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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.
Okay Rob, we've got the Blackmagic cinema camera up. We've left the pocket cameras up. Just so we can compare the footage between the two. >> Yeah, yeah. >> But you're going to shoot Raw, right. So tell me a little bit about you're shooting Raw. And what it'll do for us. >> Well, the thing about Raw is that you're bypassing any sort of in camera processing, right? So instead of sort of baking the look on set into the image, you can make those decisions later on in post production. And while it's really cool that you can do that, just be aware that it does add things, complexity if you will, to your workflow.
You're going to have a lot more data to deal with. You're going to have to process that material. Of course, Blackmagic would like you to do this. >> Yeah. >> this in Blackmagic DaVinci Resolve, of course. But what ultima, ultimately at the end of the day, what it's going to give you is more flexibility and more creative control over your images. >> Well, and the new version of Premiere Pro does actually support the RAW files >> Right. >> natively now. Alright, well, we're ready. >> Yep. >> Let's go ahead. I'm going to roll this one. >> Okay. >> Just for some comparisons to that one and we'll, we'll take a look at the results. You're shooting RAW. These other Blackmagic pocket cameras which we explored on an earlier episode.
Are shooting ProRes HQ >> That's right, yeah. >> All right, and and that's an uncompressed raw, right? >> That is an uncom, that's big, actually a pretty good point to make, that on the cinema camera, it is an uncompressed raw. And on the pocket cinema camera it's a compressed but visually loss-less raw. There's some math going on so you have to call it compressed. I mean, it's going to be interesting when we get evaluate the footage to see, you know, when raw does come out for the pocket camera, if we're going to see any difference. >> All right. Well let's go ahead and get the music rolling. >> Cool. >> And Jason, are you all set? >> All set.
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