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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
All right, Rob, so, we have 120 frames per second. >> Yeah, now this is the thing that's confusing people, too, is that when you look on your phone and you saw, we saw those >> Yeah. >> Those little hash marks making it slow motion. On the phone, you can choose which section is slow motion and how you ramp it all comes up. When you pull it off of your phone and on to your machine as an MOV like this To bring into what we're going to use Premiere Pro, you're getting all 120 frames per second. You're not getting these sections of slow-mo. >> Which is what I want >> Right, because you want >> I want the ability to do it to music or where it makes sense editorially.
>> Ab, absolutely, so just don't think that, oh, no, I didn't actually shoot slow-mo, what's wrong? Keep in mind you're getting that full 120 frames per second. >> So we'll hit Cmd+i for import >> Yep. >> And I'll just go to the desktop, where all good files live. >> Yeah if you're like me, there's a million of them there. >> And we'll bring those in. >> Yep. >> And Premier's going to basically see those, and look it, it recognized them >> Of course. >> That's good, so if I click on the file. I see the frame rate. And it reads as 120. >> 120p yeah. >> Now let's change that. So if we select those files we can go ahead and modify, interpret footage, and what's a frame rate you want to use? >> Well, I like to do a lot of things for the web, you know, 2398 is good.
If you're doing a film project, 2398 is good. But you could do anything. I mean, obviously, going slower than 120, whatever frame rate you choose, is going to give you slow motion. So, if you were trying to integrate this with a 720p60 project. >> Yeah. >> You could do maybe 50994, or whatever, but 23976 is good for me right now. >> So, I hit OK. And now it reinterpreted those. >> Yep. >> And if we look at that, the durations are longer. >> Yep. >> And you know that went to an 11 minute clip. >> LAUGH Yeah. >> 11 minutes of us pointing it at the computer. Let's go to the, we'll play that for a second and you'll that it is indeed slo-mo.
>> Yeah and if you get one of the parts where my hand goes in front of the camera here. Let's see if we can find that. There we go, somewhere in that range. Play that. >> Wow >> It's, it's the attack of the dramatic hand. >> The blob hand, yes. >> Alright, let's take a look at something a little more useful. >> Yeah. >> And so we had Jason here. And he's going in for his guitar. >> Yeah we'll see. >> And I will just take that full screen. So we got nice slow motion of him reaching down for the guitar. >> Yeah. And I think, you know, one of the cool things about it. We've talked a lot about GoPros and other action cameras. You're right that the, the phone is probably something that you're going to have on you all the time.
And I just see this as a huge thing. Like, you're walking down the city street, and there's a, I don't know, an amazing skateboarder doing tricks... >> Yeah. >> Bust out the phone, 125, 120 frames per second. That beautiful slow motion. Now, the only that I have noticed that's problematic. >> Yeah. >> Is that you know, 120 when you slow it down, the iPhone how can I say this? Is very about how it does iris steps, right? Automatic exposure. >> Mm-hm. >> So, often times, you are gotta be aware that if you are not under perfect controlled lighting. It might suddenly jump? >> It just kind of jumps up and jumps back down.
And that, in my opinion, is, is a little bit more noticeable after you slow the footage down. >> Yeah. >> because it's like this click, click, you know, slower click down. So it's a little weird. >> And if you are going to be doing this, I would highly recommend not holding the camera out for 120 frames per second. >> Yeah. >> Consider putting it into a rig or, you know, get your shoulders in tight, and, you know, hold it. >> Because those little movements are going to be even more noticeable when you're shooting at that higher frame rate. Yeah a jerk is going to look like, whoa. >> Totally. >> So, pretty easy. But it looks great doesn't it? >> Yeah it looks really good. It, I'm amazed at how smooth it is and of course, you could go back in and do this in a number of ways.
you could do, speed ramping on an individual section of the shot. You could do variable speed changes. But just to get the whole overall conversion Easy in premier pro. Just simply interoperate the footage 2398 and we got nice over crank beautiful slow motion footage. >> Alright so there you go. Next time you need one more angle on set and you're out of shots consider using your iPhone and if you have the new five s you got slow motion built in, and even if you're not an iPhone user the over all quality of cell phone cameras has gone up dramatically I would consider making this a part of your toolkit.
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