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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.
So, Rich we've gone ahead. We've used Bridge, to sort of batch process those. >> Yeah. >> And rename our files. Which, again is an important thing, just so you don't have all these weird file names. >> Yeah. >> And no gaps and numbering. >> Right you know, where you were, what you were shooting. That kind of stuff. What's the next step? >> Well, I like the fact that the GoPro has a wide angle field of view. But ,that horizon kind of looks like the earth is ending. >> Yeah. You know but the cool thing about, you know the GoPro as you said is that really nice wide angle view, but it does borderline. Sometimes, I'm being kind of Fish eye-ish. >> Yeah. >> And you know, the fish eye look is something that people sometimes like.
It has it's place, but you know, when you're trying to get a normal looking shot sometimes, clients, just go what is going on don't you know how to shoot. >> Yeah. >> But fortunately we have some tools I can sort of. Fix that, sort of distortion, in the lens and get back to sort of a more normal shot. >> And, and if you're using Adobe Photoshop, this is really easy, in fact, there's even a profile, for it, but the good news, is, is in the near, future, I've gotten confirmation from Adobe >> Yeah. >> that they're putting camera RAW, in both Premiere and After Effects. >> That's pretty cool. >> Yeah. You've already got camera RAW, kind of, in After Effects, to do some of this, but Your going to have much more flexibility.
Lets do this in Photoshop ,because it is a bunch of stills. >> Cool. >> So, what were going to do is were going to basically, take this and were going to batch process, so if I just select everything, I can say right click and I basically ,want to open this into camera raw. >> Sure. >> And in doing that. It opens up, and you know we can do any adjustments we want here. Like, you know we mine as well color correct a little bit. You know, everybody loves some of their clarity and let's boost the sky with some vibrance.
>> Nice rich sky. >> Now, now just to be clear this is camera raw/ that you've seen in Photoshop, but this is still in running inside of, Adobe Bridge. >> Well,Camera Raw is almost a mini-app >> Right. >> And you can access it from Bridge, Photoshop >> Or from Photoshop, right. >> Or After Effects >> Exactly >> And eventually ,you'll be able to run it as a filter, in Premiere >> Really cool. >> You can run as a filter in Photoshop today, so it's kind of like an app or a filter. >> Yep. >> So, we color correct >> And you got a little, a little vibrance there, a little saturation, looking pretty good. >> Yeah and we can go ahead and turn on our clipping warnings, here and we see some of the whites are clipping.
>> Yep. >> And that, to be expected in the clouds. >> Bring your highlights ,down a little bit, there you go, save those great. >> Yeah ,so it's looking pretty good right? And let's lift the shadows up ,on those trees just a little. >> Crushed and script. >> Looking pretty good, right? >> Yeah. I thinks ,it a >> Alright. We go over to this tab, called lens correction. >> Yep. >> And, you got profiles. >> Yep. >> You turn, this on. >> Yep. well, that's pretty easy. >> And you see that it actually, recognized the go pro profile built into the shot. >> Absolutely. That's what Adobe's done a lot work with common cameras, common lenses ,to sort of figure out ,all the numbers and all the map about how to correct these.
The cool thing, is if you do have a lens that doesn't have a profile for a camera that's not recognized, you can build and save your own profiles. >> Yeah, there's a free lens profile creator, you can even use this on video cameras. It's basically, a chip chart, you point the camera at it with your lens and camera, it makes a profile, to remove things, like chromatic aberration wide angle distortion. >> Yeah. >> Now ,that was the auto amount and depending on, you know its not perfect here. I could just adjust this distortion slider. >> Mm hm. >> And sort of refined that a bit. And that's pretty cool and then you even have another tap here where you can say things like...
Go ahead and fix the vertical or the horizon and it's going to look for lines and try to balance, those out, especially with architecture, this upright is awesome. It's not going to work here, but, if you have like strong vertical or horizontal lines, it totally picks up on them and fixes them. >> Yeah, I mean I've used this before for like shift photography right. >> Yeah >> When you are, you want to just tweak, you went just a little too heavy straighten line out very easily. Yeah, so this looking great and we have total manual control here as well so you can compensate for any sort of perspective issues, for vertical issues, for a little bit of tilt, so we are basically sort of tilting that shot, that's pretty cool right? >> Yeah, know, so I have a question, so I'm obviously ,doing this on one image, what about the other 14, 15 hundred images? >> Select All. >> Yep.
>> Synchronize. >> Bam. >> And you just look, at it and you say what is it you want to synchronize. Well, I didn't use any curves, but ,I do need to come down here and say, oh make sure you use. >> Lens Profile Correction. >> Lens Profile Correction, great. So ,everything is checked that I need, I click ,okay. And it just goes >> So again, it might just take, because this is heavy-duty math, so it might take a second. Especially if you have a very large, time lapse. But, that's amazing, to be honest with you. >> Yeah. >> That you have this shot that you're like oh, I can't do anything in it, with it, it is what it is. Very quickly, we just took all these images, after we batch processed them... >> Yup.
>> Opened up Camera All and just processed them to get rid of that, distortion, and we're pretty good. >> Almost. >> Almost? >> We, we gave it, the instructions to process that. >> Okay. >> But, until we click a button, they're not actually saved. >> I'm guessing, that's the big blue gun button. >> That's half of it. >> Okay. >> Now if you're going into After Effects, clicking done. Right now, this is the existing image with an XMP side car file. >> So it's. >> What's XMP? >> Well it's, XMP is sort of a metadata, set that Adobe, sure aids. And so, essentially what it is, it's sort of the text information about all the corrections you did.
>> Yeah. >> So, it's a sort of what, some people also call a sidecar file. >> Yeah. >> Right. So, it's going to come along with the original file and instruct another application, how to do whatever you did. >> So, if your using an application like after effects, you're right and you click done, and after effects goes oh interpret the files this way and you are good. If you are using photo shop, final cut pro ten, premier which doesn't have camera on it yet, you are going to want to click save images button. And then say ,oh ,go ahead and put those, into the new location.
>> I think, that's a good choice, keeping your process images separate, from your ,um, your original images apply better. >> Yeah. In case, we overdid it. >> Right. >> And, I'll choose that, and say, oh, take the current name. Save as a tiff. That's a nice good >> Yeah. >> Uncompressed file format. >> Works for me. >> I could assign color profile. We are gonan keep that 16 bits. >> Yeah. >> So, that's good color. >> Yeah. >> I'll just hit Save and it goes through and you could see here the progress. It just counts it down. >> Now, I gotta tell you the reason, I brought this up was to see, if I could trick you, which, of course, I couldn't, but I've actually had this happened to me before.
I've gone in, I've corrected all the images and going to, all you gotta do is hit Done of OK. >> Yeah. >> And then I'm going, why do those make you still look like, they're messed up? >> Yeah. >> So, this is two different side of workflows, right? If you're working within, some of the apps in the Adobe Suite, like AfterEffects, like you mentioned, that accent metadata, kind of can be handed off very easily. >> Yeah. >> But other applications ,like or other video tools, you need to do this actual processing of the images. >> And I find it easier, that actually baking the files now, like I would call this the render tax. >> It's one less thing to deal with later on. You don't have to keep track of files.
You can move it around to other artists. >> Yeah. >> All that kind of stuff and get it done. >> These aren't big files, so I'll just hit bake, let this get done. That's pretty cool. Now, we have completed, the processing look. When we come back next week, we're going to go into three popular tools, Photoshop, AfterEffects, and Premiere. And the Premiere, workflow's the exact same thing as the Final Cut ten workflow. >> Yeah, yeah. >> We're going to show you how to put these files, together and make a time lapsed movie.
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