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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 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 lynda.com, 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 lynda.com, 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 lynda.com my names Rich Harrington. Male 1: And I'm Robert Carmen.
Thanks for joining us.
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