Start learning with our library of video tutorials taught by experts. Get started
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.
Robbie Carman: Okay, Rich. So we copied over our media onto a drive of our choosing. We talked about making a disc image. Media's ready to go. Right? Rich Harrington: Yeah. Robbie Carman: So now we need to launch Premier Pro, and this is where people with Premier Pro start to get a little confused. because like, tools like final cut, you open it, and it's like. Oh wow, here's the interface. Rich Harrington: Right. Robbie Carman: When you open up Adobe Premier Pro, there's a couple options that you need to choose to sort of set up the project. They seem intimidating but they're actually pretty straight forward. So, we've got Premier Pro open, the first step is what, just create a new project, right? Rich Harrington: Yeah, we'll make a new project here. Robbie Carman: Right and you can choose a location for that.
Rich Harrington: Yep. So, on my targeted destination I might put the project on my internal file, leaving the media on an external file there's a couple ways of doing that. Robbie Carman: Right. Rich Harrington: Now, I'll just go ahead to My Documents folder actually. And I'll just make a quick. Robbie Carman: Yeah. And some people like to save their, their project file and their media in the same location. Other people like to save their project file in a separate location. It's just a workflow concern. There's no right or wrong with that. Rich Harrington: So, I got that. I choose a location. I've got the name of the project. Robbie Carman: Mm-hm. Rich Harrington: And I'm looking at this. And now I need to make a couple of choices. Robbie Carman: Yeah, Rich. And this is actually a really cool and big feature of Adobe Premiere Pro.
And that is the Mercury Playback GPU acceleration options that we have. Now it used to be that we could only have CUDA-acceleration and CUDA-acceleration in video CUDA enabled graphics cards. But in new versions of Premier Pro you're going to have a lot of options to chose from including CUDA support, which works with in the CUDA enabled graphics cards. As well as OpenCL support which works on a wider variety of cards including ATI cards. And don't worry if you don't have a supported card, you always have Mercury Playback's software-only support.
Rich Harrington: Yep, I'll choose CUDA because that's going to be the best performance here. And I've got everything all set so I'll click OK. And it's going to set up the project. Now the first choice that it asks me when this dialog comes up is, what type of sequence do I need? You don't actually have to make a choice here. Robbie Carman: Nope. Rich Harrington: And in fact they'll be able to turn this window off if you need to, but I'll just go ahead past it. I'll hit Cancel. I've got the project. Robbie Carman: Right Rich. And all that window really is, is giving you sort of an accelerated step. You can set up a sequence, and you saw that there was a lot of different presets that Adobe provides you.
If you're, you know, have your own settings, you can create own Custom Sequence settings. Save those, so they're available to you at any time. But as you pointed out, you don't have to do it. Rich Harrington: Yep. Robbie Carman: You can simply click Cancel. And when you do that, you open up the project. And it's just the interface. Rich Harrington: Yep. Robbie Carman: There's no sequences, or anything else to work with. Rich Harrington: Now the thing that a lot of people get confused is should I import or should I browse? Even with DSLR footage, I would not use the import menu. Because it's going to encounter files it doesn't recognize. Maybe thumbnail files, or other previews. So, instead of using File> Import, which is not a good idea.
I'm going to instead use the media browser. Robbie Carman: Yeah. And it's funny, I, you know, you think what's the, what's the real big difference there, right? Well, the media browser, is your friend. Rich Harrington: Yeah. Robbie Carman: And what I mean by that is that it's, it's a. And it's a smart friend at that. The media browser automatically is able parse the file structure of different cards from different types of cameras. Now on a DSR camera, It's pretty simple, right? Rich Harrington: But there's some stuff in it you don't want, like thumbnails, perhaps. Robbie Carman: Absolutely. On more complex camera systems, like RED or ARRI or XDCAM.
Rich Harrington: There could be like 17 folders in there. Robbie Carman: Yeah, there's all these folders and it's, you know, this file and that file and it's hard to tell what you're looking at. But the media browser, automatically detects, oh, hey, this is a DSLR folder structure, or, oh, hey, this is an XDCam folder structure. And only shows you the media, so you can get rid of all the other noise and all the other junk that you're looking at that you would find when you have the import function instead of the media browser. Rich Harrington: Now, what I'm going to do is, before I actually import, I'm going to make a new bin, and I'm going to have that, and I'm going to call this, day one selects.
So, this is not all the footage. It's going to be just the footage that I select. Robbie Carman: Okay. Rich Harrington: Now in order to target that bin you actually need to open it. And the best thing here is to Cmd+Double-click on it or to Ctrl+Double-click on it so it becomes the open bin in the Project panel. Robbie Carman: Right, so it's not a floating window that you have to manage, right? Rich Harrington: Now we go into the media browser and we can navigate to the location where we transferred our footage. Now, kind of hard to see things, right? Robbie Carman: Right, and there's a magic keyboard shortcut in premier that I just love. And that's the grave or tilde key on your keyboard.
And what that does is it pops everything up into the active window into the full view of your screen, which is nice. Rich Harrington: So, I can go in and find all the footage just drilling down. Notice how I get that nice file tree there, and everything's expanding. And very quickly, it processes and shows me all the movies. Now, one of the things that's nice here, as it loaded, is even though it's seeing it as a file folder now since I transferred it, it's filtering out the JPEGs in that folder and the Camera Raw files which it can't import. It's filtering out the thumbnail files and just showing me the movies.
Robbie Carman: Mm-hm. Rich Harrington: And here's the thing I love about the media browser. Is that I can skim these clips, and see if this is the shot I want. Robbie Carman: Yeah, now the other cool thing I like about this really, Rich, is that you're literally just browsing. Right? Rich Harrington: Yeah. Robbie Carman: Go ahead and double-click on one of these clips for me. Rich Harrington: Now if I re-minimize that. Robbie Carman: So Rich, you double clicked on this clip, and you opened it up. Guess what? It's still not in your project, right? You're literally still browsing. So, if you don't like that small little Thumbnail view, even if you zoom in on it. You can load it up into the source monitor, and get more of a Traditional view, to be able to you know to scrub, and to look at things.
If you wanted to switch over to some of your scopes, you can look at that. But you'll notice down in the Project panel in the bin you created, there's still no clip. So go back to your Composite Video there and if you wanted that individual clip, guess what? Just take it, drag it down into your bin, and now the clip is in your project. Rich Harrington: Yeah, and when I'm back in the media browser and I'm browsing. As I see clips that I want, like maybe I'm trying to decide between this one versus this one, which is, oh they're not actually started yet. Oh this one. The cameras nice and steady, I got locked off on the tripod. Alright, I'll just right-click and I'll import that, and you'll note, again, that that went right into that bin that I had targeted.
Robbie Carman: Yeah, and the other thing I really like too, in the bin, in the Project Panel view too if you go back to your Thumbnail view, for one second, is that its very easy to see what clips have audio associated with them. With that little audio, thumbnail, or it contains linked audio. Now, the really cool part when it's already in your project is that you can scrub it just like you did when you were browsing it but you can also set in and out points now as well. Rich Harrington: Yeah, using JKL, I can actually scrub the clip, hit I for in. I'm using faster playback there, O for out, and I've market it.
So, very, very cool stuff. And beyond this, we don't want to get into a full editing class on Premier Pro. We have that here on lynda.com, but I think you see very easy ways to browse. You can go ahead and select multiple clips and import them all at once or one at a time. You could skim, you could load in preview. It's a very intuitive way. To review your footage and load just what you want. For lynda.com my name's Richard Harrington. Robbie Carman: And I'm Robbie Carman. Rich Harrington: Thanks for joining us.
Find answers to the most frequently asked questions about DSLR Video Tips.
Here are the FAQs that matched your search "":
Sorry, there are no matches for your search ""—to search again, type in another word or phrase and click search.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.