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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.
Rich Harrington: Hi, my name's Rich Harrington. Robbie Carman: And I'm Robbie Carman. Rich Harrington: And this week, we're going to be exploring sync sound workflow from the post-production side. Now on earlier episodes, we've talked about the actual recording and how you do this in the field. But at some point, you got to put all the pieces together. Robbie Carman: What? You mean you don't just like shooting for shooting's sake, Rich? Rich Harrington: No, actually I like to see results because usually my clients don't pay me until we deliver. Robbie Carman: Oh, I see. Rich Harrington: An edited video. Robbie Carman: I, I see, I see. Rich Harrington: Yeah. Yeah. Robbie Carman: Yeah, no, absolutely. There, you know, the process of getting that sync sound workflow going out in the field is one that we've explored before. And that's actually, potentially, in some ways, the more complicated side of this whole procedure.
And this week, we're actually going to explore a few different ways of doing the sync sound workflow in post. We're going to start out talking how to do this in Final Cut Pro X. We'll transition over to talking about how to do the same process over in Adobe Premiere Pro. And then we're going to talk about a third party tool called PluralEyes, that in some ways, offers some more advanced features. Rich Harrington: Yeah. Robbie Carman: And can also work with multiple angles in multicam. At the same time as synching footage. Rich Harrington: Yeah, and I like that because a lot of times I am doing multiple angles of coverage or I want to generate entirely new media files.
That stitch the video and audio together into a single file that's not dependent on an NLE to keep it together. So, when we get back we'll go ahead and take a look at Final Cut Pro X's workflow first.
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