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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.
Now I think as you see here the camera's very versatile. It's really going to be a matter of what you want to shoot with. I would love to see a raw file that came off this camera. Do you have one handy? >> Yeah I do. So down here at the end of my sequence here, here is a shot that we shot of, of Jason outside. Yeah, a cou, actually a couple of shots. Here's him against some brick and then I have him, out against sort of, you know, an overcast bright sky. >> Yeah. >> And this is a case where raw is going to help us. Now these images look okay, but I want to be clear about one thing, Rich. That we're in here inside of Adobe Premier Pro 7.1.
It's the, sort of the latest and greatest update to Premier Pro in the creative cloud. >> At the time we're recording. >> At the time we're recording right here. And it's actually kind of just preliminary cinema DNG support. >> It works. >> It works. >> You can import it with the media browser and it comes in as easy as any other file but some of the other things, like raw settings, aren't quite there yet in the version we have. >> Yup. >> But these are DNG files, right? Could you show them what this looks like? Like, if you kick this into After Effects, or Photoshop, you can process the raw sequence. >> Yeah. >> So we're going to open this up in After Effects.
These are DNG files, which is just like Adobe's regular photo DNG files, except that there's several of them, they're sequential. And you can use After Effects, you can use Photoshop. In the near future, I anticipate you'll be able to work with Premiere Pro, and actually have source settings to modify these. We're seeing more people add support for this. Has Avid or anybody else announced support? I know that you've got it in Resolve. >> Yeah, I mean, that's the thing is that, a lot of this raw support is really going to have, you know, had really in, sort of color correction-heavy applications, Resolve, SpeedGrade, that kind of stuff.
I think eventually this will trickle down to all the NLEs are going to support this. And just keep in mind that cinema DNG is, you know, it's an older format, but it's also new to a lot of these companies. >> Right. Yeah, it, it was an older format that didn't catch on, and then all of a sudden, it was very popular. Now the thing to realize is that a lot of people will actually do a workflow where they'll use a transcoded file. They'll take the cinema DNG files, transcode a low res version and edit with that and then reconnect or conform when they go to the editing stage. >> Yeah, lots of options. But here we are in After Effects. And I just went to this folder where I had Jason here.
>> Yeah. >> And you can see that it's just a ton, a ton, a ton of DNG files. >> Yeah. >> Now keep in mind this is 2.5K. So it's a little bit bigger than 1920 by 1080. >> And it's five megabytes, still, that's 120 megabytes. >> A second. Yeah, that adds up. And so that's another reason, if you're doing a lot of high volume shooting, you might just want to consider the raw work flow as nice, and really beneficial, but might not be the best match for your particular project. >> It's great for certain types of shots, it's overkill for many shots.
>> Right, so all I'm going to do here is select, the first, file in the sequence and After Effects is smart enough to realize. Hey, this is a camera raw sequence. Then I'll go ahead and click Open. And now it opens it up. What's interesting about it, is it doesn't just import the file, it opens up camera raw and allowing us to develop this image sequence. >> Yeah, and we can do this lots of different ways and it's, and it's not important here is the interface. Just thing about the fact that this is raw. Look at all those details come back. So this is just a lot of flexibility to dramatically change things in the exposure and it behaves differently than your typical sort of video color corrector.
So you know, you could be doing this in Resolve, you could be doing this in SpeedGrade, eventually we'll see this in other tools. I think it's just pretty cool how flexible that is. >> Well that's a good point Rich. Is that I think for a lot of people who come from the true video color correction background this could be seen as kind of weird. Right, and you're sort of developing this single frame, and then like having it ripple through all the other frames. And that kind of stuff, that's fine, but at the same time, it's also positive for folks that are really used to this sort of, this sort of raw work flow with After Effects and Photoshop, even Lightroom you can develop the photos that way.
So you have a lot of options of kind of how you want to go and develop this stuff. And as you said, I'm sure as support ripples through a lot of these applications, it will become pretty robust for the Cinema camera. Just cause, keep in mind, again, even though Cinema DNG is an older file format it's actually kind of new for some of these companies. >> And for competing formats that are raw, there tends to be hardware acceleration or trans-coded workflows, so, there tends to be a lot of online, offline, online sort of things, were they'll load the initial files up. Often make a transcode. Edit with those because they're a lighter weight and more portable and then reconnect for the final conform.
Don't just jump on the raw bandwagon because you have the option. Use it where it makes the most sense. Alright, I really like how this camera's looking Rob. >> Yep. >> I think it's very flexible. We got some great over all looks. >> Yep. >> And it's a wonderful companion to use with the pocket cinema camera. So be sure to check out that episode, and I'd like to thank you for joining us this week.
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