DSLR Video Tips
Illustration by John Hersey

How do I transfer my footage?


DSLR Video Tips

with Richard Harrington and Robbie Carman

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Video: How do I transfer my footage?

Rich Harrington: Hi, my name's Rich Harrington. Robert Carman: And I'm Robert Carman. Rich Harrington: And we are actually back talking all about data and organization. If you missed last week's episode, because you came to this. You're going to want to check that out. You had a lot of great insight, Rob. On infield workflow, right? Robert Carman: Yeah, we talked about things from, you know, like the basic card wallets, and ways of sort of securing your cards. Rich Harrington: Mirroring it in the camera. Robert Carman: Mirroring it in the camera with multiple memory card slots in the camera. We also talked about in-field devices like this guy from Nextel, which is sort of part hard drive, part computer, part card-reader.
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  1. 1m 23s
    1. DSLR Video Tips Trailer
      1m 23s
  2. 2m 23s
    1. Welcome
      2m 23s
  3. 3m 36s
    1. Frame size recommendations
      3m 36s
  4. 15m 7s
    1. Exploring frame rate choices
      6m 16s
    2. Frame rate recommendations
      4m 43s
    3. Mixing frame rates
      4m 8s
  5. 9m 20s
    1. Understanding color loss
      5m 7s
    2. Understanding detail loss
      4m 13s
  6. 12m 9s
    1. Comparing sensor sizes
      3m 43s
    2. Why choose a cropped sensor
      4m 40s
    3. Why choose a full sensor
      3m 46s
  7. 9m 9s
    1. Understanding how DSLR viewfinders react when recording video
      2m 11s
    2. Understanding live view
      6m 58s
  8. 8m 39s
    1. Understanding aspect ratio
      4m 14s
    2. Why shoot 16:9
      4m 25s
  9. 8m 6s
    1. Composition matters
      3m 24s
    2. Exploring the action-safe area
      4m 42s
  10. 23m 7s
    1. Understanding card speeds
      8m 59s
    2. Shooting video
      6m 42s
    3. Shooting time lapse
      7m 26s
  11. 11m 28s
    1. What is rolling shutter?
      5m 51s
    2. Avoiding rolling shutter
      5m 37s
  12. 8m 11s
    1. Moiré explained
      3m 10s
    2. Avoiding Moiré
      5m 1s
  13. 7m 36s
    1. The dangers of tiny screens
      1m 22s
    2. How to set focus before recording
      6m 14s
  14. 9m 32s
    1. Using your HDMI port
      5m 17s
    2. Adapting HDMI to SDI
      4m 15s
  15. 20m 6s
    1. You call this a mic?
      4m 7s
    2. The impact of Auto Gain Control
      4m 34s
    3. The dangers of not monitoring audio
      7m 27s
    4. Using an attached mic
      3m 58s
  16. 4m 44s
    1. Shutter speed explained
      4m 44s
  17. 19m 49s
    1. The Exposure Triangle for low light
      3m 40s
    2. Adjusting aperture
      5m 46s
    3. Adjusting ISO
      5m 24s
    4. Adjusting shutter speed
      4m 59s
  18. 12m 26s
    1. Avoiding lens flare
      2m 8s
    2. Using a lens hood
      2m 46s
    3. Using a matte box
      4m 15s
    4. Exploring other strategies for avoiding lens flares
      3m 17s
  19. 17m 20s
    1. What causes shake?
      3m 23s
    2. Using a stable platform
      9m 27s
    3. Fixing shake in post
      4m 30s
  20. 16m 24s
    1. What are prime lenses?
      3m 21s
    2. Exploring low-light performance
      3m 2s
    3. Working with shallow depth of field
      4m 31s
    4. Examining cost issues
      5m 30s
  21. 11m 39s
    1. What is a matte box?
      4m 2s
    2. Discussing the benefit of filters
      4m 19s
    3. Reducing lense flare
      3m 18s
  22. 14m 19s
    1. What is an EVF?
      2m 51s
    2. Checking focus
      3m 56s
    3. Checking exposure
      3m 28s
    4. Viewing camera settings
      4m 4s
  23. 12m 5s
    1. What is a loupe?
      2m 38s
    2. Proper focus with a loupe
      4m 18s
    3. Proper exposure with a loupe
      5m 9s
  24. 10m 33s
    1. What is a monopod?
      2m 39s
    2. Exploring stabilized shooting
      4m 28s
    3. Exploring overhead shooting
      3m 26s
  25. 13m 48s
    1. Why use a dedicated audio recorder?
      2m 42s
    2. What inputs do I need?
      5m 7s
    3. File formats to choose from
      5m 59s
  26. 17m 6s
    1. Setting levels
      6m 10s
    2. Monitoring sound
      6m 51s
    3. Slating takes
      4m 5s
  27. 6m 22s
    1. Apps you can use to record sync sound
      2m 55s
    2. Adapter cables
      3m 27s
  28. 10m 1s
    1. Why does my exposure change with a zoom lens?
      1m 21s
    2. F-Stop reviewed
      2m 58s
    3. Strategies for dealing with the problem
      5m 42s
  29. 13m 37s
    1. How can I check my focus?
      1m 27s
    2. Zooming in
      3m 14s
    3. Using a target
      3m 44s
    4. Using AutoFocus at the start
      5m 12s
  30. 17m 19s
    1. How many batteries do I need?
      1m 27s
    2. Power or no power
      4m 6s
    3. Other batteries to consider
      6m 35s
    4. Strategies for lengthening battery life
      5m 11s
  31. 27m 29s
    1. What adapters should I carry?
      1m 21s
    2. Adapting audio
      7m 13s
    3. Adapting video
      8m 54s
    4. Power options
      4m 9s
    5. Connecting gear
      5m 52s
  32. 16m 4s
    1. What type of microphone should I use for run-and-gun shooting?
      2m 16s
    2. Built-in microphones
      3m 36s
    3. Shotgun microphones
      4m 27s
    4. Microphone preamps
      5m 45s
  33. 13m 38s
    1. What type of microphone should I use for an interview?
      2m 2s
    2. Lavaliere mic
      6m 35s
    3. Boom mic
      5m 1s
  34. 16m 45s
    1. Why do I need a fluid head?
      3m 6s
    2. Standard photo head drawbacks
      4m 1s
    3. Why use a fluid head?
      6m 9s
    4. Converting a photo tripod
      3m 29s
  35. 13m 34s
    1. Why should I use a slate?
      2m 0s
    2. Using a digital slate
      5m 13s
    3. Using a physical slate
      3m 32s
    4. Alternate metadata
      2m 49s
  36. 10m 42s
    1. DSLR recording time limits
      4m 14s
    2. Legal limits
      6m 28s
  37. 22m 37s
    1. Is the Canon 6D right for me?
      2m 36s
    2. Beneficial features of the Canon 6D
      3m 41s
    3. Drawbacks of the Canon 6D
      4m 21s
    4. Menu options of the Canon 6D
      11m 59s
  38. 21m 17s
    1. The Nikon D600
      2m 38s
    2. Beneficial features of the Nikon D600
      6m 4s
    3. Drawbacks of the Nikon D600
      3m 45s
    4. Menu options of the Nikon D600
      8m 50s
  39. 8m 39s
    1. Can I attach lights to the camera?
      4m 57s
    2. Moving lights off-center
      3m 42s
  40. 18m 4s
    1. How do I get my camera into tight spaces?
      1m 58s
    2. Using GorillaPods
      3m 52s
    3. Using additional Grip Items
      4m 30s
    4. Using a DINO
      3m 50s
    5. Using a Lens Skirt
      3m 54s
  41. 17m 42s
    1. How can I get smooth tracking shots?
      1m 42s
    2. Walking the camera
      7m 55s
    3. Using sliders and dollies
      8m 5s
  42. 23m 1s
    1. How can I fix shaky shooting?
      4m 37s
    2. Fixing shaky shooting in Final Cut Pro X
      8m 54s
    3. Fixing shaky shooting in Premiere Pro
      9m 30s
  43. 15m 18s
    1. How should I manage my cards in the field?
      2m 16s
    2. Using card wallets
      5m 33s
    3. Mirroring your data
      7m 29s
  44. 23m 56s
    1. How do I transfer my footage?
      12m 15s
    2. Monitoring your footage
      11m 41s
  45. 26m 28s
    1. How do I rack focus?
      1m 47s
    2. Using a Prime Lens
      8m 22s
    3. Using a Zoom Lens
      9m 13s
    4. Using a follow focus
      7m 6s
  46. 22m 56s
    1. How do I clean my camera?
      2m 55s
    2. Keeping the lens clean
      7m 48s
    3. Cleaning the sensor
      8m 2s
    4. Performing a wet sensor cleaning
      4m 11s
  47. 23m 58s
    1. How do I get slow motion footage?
      1m 50s
    2. Setting up slow motion in camera settings
      4m 57s
    3. Slow motion in Final Cut Pro X
      6m 17s
    4. Slow motion in Premiere Pro
      3m 57s
    5. Slow motion in After Effects
      6m 57s
  48. 14m 53s
    1. How do I import into Final Cut Pro X?
    2. Transferring from a card into Final Cut Pro X
      5m 3s
    3. Importing footage into Final Cut Pro X
      8m 51s
  49. 12m 10s
    1. How do I import into Premiere Pro?
      1m 19s
    2. Transferring from a card into Premiere Pro
      3m 55s
    3. Importing footage into Premiere Pro
      6m 56s
  50. 19m 13s
    1. How do I sync sound in post?
      1m 20s
    2. Syncing sound with Final Cut Pro X
      4m 40s
    3. Syncing sound with Premiere Pro
      5m 57s
    4. Syncing sound with Plural Eyes
      7m 16s
  51. 12m 50s
    1. Lighting with available light
      2m 23s
    2. Calculating the sun's position
      2m 7s
    3. Reflectors
      1m 42s
    4. Shiny boards
      1m 31s
    5. Evaluating the results
      5m 7s
  52. 16m 2s
    1. Lighting with alternate sources
      3m 3s
    2. Battery operated LED lights
      2m 15s
    3. Using an inverter
      2m 28s
    4. Using a generator
      1m 19s
    5. Flashlights & GL-1
      1m 28s
    6. Evaluating the results
      5m 29s
  53. 26m 3s
    1. Shooting in small places
      1m 44s
    2. Using portable lights
      8m 0s
    3. Compact lighting
      1m 8s
    4. Lens choices
      1m 31s
    5. Mounting the camera
      2m 11s
    6. Remote operation
      4m 24s
    7. Evaluating the results
      7m 5s
  54. 11m 37s
    1. Follow focus overview
      2m 25s
    2. What is a follow focus?
      2m 38s
    3. Setting the marks
      1m 56s
    4. Operating follow focus
      1m 4s
    5. Evaluating the results
      3m 34s
  55. 13m 56s
    1. Achieving critical focus
      2m 36s
    2. Punching in on LiveView
      2m 5s
    3. Using a loupe
      2m 13s
    4. Using auto focus before the shot
      2m 20s
    5. Using a monitor
      2m 30s
    6. Change the aperture
      2m 12s
  56. 23m 0s
    1. Exposure
      2m 21s
    2. The impact of sensor size
      2m 25s
    3. ND filter
      2m 51s
    4. Variable ND filter
      3m 4s
    5. Matte box
      3m 39s
    6. Evaluating the results
      8m 40s
  57. 10m 28s
    1. Backlit subjects in production
      2m 20s
    2. Shooting "in the middle"
      2m 23s
    3. Overpowering the backlight
      1m 29s
    4. Evaluating the result
      4m 16s
  58. 31m 21s
    1. Backlit subjects in post-production
      1m 54s
    2. Look at scopes
      5m 20s
    3. Enhancing the shots
      4m 50s
    4. Enhancing with Speedgrade
      9m 31s
    5. Enhancing with plugins
      9m 46s
  59. 7m 3s
    1. Audio for interviews
      2m 1s
    2. Placing the mic
      1m 29s
    3. Interview techniques
      1m 36s
    4. Interviewee placement
      1m 57s
  60. 11m 57s
    1. Shooting a product shot
      1m 30s
    2. Building the backdrop
      1m 25s
    3. Compact lighting
      2m 59s
    4. Cleaning the object
      1m 16s
    5. Using a macro lens
      2m 25s
    6. Using a turntable
      2m 22s
  61. 9m 7s
    1. Using a field monitor
      1m 44s
    2. Connecting the monitor
      1m 18s
    3. Using peaking and using focus in red
      1m 36s
    4. Using color assist
      2m 34s
    5. Looping the monitor
      1m 55s
  62. 13m 25s
    1. Scopes
      3m 37s
    2. Reading the histogram
      2m 11s
    3. Reading a waveform monitor
      2m 38s
    4. Reading a vectorscope
      4m 59s
  63. 30m 59s
    1. What is a GoPro?
      2m 35s
    2. The GoPro bodies
      3m 53s
    3. Essential GoPro gear
      9m 0s
    4. Powering the GoPro
      6m 13s
    5. Accessing GoPro menus
      3m 34s
    6. Essential menu commands
      5m 44s
  64. 9m 2s
    1. Exposure
      1m 1s
    2. The exposure triangle
      2m 40s
    3. Evaluating the settings
      5m 21s
  65. 15m 47s
    1. What is aperture?
      3m 29s
    2. A DP's perspective on aperture
    3. Adjusting aperture
      2m 13s
    4. Evaluating the shots
      9m 20s
  66. 14m 4s
    1. What is shutter speed?
      3m 58s
    2. A DP's perspective on shutter speed
      1m 37s
    3. Adjusting shutter speed
      2m 54s
    4. Evaluating the shots
      5m 35s
  67. 18m 12s
    1. What is ISO?
      5m 12s
    2. A DP's perspective on ISO
      1m 52s
    3. Adjusting ISO
      2m 49s
    4. Evaluating the shots
      8m 19s
  68. 7m 41s
    1. Controlling exposure beyond camera settings
      2m 44s
    2. Adding light
      2m 54s
    3. Adding filtration
      2m 3s
  69. 19m 26s
    1. Getting the camera higher
      2m 26s
    2. Using a monopod to extend your reach
      2m 46s
    3. What is a jib?
      3m 33s
    4. Operating a jib
      6m 21s
    5. Evaluating the shots
      4m 20s
  70. 18m 14s
    1. The Blackmagic Pocket Cinema Camera
      4m 38s
    2. What to look out for
      5m 3s
    3. Pocket Cinema Camera workflow
      3m 51s
    4. Evaluating the shots
      4m 42s
  71. 17m 15s
    1. Shooting with a GoPro mount
      5m 14s
    2. Connecting a GoPro remote
      2m 46s
    3. Viewing with a remote app
      3m 48s
    4. Recording with a remote app
      3m 11s
    5. Evaluating the shots
      2m 16s
  72. 14m 15s
    1. Using a click track
      1m 28s
    2. Creating a click track
      5m 10s
    3. Playing a click track in the field
    4. Recording with a click track
    5. Syncing in post
      6m 8s
  73. 7m 5s
    1. Preparing for a shoot with multiple DSLR cameras
      2m 10s
    2. Scouting the location
      1m 16s
    3. Lighting for multiple cameras
    4. A DP's perspective on multicamera lighting
      1m 56s
    5. Matching cameras
  74. 5m 21s
    1. Doing a shoot with multiple DSLR cameras
      2m 21s
    2. Positioning the cameras
      1m 2s
    3. Syncing the cameras
      1m 2s
    4. Directing the shoot
  75. 16m 59s
    1. Achieving a film look
      2m 36s
    2. Post-processing to achieve a film look: Part one
      7m 20s
    3. Post-processing to achieve a film look: Part two
      7m 3s
  76. 28m 46s
    1. Black Magic Cinema Camera
      3m 44s
    2. Things to Look Out For
      9m 41s
    3. Recording with the Blackmagic Cinema Camera
      2m 15s
    4. Focusing
      3m 17s
    5. Evaluating the Shots
      5m 11s
    6. RAW Workflow
      4m 38s
  77. 15m 50s
    1. Achieving a film look
      2m 28s
    2. Post-processing to achieve a film look: Part 1
      8m 45s
    3. Post-processing to achieve a film look: Part 2
      4m 37s
  78. 18m 58s
    1. Shooting time lapses with a GoPro
      2m 25s
    2. Setting up the GoPro
      4m 30s
    3. Accessing the footage
      4m 52s
    4. Processing the footage
      7m 11s
  79. 21m 21s
    1. Why assemble a time lapse?
      1m 59s
    2. Assembling a time lapse in Photoshop
      6m 36s
    3. Assembling a time lapse in Premiere Pro
      7m 43s
    4. Assembling a time lapse in After Effects
      5m 3s
  80. 22m 40s
    1. Processing multiple-camera footage
      1m 42s
    2. Organizing the media for Adobe Premiere Pro
      5m 36s
    3. Syncing in Adobe Premiere Pro
      6m 20s
    4. Editing in Adobe Premiere Pro
      9m 2s
  81. 15m 1s
    1. Processing multiple-camera footage
      1m 8s
    2. Organizing and syncing media for Final Cut Pro X
      5m 13s
    3. Editing in Final Cut Pro X
      8m 40s
  82. 21m 55s
    1. How do I get a GoPro in the air?
      2m 1s
    2. Attaching a GoPro to a quadcopter
      2m 23s
    3. Calibrating the quadcopter
      2m 12s
    4. Flying with the GoPro on the quadcopter
      3m 48s
    5. Evaluating the quadcopter footage
      5m 49s
    6. Getting more control with the quadcopter
      5m 42s
  83. 15m 57s
    1. Sliding the camera
      3m 1s
    2. Tabletop dolly
      3m 8s
    3. What is a slider?
      3m 55s
    4. Using a slider
      3m 32s
    5. Slider versatility
      2m 21s
  84. 13m 14s
    1. Shooting with an iPhone 5S
      2m 58s
    2. Shooting slow motion
      3m 11s
    3. Accessing footage
      3m 17s
    4. Assembling footage
      3m 48s
  85. 16m 9s
    1. Benefits of mirrorless cameras
      2m 48s
    2. Mirrorless workflow
      2m 41s
    3. Things to look out for
      6m 10s
    4. Evaluating the footage
      4m 30s
  86. 26m 6s
    1. What is Log?
      2m 40s
    2. Why should you shoot Log?
      6m 7s
    3. Using a LUT with Dynamic Link
      8m 11s
    4. Creating a LUT in Adobe Speedgrade
      9m 8s
  87. 30m 34s
    1. Matching cameras
      1m 58s
    2. Variables
      4m 22s
    3. Calibration
      8m 42s
    4. Evaluating the shots
      3m 5s
    5. Matching Log footage
      6m 30s
    6. Matching ProRes
      5m 57s
  88. 11m 39s
    1. Achieving a film look
      3m 7s
    2. Using Resolve presets
      4m 29s
    3. Color grading from scratch
      4m 3s
  89. 19m 1s
    1. Achieving a filmic look
      3m 58s
    2. Using Speedgrade presets
      7m 34s
    3. Color grading from scratch
      7m 29s
  90. 11m 48s
    1. Remotely controlling a camera
      1m 34s
    2. Attaching a CamRanger
      2m 38s
    3. Creating a network
      4m 50s
    4. Controlling with an iPad
      2m 46s
  91. 10m 49s
    1. Taking a look at shaky footage
      1m 45s
    2. Fixing shaky footage in Final Cut Pro X
      3m 18s
    3. Fixing shaky footage in Adobe Premiere Pro
      5m 46s
  92. 12m 17s
    1. A quick overview of site surveys
      1m 25s
    2. Anticipating the weather
      3m 11s
    3. Taking panoramic site photos with Occipital 360
      1m 17s
    4. Collecting location information with PanaScout
      2m 48s
    5. Portable and mobile pro audio to go
      3m 36s
  93. 24m 54s
    1. Taking a look at third-party plugins
      3m 21s
    2. Exploring Tiffen Dfx Filter plugins
      6m 59s
    3. Boosting creativity with Tiffen Dfx Looks
      4m 3s
    4. Exploring the Magic Bullet Suite
      5m 45s
    5. Taking your footage further with Magic Bullet Looks
      4m 46s
  94. 9m 1s
    1. Scouting the lighting situation out on location
      1m 10s
    2. Using Lighttrac to determine sun or moon position
      2m 12s
    3. Using Sun Seeker to track sun or moon position
      3m 2s
    4. Determining the position of the sun or moon with Focalware
      2m 37s
  95. 2m 30s
    1. Goodbye
      2m 30s

please wait ...
DSLR Video Tips for Final Cut Pro on lynda.com
24h 5m Appropriate for all Jul 06, 2012 Updated May 16, 2014

Viewers: in countries Watching now:

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.

Topics include:
  • Mixing frame rates
  • Dealing with color and detail loss from compression
  • Comparing sensor sizes
  • Understanding how DSLR viewfinders react when recording video
  • What is aspect ratio?
  • Getting the right speed of memory card
  • Avoiding rolling shutter
Final Cut Pro Premiere Pro
Richard Harrington Robbie Carman

How do I transfer my footage?

Rich Harrington: Hi, my name's Rich Harrington. Robert Carman: And I'm Robert Carman. Rich Harrington: And we are actually back talking all about data and organization. If you missed last week's episode, because you came to this. You're going to want to check that out. You had a lot of great insight, Rob. On infield workflow, right? Robert Carman: Yeah, we talked about things from, you know, like the basic card wallets, and ways of sort of securing your cards. Rich Harrington: Mirroring it in the camera. Robert Carman: Mirroring it in the camera with multiple memory card slots in the camera. We also talked about in-field devices like this guy from Nextel, which is sort of part hard drive, part computer, part card-reader.

Rich Harrington: Yeah. Robert Carman: A sort of jack-of-all-trades for sort of securing your data in the field. And we ended last week talking about this idea of actually bringing the computer into the field, using it as a memory-card reader, if it has one built-in, or connecting a third-party memory-card reader, and connecting external drives to that. But this week Rich, now that we have everything kind of plugged in, and we know kind of where we're stand, we're really going to dive into the idea of, well, what's that work for? How do I copy something from the memory card to the, you know, the portable drive? And we're also going to talk about making our lives a little easier by automating that process, by using additional applications, such as Adobe Prelude, and ShotPut Pro.

To make that process of copying and backing up a little easier. Rich Harrington: Yeah, so there's a lot to this. Make sure you check out that earlier episode if you missed it. And if not, let's jump in and start to explore the workflow of getting your data redundant. And we talked about mirroring and other devices. So I'm going to mirror it on some drives. Either way, going off the cards. Going off of the next so device, I need to get a second copy of it. And to do that, I need to mount the card. Robert Carman: Okay. Rich Harrington: So, I'm just going to take a card, and pop that in, here we go, and I know that I need to transfer this.

Robert Carman: Uh-hm. Rich Harrington: Now I'm going to do two cards. I'm going to put one into the side of the machine here, which is a bit slower. Robert Carman: Now your MacPro, your MacbookPro here has a dedicated card reader built in. Rich Harrington: SD slot, but as we've said, it's significantly slower. And then I'm going to take this card and put in into the dedicated USB3 reader. Robert Carman: Mm-hm. Rich Harrington: Now that's actually okay. If I was really, let's say busy, but not in a rush? Robert Carman: Mm-hm. Rich Harrington: Like I wanted to be able to start backing things up, but I was on set doing other things, I might end up using both slots. Robert Carman: Yeah. Rich Harrington: Or even hooking up multiple readers. Like you notice here, I have a dedicated hub, but it's not a normal hub.

Robert Carman: No. This is actually a USB3 hub, and a USB3 hub is definitely a piece of equipment that you want to get if your laptop supports USB3. USB3 is so much faster than USB2 transfer, or even FireWire 800 transfer. And the thing about it, is that your laptop only has a couple ports. So by using a dedicated USB3 hub, you could get a few of these, which are not very expensive. Rich Harrington: Yeah. Robert Carman: But you know, two or three of them on the hub, and guess what? You're plugging in multiple cards at the same time. Rich Harrington: And I want to point out here something that's important to think about.

You're all like, well, but there's all those cables. If you're going to be doing data management, you don't want to be running on battery. First off, plugging in external bus-powered drives, plugging in card readers, all that stuff? It's going to suck your cards down. Your battery is just going to go really quick. And Rob, what happens if I'm in the middle of a transfer, and the power goes out? Robert Carman: Well, if you're lucky, nothing, but Rich Harrington: If you're me? Robert Carman: If you're you? You'll probably have a corrupted card. You know, not be able to read some of the data on the card, and then you're kind of out of luck.

Rich Harrington: Yeah, and so, having that uninterrupted power. The battery power in the device will become your backup power if power got kicked. Maybe you're on set, and somebody trips over your cord. Stranger things have happened, of course. Robert Carman: Mm-hm. Rich Harrington: But that's going to give you that backup. You should still be running off of wall power. So I've got everything mounted, I've got the cards. I'm getting ready to transfer. I've got a couple of options. Now, you mentioned FireWire, old true standard for video, but I, I think the keyword there is actually old these days. Robert Carman: Yeah, it's not completely deprecated, but it's one of those things where you have other options.

USB3, now Thunderbolt are going to be quick. And the thing is, that if you have a lot of FireWire drives like I have, you just gotta be aware that a lot of manufacturers making laptops, both on the PC side. And with Apple on the Mac side, have actually decided to kill FireWire connections on the machine themselves, because they're big and you can't have super thin, sleek laptops. Rich Harrington: Yeah. Robert Carman: So you have a little adapter there on the Mac side of things that would make FireWire work. Rich Harrington: Yeah, this is a Thunderbolt to FireWire adapter, but the big thing is, is it only puts off enough juice to power the single-height drives, and a lot of the ones I use for video are rated drives.

Robert Carman: Yeah. Rich Harrington: Double height. So, all of a sudden I got these drives that didn't work. You know, I'm like, well, that's so frusterating, I made this investment. And then I went out and I started looking at the cost of USB3 drives, and I'm like you know, who cares. Robert Carman: Yeah. Totally. Totally. And I mean, the thing about, you know, USB3 drives is that they're so ubiquitous these days. You can go into your local you know, big-box electronics store, and. Rich Harrington: Office supply store. Robert Carman: Right, and get them for a couple hundred bucks, in capacities up to one, two, maybe even three terabytes now, with some of the full, full-sized ones. Rich Harrington: Yeah, and I like these, they're very reasonable.

I've got one mounted here. This particular one I'm using is from Western Digital. And it actually has some security software built into it. So whether I'm a Mac or a PC, when I go to launch that, I have to unlock the drive, and that could be an important issue. You know, if you're on set or you've got client data that you don't want getting lost and falling into other people's hands, having it password protected could be useful. Robert Carman: Yeah, so you got the drive mounted there, you got your cards mounted, and as you alluded to when we first started talking, the way, number one, that you could have this procedure work, is you could simply take your cards wholesale, and then copy it over to these storage devices.

Now you made a really interesting point when we first started talking as well, is that you could do this for redundancy, in the sense that you could plug in multiple hard drives, and make that same copy to multiple drives. Rich Harrington: Yeah. I've got two different drives here. I could do that. I want to point out a potential issue though. Notice the card is named after the camera. Robert Carman: Mm-hm. Rich Harrington: Well, you start getting multiple cards, you're going to have a problem. So I usually take the time to actually make a folder for that day of the shoot. Robert Carman: Mm-hm. Rich Harrington: You know, a music video shoot. Robert Carman: Yep. Rich Harrington: And then within there, if I had three cameras on the shoot, I'd end up with, you know, camera one.

Robert Carman: Camera two, camera three, or A, B, C. Whatever you, however you want to do it. Rich Harrington: Yeah, pretty easy stuff. And then, if you're going to have multiple cards for that shoot, you're going to end up with multiple folders inside of that. And that becomes really important. Now do you have any other practical advice about setting this up? This is a really simplistic idea. Robert Carman: Yeah, I mean for each sort of particular situation, and for your own preference you can build a system. I, I tend to do things like, you know, camera one, location A, you know, card you know, one or whatever.

Rich Harrington: Right. Robert Carman: Whatever naming thing you want to get into. The important thing is not nesccarily the individual names of the folders and that kind of stuff, but that it's an orginzational tree that makes sense to you, and that you can repeat. Because one of the most annoying things is, if you organize things one way on one shoot, you organize things a different way on another shoot. That, six months from now, or a year from now, you need to go back to it. You have a hard time finding things. Rich Harrington: Well you say, it makes sense to you. I think it's even more important that it makes sense to other people. Robert Carman: Totally! Like editors and stuff like that. Absolutely. Rich Harrington: Yeah. because if you're going to hand this footage off to an editor, the last thing you want them doing is bad mouthing you to the client saying, oh they lost that footage.

I don't have that shot. Robert Carman: Right. Rich Harrington: Because you had five folders on the same drive called D5200. Robert Carman: Right. Rich Harrington: Or you overwrote one. Robert Carman: Mm-hm. Rich Harrington: So, a couple things, if I drag the card itself notice, oh, that's just making an alias. Robert Carman: Mh-hm, don't want to do that. Rich Harrington: Don't want to do that. Right. Like, oh, wow! That was a fast transfer speed. Robert Carman: Rich Harrington: Didn't actually transfer, it just made a shortcut. So, in this case, I have to hold down the Option key on a Mac. To do that on a Windows machine, you could use the copy and paste command. Robert Carman: Right, or you, or you. Rich Harrington: At OS level. Robert Carman: Could just open up the card like I do.

Maybe it's a little slower. Open up the card, do a Select All, and copy all the contents, as well. Rich Harrington: Yeah, so this one is coming off of the internal slot. Robert Carman: Mm-hm. Rich Harrington: About eight gigs taking about six minutes, not bad. Going to a USB3 drive. Fine, you know? Let's go over here to this other card that I've got. And it's in the USB3 reader. Robert Carman: Mm-hm. Rich Harrington: And I'm going to the same drive that I'm writing to. Let's just drag that into card two. It's also an eight gig card. Robert Carman: Yep. Rich Harrington: And, let's do a comparison, right? Oh, look at that. Robert Carman: Quite a bit faster.

Rich Harrington: Yeah, about, yeah about double the speed, and keep in mind, I've already got one copy going to that drive, so I'm reading from two, buses sending to the same drive. If I was just going direct off of this, a single transfer, that'd probably be not just twice as fast, maybe three times faster. Robert Carman: Yeah, absolutely. And now I want to bring up one more point about the drives and this whole transfer process. Is that, you know? These drives are great, they're nice and compact. They're nice and portable. The problem that I have with them is that they're single drives. Most of the time, they're kind of laptop drives. Not enterprise level at all. Rich Harrington: Yeah.

Robert Carman: And as we know, bad things happen with hard drives all the time. I found two things that are kind of important. If your data is extremely critical, even though they're much more pricey, and don't have the capacity that mechanical drives do, SSDs are good options for portable in-the-field drives. They're faster, they're more secure in the sense of their their, their build quality, because they don't have any moving parts. Rich Harrington: Yeah, they could be, they're more rugged, if you're going to be dropping them. Not that you should be dropping them on purpose, but it happens. Robert Carman: Right, but it, it happens. Rich Harrington: Yeah. Robert Carman: But the other, the other thing I want to point out, too, Rich, is that these days the sort of redundancy protection and rate protection has gotten into very small form factors in the field.

Rich Harrington: Yeah. Robert Carman: Now we have right here, connected your machine via Thunderbolt, a new little DroBro unit that provides actually what, there's four drives in there? Rich Harrington: Yeah. Robert Carman: All in a, in DroBro's sort of proprietary rate scheme. But it gives you the secure feeling of having a redundant copy when you copy things back to the drive. Rich Harrington: Yeah, and that's what I've actually done here. Like, I'm able to take that, let me just select it, you see that I've got it mounted, this is my Drobo Mini attached. Robert Carman: Yep. Rich Harrington: It's got Thunderbolt and USB3 on the same device. That's nice, because I could use it on a Mac or a PC.

Now, Thunderbolt is not a Mac-only technology. Robert Carman: Right. Rich Harrington: It's more common on Mac, but you are seeing that, like, HP laptops have Thunderbolt. But not desktops, right? Like, a lot of desktop computers, unless it's the all-in-one, which is really a laptop chipset. The towers? Thunderbolt hasn't made it there yet. Robert Carman: Right. Rich Harrington: I mean, it's getting frustrating. So it's good to have a USB3 connection so you can fall back on it. Robert Carman: Absolutely. Rich Harrington: So Rob, you mentioned, you know, redundancy. I've got four 750 Gig drives in here. Robert Carman: Mm-hm. Rich Harrington: They're set up so I could have some failure.

Robert Carman: Mm-hm. Rich Harrington: So for example, if I go into the general settings here, I've got it set up so one of my drives could fail. Robert Carman: Okay. Rich Harrington: I could check this so two of the drives could fail. Half the drives could go bad with no data loss, and so it's automatically mirroring. And then the other thing that I like about this, besides the fast transfer speeds, I've got an accelerator card. Basically an SSD in there, so when I'm transferring, that initial transfer goes faster, because this sort of serves as a buffer so you don't get that bottleneck. Robert Carman: Yep. Rich Harrington: And what's really cool, built-in battery.

So if you trip over the power cord, the unit won't instantly power off. Robert Carman: Oh, it's huge. Rich Harrington: It's got a short-term battery, so it could finish the transfer and not corrupt the clip. Robert Carman: That's huge, yeah. Rich Harrington: Yeah, so it, it's cool. And, you know, it's like well, another thing to plug in, yeah, but I was in the field the other day and I was just running. I had the laptop on battery. I'm like, wait a minute, I got a cigarette lighter in my trunk. I just plugged in one of those inverters. Jacked it in, and I was running this, and we transferred the whole day's shoot, standing in the parking lot. Two shooters, all the footage, it was like 15 minutes? Robert Carman: Absolutely that's what.

Rich Harrington: Had a cup of coffee, it was awesome. Robert Carman: That's very cool. Now, the one last thing I want to mention, Rich, is that, we'll talk about this in another episode, is that we've got a manual process here, of copying files from the memory card. Two drives, so we have, or we're done a backup. But also so we can bring this footage back to our studio and work with it and edit it. Now in another episode, we're going to talk about automating this process, right? Rich Harrington: Yeah. Robert Carman: There are applications out there that will help you sort of in one click, say, I want to copy to four different places. Go ahead, do that, verify it.

Oh, and by the way, when you're doing that copy, maybe transcode the footage. So, when we come back, we'll get into talking about this automated process, and how it can really enhance your workflow when you're out in the field. Rich Harrington: Alright.

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