GRASS VALLEY EDIUS Instructions d'installation et d'utilisation

APPLICATION

NOTE

EDIUS for DSLR Post

Stefan Czech, Stefan Czech Filmproduktion, Langen, Germany

November 2010

In addition to traditional video ﬁles, the Grass

Valley™EDIUS®NLE is capable of handling Canon

XF format and EOS movie ﬁles natively, with no

conversion on the timeline. This saves editors

shooting video with Canon DSLR cameras a lot

of time as they can begin editing immediately

after the ﬁles are loaded into EDIUS.

www.grassvalley.com

EDIUS for DSLr PoSt

www.grassvalley.com

EDIUS for DSLr PoSt

It’s been two years since digital single lens reﬂex (DSLR) cam-

eras began to be used for video. The reason is quite simple: the

“ﬁlm look” that a DSLR creates has an absolutely beautiful look

all its own.

The ability to shoot video with the larger sensor of a DSLR

gives the ﬁlmmaker an amazing shallow depth of ﬁeld, which

visually equates to the cinematic look of 35mm ﬁlm.

Thousands of ﬁlmmakers worldwide,

from consumers, to prosumers, to

professionals, have taken the poten-

tial of the DSLR to create impressive

images and amazing movies.

Another beneﬁt of using a big DSLR

sensor is the ability to work with less

light. So many projects can now be

shot with available light. A big plus for

aesthetics and one’s budget.

However, it appeared as though

companies like Canon and Nikon

didn’t plan on the popularity of DSLR

cameras for use in professional and

broadcast videos.

The HD DSLR video trend began with the Canon EOS 5D Mark

II with a full-frame 36x24 mm sensor—at the time, the big-

gest DSLR sensor available to acquire in HD. But it came with

a frame rate of 30p, not the 29.97p or 25p expected by the

broadcast industry.

The reason was simple: DSLR video was designed for the

Internet.

The next generation of DSLRs came with movie functions: the

7D and 1D MKIV. Each had the option to select 24p and 25p

for use in the PAL world and 29.97p for the NTSC world. Each

also delivered 720 50p/60p. In March 2010, Canon released a

ﬁrmware update to give similar functionality to the 5D Mark II

with 24p, 25p, and 29.97p.

Nikon, on the other hand, elected to

remain with 24p—leaving video as a

minor feature in their cameras.

The Canon DLSRs mentioned above

record using a H.264 AVC1 codec

with a variable compression rate

ranging from 35 to 44 Mb/s.

Initially, the biggest challenge was

the conversion of the video ﬁles

from 30p to 25p. Additionally, the

conversion from 30p to 29.97p was

problematic as every NLE had its

own way of handling the conver-

sion, taking an extremely long time and delivering substandard

results.

But frame rate converting is now history.

The H.264 codec was designed as a good balance between

memory usage and image quality, but it was not designed to be

edited quickly on a non-workstation computer.

Unfortunately, there are a great many HD and SD codecs avail-

able. During production, you may not be able to pick the one

that works best for you in post. In fact, you may end up with a

project that utilizes a number of different codecs.

Each individual nonlinear editing system has its own unique

way of handling codecs. For most, the best (and sometimes

only) way is to convert all footage into a speciﬁc format with a

speciﬁc codec that works best for the NLE.

Unfortunately, this can take a signiﬁcant amount of time

depending on how much footage you have, the conversion

process itself, and the speed of your computer—with a major

effect on your time schedule.

In a time of Intel I7 quad core CPUs and fast hard drives, man-

aging HD footage should not be a big problem. But the reality

is different.

With the majority of NLEs, trying to play a timeline in real time

which has a clip from a Canon 5D Mark II (H.264, 1920x1080

25p) mixing with a clip from a Sony EX1/EX3 (MPEG-2,

1920x1080 25p) is nearly impossible.

Some NLEs scale down the output, or require a very powerful

graphics card to calculate the HD image.

It’s the same when your timeline is 1080 25p and you try to add

your client’s 720 25p footage or WMV-compressed 640x480

footage for picture-in-picture. What’s worse is when you try to

render out your ﬁnal project, with no render farm available and

when you’re on deadline.

Some people say that the best way to work with DSLR footage

is to convert everything into another codec. But why should

you have to do this? Why convert it before the ﬁnal render out?

With EDIUS 6, you can easily handle multiple formats, frame

rates, and codecs all on the same timeline without any prob-

lems. That’s why EDIUS’s slogan is “Edit Anything”

EDIUS has everything I need to edit every type of footage that

I like to work with. It doesn’t need to convert anything to play in

real time on the timeline.

Introduction

Editing DSLR Video

EDIUS for DSLr PoSt

www.grassvalley.com

I have two choices for organizing my footage.

First is to copy all my footage from the camera into a folder on

my hard drive. If I’ve done a good job shooting, there are no

problems with the ﬁlenames. Then I simply import the folder

into the EDIUS bin.

The second and easier way is to open the camera’s ﬁle drive

with the EDIUS source browser and add/transfer the audio,

video, and still image ﬁles into the EDIUS bin and the project

folder at the same time.

Of course I choose a timeline format for my project ahead of

time, but even if I have non-conforming footage, EDIUS can

handle it on the timeline without conversion.

With EDIUS, I can choose nearly every frame speed that I

might need, from 15p to 50p in resolutions up to 4k in every

aspect ratio I could possibly imagine.

Editing with EDIUS 6 gives me:

The fastest way to bring the footage into my project, without•

any time wasted on format conversion

The ability to bring different formats onto one timeline•

Real-time editing with native footage from any DSLR on the•

market

Mixed formats on the timeline allowing me to bring in•

footage from a Sony XDCAM EX/HD, or any other type of

camera

Everything shown in full raster 1920x1080 resolution in real•

time, all the time

No rendering for effects like blur, color correction, transitions,•

fade-ins and outs, time remaps, and slow-motion or speed-up

With the masking tool, the ability to create effects that I only•

thought I could do in specialty software like After Effects, but

in real time

Importing DSLR Files Into EDIUS

For a example, here’s a project with footage with different frame rates:

This project is set with a 1920x1080 25p timeline.

When I import clips into EDIUS, I can

include 1280x720 50p clips as well,

without any worry.

I can drag-and-drop any clip from the bin

to the timeline, regardless of its format.

Although it’s on a 25p timeline, my

10-second 50p clip will play in its native

length of 10 seconds at 25p.

If I want to change the playback frame

rate to 2X slow-motion, that’s easy

as well. I simply right mouse-click on

the 50p clip within the bin and select

“Properties.” I can see that it’s a 50 fps

clip, marked with a star as that was the

recorded frame rate.

If I now choose 25p (like the timeline),

the clip will play at one-half speed (as

I changed the frame rate by half—the

10-second 50p clip now plays back at

25p and takes 20 seconds). This is the

best way to generate 2X slow-motion

from a clip, because it will use all 50

recorded frames.

EDIUS for DSLr PoSt

SALES

Local and regional sales contacts can be found by visiting

www.grassvalley.com/sales

SUPPort

Local and regional support contacts can be found by visiting

www.grassvalley.com/support

USA, Inc. All other tradenames referenced are service marks, trademarks, or registered trademarks of their respective companies. Speciﬁcations subject

to change without notice. PRV-4106M

As we can already see, there are many great creative advantages shooting with DSLRs. But a word of warning: where there is light

there is also shadow, and this can sometimes be just as important with a DSLR camera as with a camcorder with a CMOS chip.

CMOS sensors read line by line, unlike CCD sensors, which read all the lines at the same time. So with a CMOS sensor there is

always a small time difference between the ﬁrst and last line of pixels.

When a pan is a little too fast, vertical elements in the picture—for example a tree or a telegraph pole—tend to tilt into the direc-

tion of the pan. This is called the “rolling shutter effect.” You can see this clearly in the left image below.

EDIUS 6 comes bundled with a range of third-party video and audio effects packages. One of these is ProDAD’s Mercalli, an image

stabilization application.

Mercalli has a special “Anti Rolling Shutter” feature that works really, really well. You simply apply this effect to a clip in the time-

line, ﬁne tune the effect visually, and then let Mercalli render the scene. You can see the result above, in the right hand image—the

problem is ﬁxed, quickly and easily.

Another plus for EDIUS 6!

Once I am done with a project, I can choose almost every kind of codec and format to render out the ﬁnished movie.

The amount of time I save in NOT having to convert formats just to place clips on the timeline and the ability to work with the

native DSLR ﬁles until the ﬁnal render out (including burning to a DVD or Blu-ray Disc directly from the timeline) is the reason I can

work so quickly and efﬁciently for my clients.

My name is Stefan Czech and I run Stefan Czech

Filmproduktion with 3-5 freelancers in Langen, Germany.

At times, I work alone as a freelance cameraman and as an

editor—mostly both—with 90% of my work being time-

critical—shooting two hours of footage on location for 6-10

hours, with the 3-6 minute edited footage having to be

uploaded to YouTube in HD that same night! It is not always

easy to always stay on schedule.

I shoot with two Canon 5D Mark II DSLRs because of

the large range of lenses available. EDIUS 6 gives me the

ability to work with the native ﬁle footage from the DSLR

without any conversion, so I save a lot of time in post.

Fixing in Post

Rendering Out

Biography

Ce manuel convient aux modèles suivants

Autres manuels GRASS VALLEY Logiciel

GRASS VALLEY

GRASS VALLEY EDIUS NEO 3 Manuel utilisateur

GRASS VALLEY

GRASS VALLEY KAYENNE - S V3.0 Mode d’emploi

GRASS VALLEY

GRASS VALLEY K2 TIMEDELAY Manuel utilisateur

GRASS VALLEY

GRASS VALLEY K2 BASECAMP EXPRESS Manuel utilisateur

GRASS VALLEY

GRASS VALLEY HDSTORM Manuel utilisateur

GRASS VALLEY

GRASS VALLEY EDIUS EDIT STATION - DATASHEET 2 Manuel utilisateur

GRASS VALLEY

GRASS VALLEY MAESTRO 1.4 RELEASE NOTES Mode d’emploi

GRASS VALLEY

GRASS VALLEY MEDIAEDGE3 DCM Manuel utilisateur

GRASS VALLEY

GRASS VALLEY NETCONFIG V2.0.12 Manuel utilisateur

GRASS VALLEY

GRASS VALLEY CONCERTO 1.7.6.1 - REV 10-2009 Manuel utilisateur

GRASS VALLEY

GRASS VALLEY KAYAK HD-SD Manuel utilisateur

GRASS VALLEY

GRASS VALLEY EDIUS 6 Manuel utilisateur

GRASS VALLEY

GRASS VALLEY AURORA INGEST 7 Manuel utilisateur

GRASS VALLEY

GRASS VALLEY EDIUS EDIT STATION Manuel utilisateur

GRASS VALLEY

GRASS VALLEY K2-AVID TRANSFER MANAGER Manuel utilisateur

GRASS VALLEY

GRASS VALLEY JUPITER SOFT PANELS Manuel utilisateur

GRASS VALLEY

GRASS VALLEY 8947RDA-FR - Mode d’emploi

GRASS VALLEY

GRASS VALLEY AURORA PLAYOUT - S AND UPGRADE INSTRUCTIONS... Guide de démarrage rapide

GRASS VALLEY

GRASS VALLEY MAESTRO 1.5 RELEASE NOTES Mode d’emploi

GRASS VALLEY

GRASS VALLEY K2 DYNO PA - V1.5 Manuel utilisateur

GRASS VALLEY

GRASS VALLEY EDIUS VERSION 5.1 Fiche d'information produit

GRASS VALLEY

GRASS VALLEY EDIUS FOR AVID EDITORS - Instructions d'installation et d'utilisation

GRASS VALLEY

GRASS VALLEY MEDIAEDGE-SWT4 Manuel utilisateur

GRASS VALLEY

GRASS VALLEY AURORA INGEST - S AND UPGRADE INSTRUCTIONS... Guide de démarrage rapide

Manuels Logiciel populaires d'autres marques

COMPRO

COMPRO COMPROFM Manuel utilisateur

Muratec

Muratec OFFICEBRIDGE ONLINE Manuel utilisateur

Oracle

Oracle Contact Center Anywhere 8.1 Manuel utilisateur

Adobe

Adobe 65007312 - Photoshop Lightroom Manuel

Avaya

Avaya NULL One-X for RIM Blackberry Manuel utilisateur

HP ProLiant BL420c Manuel utilisateur

PS Audio

PS Audio PowerPlay Manuel du propriétaire

Brady

Brady LOCKOUT PRO 3.0 Manuel de service

Avaya

Avaya Interaction Center Manuel utilisateur

Texas Instruments

Texas Instruments TI-83 Plus Silver Edition Manuel

Novell

Novell GROUPWISE 8 - INTERNET AGENT Manuel utilisateur

Oracle

Oracle Application 9i Manuel utilisateur

Acer

Acer RDM Manuel utilisateur

Canon

Canon Vixia HF21 Manuel utilisateur

Canon

Canon ZR950 Manuel utilisateur

Samsung

Samsung Auto Backup Manuel utilisateur

Polycom

Polycom Vortex EF2201 Instructions d'installation et d'utilisation

Brocade Communications Systems

Brocade Communications Systems Brocade 8/12c Manuel utilisateur