Filming Her Majesty The Queen

Today I had the pleasure of attending the Royal opening of Thornham Village Hall.  I attended and captured the arrival and departure of The Queen assisted by my lecturer James Fox , SpringboardTV.com colleagues ; Luke Leeks , Ilze Vermane Kieran Hudson. The shoot was a great success & a great experience. I also had the opportunity to work in conjunction with ITV sharing footage (I had shot ) with ITV to use in there afternoon and evening broadcasts. SpringboardTV were also featured in the Piece.

http://www.itv.com/news/anglia/story/2014-01-28/the-queen-opens-village-hall/

We now plan to create a special feature on the day in which we shall include in the second version of the DVD which will be produced by David Rawlinson for the client and for sale to the general public via http://www.springboardtv.com/

Variables to consider when :Delivering The Thornham DVD To The Client

What class of deliverable does the client need?

When working with a client, you need to make sure that they are prepared to receive the files you’re delivering. Just as with still photography, it’s important to choose the right way to format the deliverable. A layered Photoshop file may be difficult or impossible for some clients to open. And a savvy client who needs to make edits may be just as dissatisfied with the compressed JPEG you send via email. You might also hesitate in handing over all of your images from the shoot if you didn’t pre-negotiate the terms.

The same situation exists with video files. You need to clarify what class of file the client is prepared to receive. Ideally this discussion would have happened up front (as it will often affect the cost of the project). Here are several classes of deliverable to discuss with your client.

• Digital Master – As the name implies, a master file generally refers to a single, self-contained digital file that matches or exceeds the codec quality of the original camera acquisition. In most scenarios, the final video gets compressed or converted for multiple uses. Because of all this reformatting, it’s really important that you start out with the best quality image that you can. This file should be created with a very high quality codec, rendered at very high quality settings. Common choices include ProRes, Avid, and Cineform.
• Mezzanine Files – A Mezzanine file is a lightly compressed master file that will stand up to making additional compressed versions.The use of mezzanine files is popular as they simplify the process for most users. In this case, a high-quality file is created using minimal compression. A popular choice is to use the H.264 codec, but with a data rate that is much higher than a DSLR camera. The file is smaller and easier to backup or transport, as ome compression is applied, meaning that the file can be more easily shared or transferred using the Internet. However, the data rate is high enough that the file can be easily re-compressed for smaller sizes.
• Compressed Deliverables – This category of files typically refers to a wide range of files designed for playback on the web as well as consumer electronic devices and portable media players. It is quite possible that this list can grow into dozens of files quickly if you optimize for individual devices. If you are creating these files for your client, be sure to budget output and testing of each deliverable on a version of the intended playback device.
• Project/source files – This is a large area of conflict between client and vendor. The client may expect that video projects are works made for hire and expect that all footage you shot, as well as the project files for video editing and graphics, are bundled up and turned over to them. This opens up a myriad of potential issues and clearly shows where the video and photography industries differ on standard business practices. If you do deliver project and source files, most nonlinear editing tools have a media or project manager that can simplify the process.

Testing compatibility

Before you send your video out the door to a client (or even your audience) be sure to thoroughly test it. Always test each web video preset you intend to use by taking it and running it on a clip. Then take the resulting file and transfer it to an intended player. If the preset says its for an iPod, put the file on an iPod and an iPhone. If you are required to deliver on DVD, burn a disc and play it on a television. You need to test your settings because something can go wrong with the file.

Before you compress a lot of video, create a small test file. Try compressing 30 seconds of video with different settings. This test file should ideally include a mixture of footage and graphics that will be in your final shows. The goal is to find compression settings that work well with your material and are also compatible with the technology your audience wants to use.

Best practices

Here are some suggestions on best practices for creating optical discs:

• Use variable bit-rate encoding (VBR) – Variable bit-rate (VBR) encoding adjusts bit rate depending on the subject mater that is being encoded. If a shot is simpler with less movement, the total bit rate will be reduced. VBR encoding is more efficient and leads to smaller, better-looking files when compared to constant bit-rate (CBR) encoding.
• Watch bit rates– Setting a bit rate (or quality level) too high will create excessively large files that may not play smoothly with older players or software. The files might also skip and stutter. Conversely a bit rate that is too low will reduce quality but give you smaller files. When encoding for DVD VBR bit rates that are between 4–8 Mbps work well and for Blu-ray we’ve found bit VBR rates between 12-25 Mbps are appropriate for most situations
• Use progressive sources where possible – For both DVD and Blu-ray you’ll get better results from MPEG2 and H.264 encoding when your sources are progressive.

Duplication vs. replication

When creating DVDs or BDs, you have two choices in manufacturing the optical discs. If you’re dealing with small quantities, you can use the optical burner or disc drive with your computer. These discs are easy to make, but may not be as compatible in all players.

If you need to produce discs in larger quantities, the use of replication is preferred. In this case, a master disc image is created (often called the glass master). Discs can then be created using specialized hardware that creates the discs much faster and with greater accuracy to prevent errors. This process is typically used for orders above 500 discs.audience) be sure to thoroughly test it. Always test each web video preset you intend to use by taking it and running it on a clip. Then take the resulting file and transfer it to an intended player. If the preset says its for an iPod, put the file on an iPod and an iPhone. If you are required to deliver on DVD, burn a disc and play it on a television. You need to test your settings because something can go wrong with the file.

Before you compress a lot of video, create a small test file. Try compressing 30 seconds of video with different settings. This test file should ideally include a mixture of footage and graphics that will be in your final shows. The goal is to find compression settings that work well with your material and are also compatible with the technology your audience wants to use.

DVD Copyright Warnings

SO..... ??  You have waited while the player fires up and then starts reading the disk.

Then, just when you think you are going to get some entertainment, instead you have to sit through the copyright notices.

You try in vain to fast forward or skip them but you cannot.

So does it need to be there?

Having the copyright notice there increases the damages that can be awarded if you subsequently infringe copyright In the UK you can get what are called 'flagrancy damages' if you knowingly copy something you shouldn't.

Copyright: International validity With regard to the “international” aspect, here are some important points: -the original creation has an automatic right, the copyright, by the mere fact of its existence (if the work is original, the author’s copyright is born on the creation, with no formality).

-The copyright is recognised by the Berne Convention in 164 countries. If the filing party has this right in one of the signatory countries, he will systematically have it in any of the other countries, so he can assert that right. Especially in the case his work is copied. -Consequently, beyond the theoretical aspect of the copyright, there is practice: filing is used to PROVE the right by means of an unchallengeable registration that enables the author to create a probative link between his creation and the date of creation. This is called proof of anteriority, which is essential for asserting the author’s rights, in particular. Copyright: International validity With regard to the “international” aspect, here are some important points: -the original creation has an automatic right, the copyright, by the mere fact of its existence (if the work is original, the author’s copyright is born on the creation, with no formality). -The copyright is recognised by the Berne Convention in 164 countries. If the filing party has this right in one of the signatory countries, he will systematically have it in any of the other countries, so he can assert that right. Especially in the case his work is copied. -Consequently, beyond the theoretical aspect of the copyright, there is practice: filing is used to PROVE the right by means of an unchallengeable registration that enables the author to create a probative link between his creation and the date of creation. This is called proof of anteriority, which is essential for asserting the author’s rights, in particular.

Read more: http://copyright.co.uk/legal-copyright-law.html#ixzz2rFWBOHxz

When in America......

http://www.fbi.gov/about-us/investigate/white_collar/ipr/anti-piracy

In Feb. 2004 the FBI released its new official “anti-piracy” logo for use on videos, DVD’s, CD’s, etc.

I would show the logo here but since August 2006, the FBI has only authorized its use by members of the Motion Picture Association of America (MPAA), the Recording Industry Association of America (RIAA), the Software & Information Industry Association (SIIA), the Business Software Alliance (BSA) and the Entertainment Software Association (ESA), subject to each member entering into a formal Uniform Authorization Agreement.

Unauthorised use of the FBI seal, name, and initials are subject to prosecution under Federal Criminal law, including Sections 701, 709, and 712 of Title 18 of the United States Code.

Warning: The unauthorized reproduction or distribution of this copyrighted work is illegal. Criminal copyright infringement, including infringement without monetary gain, is investigated by the FBI and is punishable by up to five years in federal prison and a fine of $250,000.”

The purpose of the APW Seal is to remind media users of the serious consequences of pirating copyrighted works. Use of this seal does not indicate that the FBI has reviewed or validated copyright interests in the particular work and does not provide greater legal protection to the work. It simply serves as a widely recognizable reminder of the FBI’s authority and mission with respect to the protection of intellectual property rights.

Even some releases of American issue releases have the Federal piracy emblem on the DVD Disk itself..

Instructions on how to copyright your DVD in America.

1. • 1
     Direct your browser to the official U.S. Copyright Office website (See resources). Not only can you register your work, but the site also provides vital information regarding your rights of ownership.
   • 2
     Fill out form "CO." This is the form needed to copyright your DVD. A separate form is needed for each DVD. Complete the form online or print the PDF version.
   • 3
     Submit your form. If you submit the form via the Internet, you'll have to mail in a physical copy along with your DVD. Submitting via the Internet will get the process started and will permit you to track your application. Your work is registered from the time you submit your registration. However, it will take up to six months to receive your official copyright certificate via mail.
   • 4
     Pay the fee. The fee is $35 or $50, depending on your registration method. You can copyright as much as you can fit on a DVD for one fee.

Essential Training for DVD pro

I Highly recommend this site for extensive tutorials , and advanced trouble shooting should you run into issues when Authoring...




http://www.lynda.com/DVD-Studio-Pro-4-tutorials/essential-training/464-2.html

DVD AUTHORING - First play & setting targets

Standard Definition DVD / DVD 5. First play - Attaching first play to assets / tracks 

 In final cut pro select the duration of the asset you wish to see when the DVD starts, this is highlighted by a disk icon on the 'Disk' menu screen of DVD pro.

In this example i have created an asset in Final Cut Pro which is my main menu screen. Generally for the first play asset you would have a copyright warning logo/ frame. But for this example i'm using the main menu. Which when the asset is uploaded to DVD Pro you drag the specific asset into the first play icon Starting the chain of play from asset to asset.

Firstly using a colour solid from the text tool and various selected clips merged together on the timeline I have created a menu screen and shall send to Compressor and create an asset to upload to DVD studio pro ( this process as explained in previous post)   

Once step one has been completed and you have each asset imported into the 'Disk' Menu the next thing you need to do is to set targets from each of the assets or tracks from menu screen to screen, the pathway you wish the viewer to see each time they select each button..... 

 ' This is DVD Authoring'

Select created button and within the options of the button menu located at the bottom right of the screen in DVD Pro. There will be a option to 'Set Target' if you select this you can assign the asset you wish to merge with the specific button. So the user when selecting this button will be taken to this specific asset.

once you have set all the targets and have a cohesive chain of play from asset to assets including features and tracks your ready to burn.

Compressing sequences for a Pro DVD : The basics

 When beginning to create assets for your DVD , firstly you need to import a sequence from 

(in this specific case) from Final cut pro. 

* Firstly select in & out points on your Final cut Timeline, then select file- and SEND TO COMPRESSOR / (442 apple pro resolution). 

* As Compressor opens your sequence will appear in the left viewer. The next step is to add separate audio and visual tracks onto the sequence file as they will not be muxed & separate files are needed to create a DVD.

* You can add these files by selecting them from the lower left toolbar in apple settings. Then drag and drop the selected files onto the timeline icon.

2) I would recommend you use Dolby 2.0 (. AC 3 ) which is a great file ext as it is a small file size, High quality and is compatible worldwide. (Stereo)

N.B. But for larger impact or higher quality, if you have the disk space use (DTS 5.2)


3) Secondly drag the video/ Mpeg - 2.62 mbps 2 pass (.M2V file) for best quality video using Mac

N/B 2 pass VBR Best can be time consuming and slow to compress as it encodes all fields individually top first. (compressed & encoded twice = 2pass)

*  Select encoder in the Inspector toolbar. For best results the settings should be set at :

*Video Format : PAL

*Frame Rate : 25

*Aspect Ratio 16:9

*Field dominance : Top First

*Increase average rate to 6.8mbps which will increase bit rate to 8.0 mbps which will again allow your DVD to play worldwide DVD 5 4.7 GB

* select submit and your sequence will be compressed to an asset

Planning a DVD author... Flow Chart Exercise

When Planning a DVD author , one must consider the flow of options and assets (Content) a consumer of you DVD may see or possibly interact with (If you give them the option)
 I devised in class a flow chart to show the possible screens or assets the consumer may encounter
from the moment the DVD first loads to the point of watching and finishing the main feature. Highlighting the various buttons and selectable screens or assets also.

 I believe as a DVD authourer planning to produce a product, this is a valuable exercise. As it can inspire further ideas plus ground a producer in how vast your options can be and potentialy how complex or simple a DVD you can create. Ultimatly its best to be aware of what options are both genericly available in the modern market and to be able to confidently pitch or offer a client. Plus give you an idea of the workload you are embarking upon.

ROOT MENU SCREEN : & the buttons leading to assets

BONUS FEATURES SCREEN : & the buttons leading to assets



SET UP SCREEN : & the buttons leading to assets

 

SCENE SELECTION SCREEN : & the buttons leading to assets

Thornham DVD production

Working with the client : Covering the Producer.

 Today I met with the client (Colin Venes) in the absence of the DVD authoring producer.
Firstly we discussed the variables of the possible author of the DVD and the specific assets he desires to have , establishing these from the content we have edited and available to us.

The Thornham documentary that I directed and produced being the main feature.

Thornham Doc by Sean Marc Rees

http://www.youtube.com/watch?v=fLC01OjH3OY

Secondly we discussed the clients vision for the aesthetic look of the DVD. He was very impressed with the original concepts of the design , but did offer various insights into a specific font style he was i favour of , rather than others we suggested.

We established that we would create the following assets and they would be available on the DVD Menus :

Documentary : Main Feature

Special Features :

• The Thornham promotional VT
• Aerial shoot (entire VT)
• Interviews
• New Village Hall Sequences
• Mr Needhams Farewell Speech of the 'OLD' Drill Hall
• Audio Tapes of historical information , complete with subtitles and Gallery photo sequence
• History Bio of Thornham
• Photo Gallery

Also during my time with the client I also took the opportunity to invite Colin to do an Introduction to the DVD to camera in which he agreed.

 Finally we were very privileged in the fact when discussing ongoing filming opportunities for The 'New Hall' footage assets. Which include YOGA , FOOTBALL , ZUMBA & SOUP AND SANDWICH events. We were told that Her Majesty the Queen would be officially opening the 'New Hall'  and we would be invited to attend and capture the event taking place on the 28th January in Thornham.

Following the departure of the client as a team we established who within the class would take charge of creating each of the assets, so to ensure the DVD can be delivered to the client by the Deadline 4th Feb 2014 

Areas To Consider PT II

DVD authoring

Ultimately, an authored DVD will enhance your project greatly.

If you shed blood, sweat and tears on a short film, documentary or showreel etc, then you will want to present it in the best light – an authored DVD offers just that.

Even from simple, one menu DVD's to complex multi-layered projects, featuring soundtracks, stills, motion graphics and web links.

Especially If you have a corporate or training package, make your brand stand out using such devices.

Why DVD?

 DVD offers high quality audio and video, plus features such as interactivity, multiple video and audio tracks, and subtitles.

What is your DVD for? 

DVD lends itself to many project types, including feature films, music video compilations, educational tools, exhibitions, presentations, and showreels.

What special features do I want to include? 

For example, a slideshow, stills gallery, a simple game, Web links or ROM content. If you desire features such as multiple angles, it is wise to plan for them before shooting.

Do I want subtitles or multiple audio tracks? 

If you are including subtitles you will most likely need the services of a subtitling bureau, whereas a 5.1 mix usually requires the services of an audio post-production company. Both of these services can often be handled through a DVD authoring house.

What are your deadlines and how much content is going on the DVD? 

Allow adequate time for duplication or replication, and be aware that the amount of content and functionality will impact the time to create the master DVD.

Do I have a strong idea for the design of the DVD? 

Design and functionality are the most rewarding aspects of a DVD and are especially important if you are trying to convey a particular image and style. Think about each element of the DVD, including menus, on-body disc print and packaging.

What should I provide in the way of artwork? 

Are there specific fonts, logos, or images you want incorporated into the design? Use any relevant material you can as this will provide useful when marketing your DVD

How many copies do I require? 

This is a factor in determining whether your project is duplicated on DVD recordables or glass mastered and pressed at a replication plant. Usually DVD recordables are the preferred option for small quantities; large runs are generally pressed at a replication plant.

 In which countries do you want your DVD to play? 

Two factors affect where a DVD can be viewed: regional coding and television standards (PAL or NTSC). For your DVD to play, both the region code and television standard of the DVD must match those of the country it is viewed in.

What about copy protection? 

Copy protection is an effective “speed bump” to prevent users ripping the content, there are options for both pressed DVDs and DVD recordables. Region coding can only be applied to pressed DVDs.

When is my DVD finished? 

Before signing off, check the DVD for errors and quality. Often a 3rd party testing facility is employed - not only will they pick up errors, but they will also be able to highlight specific player issues.

I’ve signed off on the DVD, what’s next? 

Finally the DVDs will be printed and packaged, ready for distribution. The type of packaging can vary.

DVD STUDIO PRO : An Introduction

 

 

 

Setting region code using DVD Studio 4

Within the region/ copyright toolbar you can manually choose which region you wish to select your DVD playback.

If you wish to make your DVD playable to all regions (Region 0)
When replicating, the default values for DVDSP include all except region 7 (reserved). You can tick that as well if you like and that will give you a region 0 (all) disc, send in your DLT and you are good to go.

If you are using a DVD-R as the master then make sure you tick region 7 as well. Remember that replicating from a DVD-R means you are going to get a replicated DVD-R, not a fully compatible DVD-Video disc. As such yu must match the region code for the disc as well as for the content.

If you are burning, ticking all of the regions is important too. The media almost certainly has a region code mask of 0 applied before you write anything anyway, and region coding won't actually work as you expect when you use a DVD-R. However, some players may have trouble playing your disc if the media region code (in the control sector for the disc) is at odds with the region code set in the video manager (which is what you set up in DVDSP)... so check all of those boxes to make sure.

DVD REGION CODING & FORMATS EXPLAINED!!!

 

What does a DVD Region Code (i.e. R1, Region 1) mean?

  The idea behind Region Codes for DVD movies was created to control the exportation of movies to other countries, thus eliminating the possibility of purchasing a DVD movie which has yet to be played at a local movie theatre.

• For example: standard DVD players purchased in the U.S. or Canada will only play DVDs that specify they are REGION 1 dvds; standard DVD players purchased in New Zealand will only play DVDs that specify they are REGION 4 DVDs.
• For example: Region 4 DVDs WON'T PLAY in a standard Region 1 DVD player; Region 1 DVDs WON'T PLAY in a standard Region 4 DVD player.
• U.S.A. and CANADA share the SAME REGION CODE: Region 1. An R1 dvd purchased in Canada is exactly the same as an R1 dvd purchased in the U.S., and vice versa.

Here is a list of DVD Regions and their corresponding countries:

• R0 Region 0 ~  Playable to all

What are region 0 DVDs?
Whereas most DVDs sold for home entertainment purposes are "region coded", region 0 DVDs are unrestricted and unencoded discs that are playable on (most) DVD players worldwide (however not all players/TVs play/display NTSC or PAL discs (they'll play at least one of the two standards) and this should be verified).
 Region 0 designates no actual region, but it is used as shorthand for a disc meant to be playable on all players. On such a disc, the actual region coding is R1/2/3/4/5/6. In the early days, region 0 players were created that would allow any region disc to be played in them, but studios responded by adjusting regioned discs to refuse to play if the player was determined 0 (since no player should anyway). This system is known as Regional Coding Enhancement or just RCE.

• R1 Region 1 ~ U.S.A., U.S. Territories and Canada
• R2 Region 2 ~ Europe, Japan, the Middle East, Egypt, South Africa, Greenland
• R3 Region 3 ~ Taiwan, Korea, the Philippines, Indonesia, Hong Kong
• R4 Region 4 ~ Mexico, South and Central America, Australia, New Zealand, Pacific Islands,  Caribbean
• R5 Region 5 ~ Russia, Eastern Europe, India, Africa (excluding South Africa), North Korea, Mongolia
• R6 Region 6 ~ China
• R7 Region 7~ RESERVED Channel

Reserved for future use, MPAA related DVDs and "media copies" of pre-releases in Asia
And known as Hardware rather than Software

• R8 Region 8~ IN FLIGHT ENTERTAINMENT / Cruise ships

  DVDs are also formatted for use on two conflicting regional television systems: 480i/60 Hz and 576i/50 Hz, which in analog contexts are often referred to as 525/60  (NTSC) and 625/50
(PAL/SECAM) respectively. Strictly speaking, PAL and SECAM are analog color television signal formats which have no relevance in the digital domain (as evident in the conflation of PAL and SECAM, which are actually two distinct analog color systems). However, the DVD system was originally designed to encode the information necessary to reproduce signals in these formats, and the terms continue to be used (incorrectly) as a method of identifying refresh rates and vertical resolution. However, an "NTSC", "PAL" or "SECAM" DVD player that has one or more analog composite video output (baseband or modulated) will only produce NTSC, PAL or SECAM signals, respectively, from those outputs, and may only play DVDs identified with the corresponding format.
NTSC is the analog TV format historically associated with the United States, Canada, Japan,
S. Korea, Mexico, Philippines, Taiwan, and other countries. PAL is the analog color TV format historically associated with most of Europe, most of Africa, China, India, Australia, New Zealand, Israel, North Korea, and other countries (and Brazil, but using the refresh rate and resolution commonly associated with NTSC). SECAM, while using the same resolution and refresh rate as PAL, is a distinct format which uses a very different system of color encoding. Some DVD players can only play discs identified as NTSC, PAL or SECAM, while others can play multiple standards.
In general, it is easier for consumers in PAL/SECAM countries to view NTSC DVDs than vice versa. Almost all DVD players sold in PAL/SECAM countries are capable of playing both kinds of discs, and most modern PAL TVs can handle the converted signalHowever, most NTSC players cannot play PAL discs, and most NTSC TVs do not accept 576i video signals as used on PAL/SECAM DVDs. Those in NTSC countries, such as the U.S generally require both a region-free, multi-standard player and a multi-standard television to view PAL discs, or a converter box, whereas those in PAL countries generally require only a region-free player to view NTSC discs. There are also differences in pixel aspect ratio (720 × 480 vs. 720 × 576 with the same image aspect ratio) and display frame rate (29.97 vs. 25). Again, NTSC discs can be played on most DVD systems worldwide. While PAL discs play on very few players outside of PAL/SECAM countries.