosts, graphics, roll-ins, and graphics.

    Feeding program video from our production switcher through the Blackmagic Web Presenter into Zoom gets this done.

    Avoiding Video Feedback on Zoom

    If you are not careful you can easily create a video feedback situation in Zoom. Once you have the production switcher feed working with Zoom I suggest clicking the three dot menu and select “Hide Self View” to prevent those issues.

  • Stream Deck for Zoom Meetings

    Stream Deck for Zoom Meetings

    UPDATE: My setup for Zoom has evolved and somewhat less dependent on StreamDeck now. You may want to check out my new Blog Post with our updated Zoom setup for TV interviews.

    This week I purchased a Stream Deck XL ($235) to help streamline our video productions with Zoom remote guests.

    Since the COVID-19 crisis hit mid-March our community television station scrambled to adapt and help disseminate important information. Zoom quickly became the go-to platform for setting up meetings and remote show guests.

    In the past few weeks, we’ve produced more than a dozen programs using Zoom. Initially, we had an in-studio host and multiple remote guests displayed on an in-studio monitor. Now, most of our interview shows a produced entirely on Zoom.

    Despite the limitations, we are making every effort to maintain high production values, focusing on:

    • Good Clean Audio
    • Well Composed Shots (eyes on the upper third!)
    • Shot sequencing, Close Ups / Multi-Box Switching
    • Graphics, Lower Thirds, Etc.
    • Open/Close Music
    • Still Store for Inserts

    Our existing television studio was not set up well for the shift in production style. This prompted us to build a temporary video production console on several folding tables right inside our studio.

    Adding Steam Deck XL into the Workflow

    Using the Zoom keyboard shortcuts certainly helps the production value. I find myself using Shift-Command-W (Mac) constantly to switch between Speaker view and Gallery View in Zoom. To me that’s the key to using zoom for video production. You can force a better cadence of switching that matches the conversation.

    I do wish there was a way within Zoom that I could force a certain camera view to appear full screen, similar to the normal workflow of a video production switcher. Zoom does offer a “spotlight video” option which does this, but it’s not mapped to a keyboard shortcut and requires too many mouse clicks to make it useful.

    Another shortcut I use often hides the control panel buttons on the lower part of the screen.

    The Stream Deck XL simply automates the keyboard shortcut process and reduces keystrokes to a single button. Allowing new users in the video production environment to get up to speed faster and with better results.

    TIP – ENABLE GLOBAL SHORTCUT

    Enabling global shortcuts really helps the Stream Deck configuration. This setting allows the shortcuts to work even when Zoom is not in focus.

    We’re also using VLC shortcuts to play intro/outro music.

    Bottom row of buttons on our Stream Deck are all shortcuts for Zoom.

    Then I added several shortcuts to websites we use for our live broadcasts.

    A work in progress, but thought I’d share what we have setup so far. If you’re using Stream Deck for video production I’d be curious to hear your use case.

  • LastPass Unlocked Event

    Last Thursday, October 3, 2019 I had an opportunity to attend LastPass’s UnlockedCybersecurity & Identity Trends event in Boston, MA.

    The panel of security experts included:

    • Bill Cheswick, Computer Security and Networking Researcher
    • Gerald Beuchelt, Chief Information Security Officer/Vice President for LogMeIn
    • Steve Gibson, Software Engineer, Security Researcher, and Host of the Security Now Podcast. grc.com

    I’m a big fan of Twit.tv, Leo Laporte, Steve Gibson and I use LastPass every day. So I was really excited to attend the event knowing I’d be participating in an engaging and fun conversation around security, passwords, and learn more about Steve’s solution for passwords, the SQRL project.

    The full-length video of the discussion is available on YouTube, which I’ve embedded below.

    Twit’tv Coverage of the Cybersecurity & Identity Trends Unlocked Event
    October 3, 2019 – Boston, MA
    Twit.tv’s Leo Laporte at the LastPass Unlocked event in Boston, October 2019
    Steve Gibson – grc.com
  • Just Another Game

    Insights from Super Bowl XLIII TV Director Mike Arnolds

    From a Television Production standpoint treating the BIG GAME like it’s “just another game”, as much as possible, might sound strange at first but the approach makes sense. In a recent article on thebroadcastbridge.com, Super Bowl LIII Television Director Mike Arnold shared some insights on how he approaches the game.

    Failure is NOT an Option

    With over 100M television viewers and advertisers taking chances with $5M ads, the stakes could not be higher for all the creative professionals involved with the production of the Super Bowl.

    CBS will be deploying 115 cameras for the coverage this year, which is truly incredible and part of the mystique for viewers. I think we all have a vision in our mind’s eye of a single director staring at a wall of 115 monitors faced with the impossible task of choosing the exact right camera at just the right moment.

    Obviously, it’s not quite like that but we know the task requires great experience and skill developed over many years in the industry. Although there’s 115 cameras, many of them of specialty cameras such as the pylon cams and extra angles for special situations. Director Mike Arnold points out that from his standpoint, there’s no need to keep eyes on all 115 cameras.

    “I try to my focus on my key 20 cameras and let other people worry about the rest,”

    Super Bowl LIII Director Mike Arnold (via thebroadcastbridge.com)

    Just as the football teams should avoid getting overly hyped up or alter established routines, nor should the TV Production Staff. Treating the BIG GAME like it’s “just another game”, as much as possible, is logical and the recipe for success.

    Focus on Story

    Storytelling is always the key a concept that is focused on in the classroom and what drives every script, every outline…what is the story we’re telling. Although Football is a live event and unscripted, there’s always story.

    The Broadcast Bridge article highlights storytelling, explaining how shot sequencing and the use of close-ups help to expose the emotion, the anguish, the elation of the game.

    Paying Attention to the Announcers

    Lastly, I want to point out the importance of having the visual match what the viewer is hearing…from the broadcast team in the booth.

    Arnold said this year his shot selection will often shadow CBS Sports on-air announcer Tony Romo’s commentary, because the former quarterback has gained a reputation for seeing the entire field from a player’s perspective and how plays develop.

    The Broadcast Bridge

    You can check out the full article on The Broadcast Bridge.com

  • Video Production Trade News – Week of July 31, 2017

    Each week I share select trade news articles with students enrolled in my New England Tech video production classes. It’s critical in any field to remain current, follow emerging trends, examine best practices, and learn about various challenges that face the industry.

    Below are some articles from the past week that were discussed during class:

    1. PBS Federal Funding

    “There is no PLAN B” if $450 Million federal budget for PBS is cut.

    Read Full Article: http://www.latimes.com/entertainment/la-et-entertainment-news-updates-july-there-is-no-plan-b-for-public-1501448678-htmlstory.html  

    2. Follow UP on NFL Ratings Discussion

    Since our discussion last week, a J.D. Power 2017 Fan Experience Survey reveals other possible reasons for the dip in ratings.

    Read More: https://www.sbnation.com/2017/7/27/16050800/nfl-viewership-national-anthem-protests-jd-power-survey-2017?yptr=yahoo

    3. Drone UAV Pilot Training

    Website: https://www.zephyr-sim.com/ 

    4. July 30th – Vladimir Zworykin Birthday

    In 1889…Vladimir Zworykin, called the “Father of Television” was born in Russia. He invented the iconoscope in 1931 while in the employ of RCA, the parent company of NBC. He died July 29, 1982 on the eve of his 93rd birthday.

    Read More: http://mediaconfidential.blogspot.com/2017/07/july-30-radio-history.html

  • Video Production Trade News – Week of July 17, 2017

    Each week I share select trade news articles with students enrolled in my New England Tech video production classes. It’s critical in any field to remain current, follow emerging trends, examine best practices, and learn about various challenges that face the industry.

    Below are some articles from the past week that were discussed during class:

    1. NBC Nightly News – New Set Design

    A timely piece of trade news this week as we begin a “Studio Production” course at the college.

    On July 17th NBC Nightly News moved to Studio 3C, where a new set design built by Clickspring Design will debut. 

    According to Newscast Studio, a trade publication with the largest collection of photographs and samples of television sets and graphics packages from around the world, the new NBC studio features:

    • 632 square feet of LED video tiles
    • A double-height LED column, nicknamed “the tower”
    • Color-changing peacock sculpture is suspended from the ceiling, but instead of being lined up in a single plane, each feather is positioned slightly behind its neighbor, so that the sculpture morphs as one views it from different vantage points.  

    The new NBC Nightly News Set in Studio 3C

    Read More – http://www.newscaststudio.com/2017/07/14/nbc-nightly-news-studio-3c/ 

    2. Local TV News Fact Sheet

    PEW Reseach Center released a new study revealing consumer viewing habits of local news, advertising income, and station salaries. 

    PEW is a great resource full of rich data and analysis of our industry.

    Check out the Fact Sheet Here

  • Low Cost Graphics for Blackmagic ATEM Swtichers

    Low Cost Graphics for Blackmagic ATEM Swtichers

    For a while now I’ve been researching low-cost, easy to use Character Generator (CG) system for our Public Access Station’s TV Truck. Today I want to share what I found and outline the solution we’re implementing.

    First, just a little background on what we needed out of the CG system. The station is very active, covering more than a hundred community events each year. Many productions require graphics to be updated and modified on the fly. Especially for sports coverage, it’s is a necessity.

    We also needed a CG that was compatible with our Blackmagic Design ATEM Switcher.

    A quick, but important side note on ATEM switchers. ATEM’s DO NOT have built-in scalers, which means that all incoming video must match exactly what you set in the configuration panel. In our case, we’re using HD 1080i. This is an important note when setting up an external CG.

    Users should also know that ATEM switchers CAN store pre-produced, static graphics. If you’re working on a project where all graphics are known ahead of time, you can simply load your graphics into the switcher, DONE. Photoshop is the best graphics software to accomplish this. There’s also a Photoshop plugin that speeds up the process with some automation, but that’s still not ideal for sports production.

    Once you decide that you need an external CG there are many solutions to look at, here are just a few:

    We first purchased the DataVideo CG350, but found it cumbersome and lacking some basic features we need. Software just felt outdated and difficult to work with, we’ll find a use for the software, but not in our main production truck.

    Other alternatives include Compix Character Generators, which is a great solution. Our station has used their product in the past with our SD systems. We’ve avoided this option, mainly for budget reasons, if you have the budget, Compix is likely one of your best options.

    For our situation, PowerPoint was actually the best solution. A low-cost and user-friendly experience. A system we can deploy in multiple production facilities and deal with failures quickly. For example, if the CG system dies, a quick trip to Best Buy or Amazon.com and we’re back up and running. PowerPoint is a well supported and modern software used by millions, unlike more specialize CG software that has a smaller developer team and only a few hundred users.

    I’m working on a blog post that outlines how to connect PowerPoint to a Blackmagic Design ATEM Switcher. Stay Tuned!