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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.
Alright. Final Cut Pro worked pretty well, I liked how it stabilized. >> Yeah. >> There's some good choices. >> Mm-hm. >> You mentioned that there really is a choice between a lock off versus stabilization. >> Yeah, and it's something that I think aesthetically you kind of just have to figure out what works best for the project. >> Alright, so let's just take part of this shot here. Maybe I want to use just a little bit of this clip, and I'm just going to cut that here so we're only working with part of it. There we go. And we're taking this part here where he's playing guitar. And it's mostly stable. There's a little camera bump in there.
We see a little camera bobble. That's pretty good, right? And so let's stabilize that as a lock off. So I'll zoom in here. And I'm just going to throw away this other part of the media. One of the things I like about Premier, is that it lets you do just part of the shot, not the whole clip. >> Sure. >> And, and so there's the Warp Stabilizer. There it is and we'll add that. And when you do, it basically tells you that it's analyzing and we can see that it's processing through those frames. Just like Final Cut, it's got to analyze the frames, but in this case it only does the frames in your timeline.
>> That's right. >> Not the whole clip. >> Right. >> Alright, so the big choice here is the type of result you want. Can you explain the difference between Smooth Motion and No Motion? >> Yeah. So, No Motion is going to be that lock off effect, where you kind of want the shot to look like it was shot perfectly on tripod. It would actually probably work pretty well for this shot, because there's just a little bit of camera bump in it. >> But you were on a monopod, it was a stable shot. >> Totally. >> It was just a little fluid. >> Right. So where smooth motion was not going to try to make it look like hey, I was you know, completely locked down. It's still going to give you a little bit of float, but it's going to smooth out that sort of jerkiness between the changes in motion.
>> Alright and the other method here is actually how it fixes this. >> Yeah. >> And I have a visual prop for this. Alright so, we have the ability to do position only. >> Yup. >> Which is basically up, down, left or right. >> Right. >> We could do position rotation in scale. >> Right. If you're going in or out. >> Yeah. And then perspective can actually tilt, and this is good if your camera wasn't just moving side-to-side or up and down. >> So you're tilting, you're tilting it up and down by accident or something like that. >> Yeah. Like even you get a little bit of cant with it. So, that's going to tilt the shot.
>> Mm-hm. The last one is sub-space work. >> Oh, that's from Star Trek, right? >> Yeah, it kind of like literally bends reality. >> Right. >> And it looks really good if you've got a lot of depth in your scene, but if your subject is against a dominant flat background, it looks like the background melts. >> Yeah, it gives you that weird optic flow type melting that looks weird. >> Let's try no motion here. >> Mm-hm. >> Its going to stabilize that and it had to blow it up a little bit. Why does it blow it up Rob? >> Yeah so, the reason I had to zoom it up a little bit, Rich, is because when you are doing stabilization, you are compensating.
For all that motion, right. And if you didn't blow it up a little bit, what you'd probably be left with is at some point during the stabilization some black borders along the top or the bottom of the screen. So, it automatically goes in there for us, and, fixes that. But there's actually control for borders, if you, if you want to leave those in. >> Yeah >> You can come down and say, hey, you know what, don't just automatically crop, I want you to stabilize only and leave those borders or you have other options there as well. >> So you could see on stabilize only how we did that little black border on the bottom there. >> Mm-hm >> because it was stabilizing the shot versus stabilize and auto-scale is the more common choice.
And now that guitar looks rock solid. >> Yep, totally. >> Alright. Well let's take a look at one more shot here, and that is going to be using the Warp Stabilizer. And let's apply that, but we're going to make that a little bit shorter, so it doesn't have to do quite as few frames. So, let's just trim that there. We're going to take it from there to there. We'll extract that out. And we've got a little bit of motion. Right about there. We're just going to take that back part of the shot. Alright, so we see we've got this sort of side to side shimmer. >> And more hand heldy kind of thing.
A little, real big bump right there. >> Yeah, so let's just adjust that and what we're going to tell it is to basically cancel that analysis and reanalyze. So it only has to do the frames that are used. >> Sure. >> That's gone pretty quick because it's only about three seconds long here. >> Mm-hm. >> Why don't you go ahead while that's working and play with the SmoothMotion value. >> Yeah, so if I jump this, this up, I'm going to sort of be really smooth on it. Just keep in mind that the higher this smoothest value, I found that the more potentiality there is. >> Yeah. >> For kind of weirdness in the, in the look.
>> And here's that weird, like you think 100% is the maximum value. But it's not. >> Yeah, it's not. You can kind of keep going, keep going. >> To 1000%. >> Keep going. And look what happens after I do that. Then just a second. I get a real big smoothing. Let just play this back. See what we think. >> It's really smooth though. >> Oh, real smooth. But you didn't notice that weirdness, that oh, boy. >> LAUGH >> What was going on there? >> Yeah. >> And this is something that you have to be careful with when you're smoothing. I actually find that lower values, somewhere in that range of 15 to 30 or somewhere like that. >> Yeah. >> Is going to give me a nice small sort of stabilization, without giving me some of the potential for those artifacting.
>> So, we did just that. We backed that down. And that's looking more stable. But that shakiness there. That was the thing we talked about before. >> Yeah. >> If the cameras hit or it shakes. >> Yep. >> That was the perfect example of a stable, but motion blurred shot. So, if the stabilization worked, but the in-camera streaking couldn't get away. >> Right. >> So I think it's important that not every shot. >> Can be saved. >> Can be saved. Because if you've got a bad streak it's not going anywhere. >> Right. >> Alright, well, I hope that gives you some ideas on how this can work. Remember there's so many different ways to pull this off.
There are third-party utilities as well. I recommend you get familiar. But, don't see stabilization as being a cure-all. See it as something that makes a good shot better, but it doesn't fix a terrible >> Ab, absolutely, and a little bit goes a long way would be my attitude. >> Alright, great, so, I hope this helps you out in your next project.
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