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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.
So Rich, obviously we can do stabilization in a lot of different places. >> Yeah. >> NLEs, motion graphic applications, color grading applications. Here we're inside of Final Cut Pro 10 and we've imported a shot. Now, one of the cool things about Final Cut Pro 10 is that can actually let you do a lot of analyzation on a clip either on import or after the fact. So we imported this clip, but I think there's some, I want to sort of have it do its best to sort of figure out what the dominant motion is in the shot, because if I play this, you can see that this, yeah it's a little shaky. It's coming from the backseat.
You know, it's a little weird. So what I'm going to do in the shot, I'm simply going to select it, come up to the Modify window and down to Analyze and Fix. And you'll notice that one of the options that I have actually here is for Analyze for Stabilization in rolling shutter. And this option actually isn't available on import, but it is available after the fact, so you can anal analyze that clip. >> And we've already run this, so you don't have to sit there watching it. This is the sort of thing that you definitely want to do in the background. >> Right. Right, and in fact, in Final Cut Pro 10, that can happen if you have your preferences set up correctly. That background rendering can happen there.
So I'm simply going to select the shot, and then I'm going to press Command+4 to open up my Inspector. And if I scroll down to the bottom of the Video Inspector, you'll see right here there's a option for stabilization. And if I go ahead and turn that on, it's by default is using its analyzation data to try to help smooth this out. Let's play this, let's play that back again and see what we got. Oh, boy. You'll notice that we're nice and smooth, but we have this floating back box going everywhere, right? >> Yep, it, it tried way to hard and so I think we need to sort of get rid of the rotation smoothness there, because we don't need to let the rotation lock down, so dial that down.
>> Yep, well, actually I think what we probably want to do is smooth out that scale smoothing a little bit. So it'll probably blow into there a little bit, let's take a look. >> Yeah that's better, so now it's preserving the rotation as the camera moved around, but it doesn't have the bounce anymore. >> Yeah, exactly. So maybe I'll come back a little bit on that translation smoothness. And again you kind of have to play with this on a per shot basis. That's looking a little bit better for me there. Play that. And, again, smoother, for sure, and I've still got a little bit of those black borders, and I might have to key frame some of this, but that could be a little bit of a pain.
>> Yeah. And one of the things I often do in situations like this is, if I'm not getting the smoothness of the stabilization working just right, Just transform the clip a little larger. >> I'll just kind of come in here and just scale it up a little bit. >> Yeah. >> And that's an easy fix. >> And so what we have there now is a smoother shot. As it's moving around we don't have any of the bounce that we used to have. That's definitely looking better there. It still has that hand held feel. >> Yeah but it's not quite as bouncy. >> Yep, and then of course there are certain sections where stability goes off the rails, where there is a camera smash.
>> And that's because this wasn't edited. The gus, the camera operator just kind of did a whip pan all the way to the backseat. And obviously the analyzation just kind of went crazy, but obviously, you wouldn't be using that in that timeline. >> But this points out a good thing, which is, do your best to only stabilize the parts of the shot that you're going to use. >> Yeah. >> In the finished timeline. >> There's a lot of parts of the shot you're going to shot that can't be stable. Maybe the warmup or the panning from the slate to the scene that's going to throw everything off. So just make sure you take the time to fix only the parts you're going to actually use. This will speed up the process and give you better results.
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