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Monitoring your footage


DSLR Video Tips

with Richard Harrington and Robbie Carman

Video: Monitoring your footage

Male 2: We've just talked about sort of manually copying footage from memory cards to hard drives. Talked a little bit about redundancy. But I'm a real big fan of making my life easier. Male 2: Yeah. Male 1: And I find every once in a while, I feel like there's an app for that, right? Male 2: Yeah, absolutely. I mean, the thing is, is like sure, you know. I can drive an automatic car because it makes my life easier. I could drive manual, if I needed to. I know how. Male 1: You're just steering if you're not driving manual, by the way. But, whatever. Male 2: But I just like things to be simpler. And, I also like some redundancy. So we've got two apps. Male 1: Yeah.
Expand all | Collapse all
  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

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DSLR Video Tips for Final Cut Pro on
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

Monitoring your footage

Male 2: We've just talked about sort of manually copying footage from memory cards to hard drives. Talked a little bit about redundancy. But I'm a real big fan of making my life easier. Male 2: Yeah. Male 1: And I find every once in a while, I feel like there's an app for that, right? Male 2: Yeah, absolutely. I mean, the thing is, is like sure, you know. I can drive an automatic car because it makes my life easier. I could drive manual, if I needed to. I know how. Male 1: You're just steering if you're not driving manual, by the way. But, whatever. Male 2: But I just like things to be simpler. And, I also like some redundancy. So we've got two apps. Male 1: Yeah.

Male 2: That automate this process. One is from a dedicated company. It's called ShotPut Pro, the other is Adobe Prelude, which is part of Adobe Creative Cloud. Male 1: Yep. Male 2: And we'll just take a look at this. So, let's start here with ShotPut Pro. You're a fan of this. Male 1: You're right Rich, I've really became a fan of ShotPut Pro and it's by a company called Imagine Products. And ShotPut Pro has been around for a while and has become very popular with onset DITs and other people onset that are responsible for data back up and data integrity. And in this new version we have a little bit of a redesigned interface, but works pretty simple.

And the real thing I like about ShotPut Pro is that it does two real things, or has two distinguishing features in my mind. One, it allows us to copy to multiple destinations simultaneously. The second thing that it allows me to do quite easily, is set up custom naming conventions if I want to name things with the date or any of that kind of stuff. Just like how you were created manually created folders in the previous episode. We can sort of automate that process as well as copy to multiple places at the same time making our work flow much simpler.

Male 2: And you bring up a good point. Right, like, renaming clips. This is one of my big pet peeves. I often use Adobe Bridge for this or Prelude to rename the clips on import because let's face it, if I'm using a Nikon camera and I've got three of them set there's a really good chance that's going to be called DSC_001 for the first clip. Male 1: And you'll probably never have another clip called 001 for the rest of your life. Male 2: I just did a test the other day, I was backing up my photo library from the last twelve years of digital photography that I've been doing.

I just did a search for that very same file name. 37 copies on my system of that exact same file. Male 1: I'm surprised it's not more, to be honest. Male 2: That's because I actually renamed so many of my files. Male 1: Okay, good, good, good. Male 2: But I was just like still? It's still here? It's the file name that won't go away. So, we've got this here, pretty easy, right? Male 1: Yep. You can see there on the attached media list we have all of our drives and, you know, cards we have attached. We have a Nikon card attached there. But the first thing that we need to do is go down to the bottom section right here and this is where we can sort of define where we want to copy things to. So, just choose your Drobo Mini there, that's a perfect destination.

Male 2: Should I make a new folder to target? Male 1: You can if you want. Male 2: Alright, so we'll just have a specific one here for the shoot. Male 1: There you go. Okay, so the next thing to do is just take the attached media card there and drag it over into the center of the window. And you can see it's ready there to go. Now, all you'd have to do from this point, if you don't want to do any custom naming or anything like that, is simply click that big bright red button in the lower right hand corner. Male 2: So I click the red button to make it go? Male 1: Yeah, I know. It's a little counter intuitive but big, shiny, red, you get the idea. But if you go into the file naming section here. Male 2: Let me just scroll that up and make a little more room.

Male 1: Sure. Male 2: Okay. Male 1: So, here if you click into the first menu, you can see that we can have a custom volume name, so we can name it whatever we want. We can do things like have consecutive numbering, use today's date, the card name the volume created date, and so on and so forth. You could also add prefixes and suffixes. So for example, if your project had, you know, you know, LDC, for, we could add a prefix to all that stuff so it's LDC, and when we transfer things, we're going to have that prefix attached. One of the things I'm a big fan of doing is using the date. because that lets you know exactly when that was transferred, so if you ever need to go back and say, hey did we get everything from that shoot, you can go and look at date, which is pretty easy.

Male 2: It looks pretty good. Male 1: Yep. Male 2: And I can go ahead and have it start. Male 1: Yep. Male 2: And it says it's running, and it's going to do that transfer. And it's telling me about the speed, here. So pretty easy. It says it's copying but, I'm a bit of a paranoid person when it comes to my data. How do I know it's really copying? Male 1: Well, first of all go up to the ShotPut Pro menu there and then down to Preferences. And in Preferences is right here in the middle, you can see File Verification Preferences, so if you click there we have a bunch of different ways of making sure that we have a verified copy.

Male 2: And it's telling me don't do the no verification. Bad idea. Male 1: Bad idea and you'll see there that the default file size comparison is the fastest, right. That's simply saying. Oh, I have three gigabytes on the card and three gigabytes in the location I chose. But you can do various forms of verification and check summing. To make sure that byte by byte that that copy is a verified copy. Now if you close out that for one second, you can also go back up to the ShotPut Pro menu and down to the Verification Utilities. And, this will be able to let you, do checksums on different paths that you've created that you've already transferred and things of that nature.

Male 2: Looks like a pretty straight forward utility. Reasonably priced. You can download a demo that's going to run ten times. So you can try it out. Male 1: Mm-hm. Male 2: On the shoot. I think that's a good idea. Definitely a solution. Now, another one that a lot of people may already have access to and not know about, is Adobe Preludes. So, if you're a Creative Cloud customer, or a production premium, they've got this sort of dedicated utility, does some of the same things, right? Male 1: Yeah, in the last version of Creative Suite Prelude was added to the box if you will, and it's now available of course on Creative Cloud. And Prelude was one of those tools that at first people were going well, what is this really do? Think about Prelude as sort of the front end to the editorial and post process right? With Prelude and what you can do, is do a very similar process we did with ShotPut Pro in the sense that we can transfer the media to different locations.

We can verify it. We can even do things like transcode that data to other codex on, on input and on transfer. And I also noticed some other things that we won't touch in this episode, like being able to do markers and add various forms of metadata and stuff. Male 2: And actually, if you do want to explore that, I did cover a whole section on Prelude in the Premiere Pro's new features title, available here on, so you could check that out. But it's a nice tool for people who don't know how to edit to go through and do some basic string outs or add metadata. Male 1: Yeah, yep. Male 2: But, I've launched the app it's pretty straight forward.

Male 1: Yep, so you notice at the top of the interface there, there's a number of buttons. Guess what? There's one called Ingest. Well, so let's go there and a new window opens up and on your left hand side of the window you have a file tree. And what you can do is navigate to your attached media card and simply select the entire media card or any particular folder if you needed to, but over on the right hand side you have transfer options. Male 2: And, I'm seeing here that I could choose to selectively. Male 1: That's true. Male 2: Transfer individual files if I want. I've got a mixture of stills here, and video clips on the same card. And that's very practical on a DSLR shoot, right? Male 1: Absolutely.

Male 2: Got some time lapse, got some HDR that I'm going to use for plates. I've got some video footage. Male 1: Yep. Male 2: And I want to get this onto my drive. Male 1: So you can simply select individual shots or individual clips. You could check all. So you're going to transfer everything. And once you've done that, over on the right hand side of the window you have some transfer options. So, the first thing you want to do is make sure that you're actually transferring to a destination. So you can choose a location that you want to save to. Maybe one of your external drives like your Drobo here. Or you know, your Western Digital Drive. Create a new folder that you want to transfer in to, sure that one works, and then once you've done that, on the right-hand side there under the Location, you can choose to add a sub-folder.

For example you could use today's date, you could add in. Male 2: It already tagged it with all the information. Male 1: Absolutely. Now, for video files, you could also choose to transcode that footage. Now, we won't talk about that necessarily in this episode, but this is a nice feature to have if you wanted to transfer, say your H264 files over to maybe ProRes, Quicktime, or something of that nature as well. Male 2: Yeah, and I could go to things like professional format, SONY XD Cam, Panasonic P2, so that does give me the flexibility. If my client has other requirements for the footage I can transcode right here.

And that's one destination and that's fine. I'm not going to do the transcode, so I will tell it to verify. Male 1: Yep. Male 2: And the same thing, right? The file size are byte by byte. Male 1: Yep. Male 2: And and then I could choose a second destination. So that I've got another location here and I'm just going to choose that cheaper drive that I could use as my backup of my backup. Male 1: Totally. Male 2: Okay, so I've got a folder, gave it another name since it's my second transfer. Male 1: Yep. Male 2: And I got that, I choose it. Male 1: Mm-hm. Male 2: So now we're going to two places. Male 1: Yep. Male 2: I could transcode that, that's fine.

I've got it all chosen. And I could click Ingest. Male 1: Mm-hm. Male 2: And it's going to make that copy to both places, right? Male 1: Yep, it sure is. Now, depending on again, the speed of the different devices, the speed of your memory card reader that kind of stuff, it can take a few minutes. So, just be patient. Male 2: And I see, I was like wait, what's happening, how do I know? Well, I could actually see it down there, right? Male 1: Absolutely. Male 2: It's processing so, I've got that and I say okay well, I want to start working with the footage, the clips will start to appear in the project as it comes across the movies. Male 1: Yep Male 2: So, you see that some of the clips have actually come in, I can double-click to load the clip then actually see it, start to add extra information to this clip, see the audio wave forms.

Male 1: Yep. Male 2: Add comments and markers. So, really easy stuff for me to put in Meta Data that's going to transfer to the project that the client can then actually see so, makes a lot of sense here as you get organized. So, pretty straightforward stuff, you ingest the media it comes into your project, you could do stills, you could do video. Prelude itself will backup both, but it's really only designed to process the video files. Male 1: That's right. Male 2: So, I think we've got pretty valid solutions here. You can go with Shotput Pro. Male 1: Yep. Male 2: And that's a standalone utility reasonably priced.

Or if you're an Adobe Creative Cloud customer, or production premium, you can go ahead and use Prelude as that organizational tool. Now we've covered a lot of stuff here Rob. In fact, it's taken us two weeks to go through all this info. Male 1: Sure. Mm-hm. Male 2: But it is your data, right? Male 1: Yeah, I mean, when it comes down to it there is nothing more important on set then that data. Sure, you can argue well, the lighting or the lens that I'm using or some you know so and so forth. Male 2: That's, that's the evidence of your hard work. Male 1: It is, but it doesn't do anything for you if that data is not protected and backed up.

And over the past couple of weeks, Rich, we've talked about everything from card wallets, to you know, in the field transfer devices, like this Nexto unit. Using portable hard drives, memory card readers. And we've gone on about it simply because it is such an important thing. And I'll leave you with one last thought that I think is really important. Whatever you ultimately decide your set up is going to be, make sure it works before you get out in the field. I'm a big fan of testing, testing and testing. So, make sure that the drives that you purchase, portable drives for example, have the throughput that you need.

They have the capacity that you need. Obviously make sure that your laptop has the ports and connections that you need. And do a couple of test shoots and transfer that stuff and get into the habit of, what your naming conventions are going to be, which applications you're going to use for transfer and so on. Because the last thing you want to have happen is to make decisions in the field that you're not necessarily comfortable with and that they are new decisions for you. You want all those decisions to be made before you get out into the field. Male 2: Okay Rob so, you know, you say all those things. Doing those things versus just saying those things is hard.

Male 1: Do as I say, not as I do. Male 2: There are times that I break my own rules. Male 1: Of course. Male 2: And those are usually the times I end up regretting it when something goes wrong. Male 1: Yep. Male 2: So take the time, invest in some extra equipment. Nothing crazy, but a couple of drives. Fast connections, good cases for your cards. If you lose your data, you might not just lose the shot, you could actually end up losing that client or blowing up your project. So, remember nothing is more important than the data itself. From my names Rich Harrington. Male 1: And I'm Robert Carmen.

Thanks for joining us.

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