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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.
Male 1: Hi, my name's Rich Harrington. Male 2: And I'm Robbie Carmen. Male 1: And welcome to this week's episode where we're all talking about card workflow. Male 2: Yep. Male 1: Now, you're out on a shoot, you're getting a lot of data, you really don't want to lose that data, right? Male 2: No, I mean, in fact, Rich, the card is sort of your lifeline to what you've shot, you know. And the thing about cards is that, you know, they're fickle little beasts. In the day and age when we had video tapes, what did we do? We took the tape out of the camera. We put it on a shelf or in a box and we brought it back to the studio. These days, when you're out in the field, of course, you're going to want to be able to reuse those cards and, therefore, paying careful attention to how you treat the cards and handle the cards, how you store the cards, but also how you transfer the cards to other media and how you bring that footage back to the studio is really important.
Male 1: Now, what we're seeing is, with cards themselves, generally people are choosing to recycle those cards and get them back into action. Now, nobody says you have to recycle. Rob brought up a good point, the cost of tape. If you've been a video professional for a while, it was not uncommon to spend $30, $50, even $100 on some tape formats to have field tapes. Some of the new HD cam formats, even more than that. And so it's not that big of a deal. Some people actually are choosing to take the cards, put them in wallets, and still keep them backed up.
But in any case, being on a card, it's not edit-worthy. A lot of folks make the mistake of trying to edit directly off the card. That's really hard on the card itself, and you're not going to get the performance that you would from a hard drive, right? Male 2: That's right. And you make a couple of interesting points, Rich. The first is that cards have drastically reduced in price over the years. Sure, you can still spend a couple hundred dollars for the higher capacity cards, but in that 16 to 32 gig range, especially for SD cards, they're really not that pricey. Male 1: Yeah. Male 2: So I like to have the best of both worlds and have both options available to me.
I have a lot of cards so I can keep the foot footage on the card and not have to erase it and recycle it. But I also like to be prepared, and be able to copy and protect my footage in the field. And we're going to talk about this week a couple different ways of doing that, ways of storing your cards, transferring your cards in the field and getting all that footage back to your studio and getting ready for post production. Male 1: Okay. So we're going to do some in field workflow and some post workflow. So when we come back, we're going to talk about card management during the shoot.
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