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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.
>> Alright, just a quick word about workflow and these cameras. It's pretty similar to a DSLR, Rob, right? >> It is, I mean, we're working with compressed file formats. Now, depending on what camera you're using, you might have a choice of file formats. >> Yeah. >> From MOV, which of course, is a Quicktime file, to AVC-Intra files, to MP4's. >> Yeah. >> It really just depends. >> And you're going to want to look specifically at that. You know, for example, the OM-D? >> Mm-hm. >> It's an H.264 file. Now I could drop that in Premiere native. >> Yep. >> I could drop it into the newer Final Cut 10 and it could work native or it'll transcode in the background.
>> Either way. >> That's fine. If you are serious about shooting a lot of video and you're specifically buying this form factor for video, I would say that the GH3 is kind of the leader here. because AVCHD is more robust than H.264. >> Yeah and a lot of broadcasters are thinking about using it as an acquisition format. It is rather robust. Now, I will say for AVCHD, you need to make sure that your editing software is going to support the codec, right? Some older pieces of software won't do it, and also just like H.264, it's going to require a little bit more how should I say, umph.
>> Yeah. >> Out of your computer system to get to optimal playback and not drop frames and things of that nature. >> Yeah, a lot of times the drop frame problem is going to be caused by the codec. Now, things like the Mercury Playback Engine really work well with this. Having a good GPU, lots of RAM, all these things come in handy but you don't necessarily have to transcode. The other thing I would say about these is that card speed makes a huge difference, right? I mean, these are SD cards, but you can't just use any SD card. >> No, I mean, we've talked about this on previous episodes as well. But I'm of the philosophy of getting a pretty beefy, fast SD card.
Or even maybe a compact flash card, depending on the system that you're working with. And there are some newer standards. What's that new standard called that everybody's using on SD cards? >> SDXC. >> SDXC, and you're going to want to look for that. >> And that's what we have here in the Blackmagic. >> Yeah. >> Which is a 600x card. It required that. These guys are okay with 400x. >> Well, and that makes sense though because these are shooting compressed formats. These two guys whereas the the pocket camera it's still shooting compressed in ProRes. >> Right. >> But ProRes is going to have a much higher data rate than something like H.264. >> All right, so pretty straightforward stuff.
We're going to head down into the post environment a little bit later and you'll see us bring the files in. But if you are used to a DSLR workflow there really isn't much different here about these cameras. I'd still run an external mic in, their mics are just as bad for built-in mics and beyond that it's pretty straightforward. I think if you are a video shooter you will find the GH3 to be the one most to what your used to particularly if you're a Panasonic shooter like. >> Yeah. >> I know these menu's, they're perfect. And you got a lot of manual control but I was impressed with the OMD as well. It's got really good manual controls in there and it's a good camera.
So, why don't you guys check those out.
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