One thing to note, is that although the Targa images are uncompressed, you are still limited by the information in the original video file.  So the compression artifacts will still be there.  BUT, and here is the key, you have not introduced any NEW compression issues by using targa images.  So you can hand off the Targa images to someone else, for effects or whatever is needed, without fear of losing quality when exporting from your NLE.  They can do their work and in turn export Targa for you and similarly no quality will be lost (except, of course, any quality loss from the work they did on the footage).  Its an excellent way to collaborate over footage.

Couple caveats, your video files (sets of stills) will be large.  So you will need the storage to move them around OR a lot of time to ftp them to the other person.  You need to make sure the person receiving the images can pull in a sequence of stills as a video file into their NLE or effects program (most if not all can).  You need to make sure the images are numbered sequentially at the end of the file names so that the NLE knows how to order them (most if not all NLEs do this for you automatically when exporting Targa, though you need to make sure the name has the numbers at the end).  Finally, and this is very important, make sure to use the exact same frame rate when exporting and importing, otherwise frame blending will occur to match the frame rates OR your footage will play back too fast or too slow in the receiving NLE.

The 7D outputs an HD stream live through its HDMI connection while recording - this allows you to use a larger, high quality monitor to pull focus.  Since most times filmmakers are using these HDSLRs to capture shallow depth of field, both for aesthetics and to avoid aliasing, critical focus is very difficult to hit.  With a good monitor you can do this.

The T2i had an HD stream from its HDMI port UNTIL you hit record.  Then it switches to SD.  And you cannot use an SD signal to get precise focus.  So this camera is good for set it and forget it focus situations, such as an interview (with little movement) or other controlled shots. But nothing where you need to pull focus by using a monitor.  Good to know ...

Once you have keyed it - just place it over a sold.  Find a texture to use as a background and screen it onto the background with opacity to taste.  Then use a circular ramp to have some color highlight the keyed action.  You can also screen a texture over the foreground with a low opacity and then randomly wiggle it to create a nice "noise" effect.  Play around with some other options or plugins but try to be subtle - Dont do too much at a time.  With just a little work you can have amazing b-roll cutaways for music videos, promos and any creative pieces.

Adobe Premier you just point to a p2 dir or a folder containing many p2 dirs and it finds everything and references it there so you can actually use one of your masters as a working copy - lovely and i didnt realize till i started with premier a few months ago. 

My guess is that premier actually was the less developed platform at first so just referenced files where they are to be simpler and now its working out for them.

Seth Melnick was the director of photography for Black Book/Stoli Vodka DJ resident remix web series. Read more ...

Julianna Margulies, Brooklyn Deck, Leighton Meester, Mariska Hargitay, Christopher Meloni, Rihanna and more. SLM Production has been contracted by Two Penguins Productions to show many behind the scenes of photoshoots featuring various celebrities and models. Read more ...