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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 1: So Rich, we've talked about using Fonica Pro Ten and Adobe Premier Pro to do conforms of high-speed footage, 60 frames per second footage down to 2398. Male 2: Yeah. Male 1: There's one more tool that we want to show and that is using Adobe After Effects. Now, After Effects is something that if you're uninitiated to it, can seem a little intimidating. It's a big, deep program motion graphics, visual effects, it's not you know a traditional editing application. However, it can be used to accomplish some editorial tasks like conforming slow motion footage and it does an exceptional job with some more advanced features.
Male 2: Yeah, I really like how it handles the footage here, because same idea over in Final Cut and in Premiere, you know, you bring the footage in you have to tell it. How you want to interpret it. Male 1: Right, and right now you can see up there in the little info window, it's saying, hey this is 5994. Male 2: So I'll right click and I'll go to interpret footage, and choose main. Male 1: Okay. Male 2: And essentially, I just need to dial in a new frame rate of 23.976. Male 1: And really, this could be anything you wanted, right. I mean Male 2: Yeah. Male 1: If you wanted this to be 4 frames a second, you could make it 4 frames a second. Male 2: Absolutely, and I'll choose that.
And that's all set. And then I'll make a new composition. Male 1: Okay. Male 2: Now with the composition, you wanted to go ahead and match your deliverable size. And if I was going to scale the shot up, I would do the scaling in After Effects, because its scalars are better than both Final Cuts and Premiers, probably combined. So I've got 1080, and I'll set my frame rate for my delivery. Male 1: Okay. Male 2: It's all good, and I'll just make this a longer comp here. Male 1: Now just to be clear, in the previous 2 examples, we didn't change the frame size, but we're going to change the frame size and, and scale up a little bit here as well.
Male 2: Yeah. And that's because I think After Effects does a better job at it. Male 1: Right. Male 2: Now, I've got that, I'll click OK. And let's just double-click to load the file. A lot of folks don't realize that in After Effects, you actually can set in and out points as well, so you don't have to just dump everything in your timeline. So you just double-click and it loads into the footage monitor, which is kind of like a source monitor. Male 1: Yup. Male 2: There we go. Male 1: Okay. Male 2: And I'll mark my out. And let's just drag through, make sure that's what we want. Male 1: Yep, looks good. Male 2: And so I will add that to my timeline, look it's the same sort of button.
Male 1: Male 2: Yep, there it is, but it's the wrong size. Male 1: Yeah it is, so you can see all that transparent space around it. Male 2: Now we can scale this up and you probably have this number memorized by heart. Male 1: You're tricking me, Rich. 150! I knew it! Male 2: It's a very easy blowup, but there's a great shortcut inside of After Effects, which is just Cmd+Alt+F, or Ctrl+Alt+Ff for forced fit. Male 1: Beautiful. Male 2: And they'll scale it up to fit as well. Male 1: Okay. Male 2: Now in this case, you're not going to see anything different than before.
Let me just mark out the work area. b and n for beginning and end of the work area. Male 1: I'll just cache that real quick. Male 2: Yep, and in After Effects, we don't play footage, we click ram preview so it loads and plays back. It's a compositing tool, not a real time video playback tool. So it's fine. You know, there it is at 24 frames per second. We didn't slow it down. Male 1: Right. Male 2: Now in After Effects, I can stretch things, so why don't we stretch this 200%. And the tricky thing here is, in Premier, you had a playback speed, so a 50% speed is the same as a 200% stretch.
Male 1: Right, got it. Male 2: Different program, same manufacturer, kind of weird. Male 1: Same idea, though. We get the same end result. Male 2: So I'll go ahead and stretch that from the end point. And we'll just mark out an area there. And that's been stretched 200%. So when I'm looking at that there, it's fine, it's working. You know, everything's good. But it's not as high-quality as it could be. Male 1: No. Male 2: Now, we have 3 ways. We have this method, which is just repeating frames. Male 1: Mm-hm. Male 2: I can turn on frame blending. Male 1: Yup. Male 2: So we first have to turn it on for the composition to globally allow it.
Male 1: Okay. Male 2: And then we turn it on for the individual layer. Male 1: Okay. Male 2: Frame blending takes a lot of processing power and you wouldn't necessarily want it on everything. Male 1: Right. Male 2: So you can selectively do this per clip, maybe you're doing a composite. Now let's go ahead and preview that. And it's at draft quality. Male 1: Right, and you can tell draft quality there in the little switch. It's sort of a backward / and its kind of dotted line, not full quality. Male 2: Yeah, and what's happening is, is it's actually dissolving between 2 frames. Male 1: Mm-hm. Male 2: So if this was frame 1, and this was frame 2 and you slowed that down? Male 1: Mm-hm.
Male 2: The middle frame is going to be half of those 2 frames dissolved together. Male 1: Right. Male 2: Which is fine, but it's not great. Male 1: No, it's not. Male 2: And I'm going to actually stretch this 400% now. Male 1: Okay. Male 2: Really slow motion. Male 1: Okay. Male 2: And, what we can do with that, is turn on full quality. Male 1: Okay. Male 2: And this is basically going to do the similar thing of optical flow. It's an advanced frame blending. And when we're in the high quality mode with that, now if I step through frame by frame, you're going to see as it plays back.
That it's actually making entire new frames. It's morphing between frames. Male 1: Yeah, and because it's doing that, it's much more complex math. Guess what, it's a little longer to cache that. Male 2: Yeah, so we'll quickly preview that. I'm at full quality on my previews here, you see the green bar going, it does take a bit more time. Male 1: Mm-hm. Male 2: But, I'll just mark out the critical area there. b for beginning. And n for end. And we're doing this at full quality, so you can really see it. But you kind of get a good idea there. You could see as it goes frame to frame. Male 1: Mm-hm. Male 2: Just how clean every single frame is.
Male 1: Yeah, it's beautiful. Male 2: Now there are things that can screw this up. You see there with the advanced frame blending with the liquid, we did get a little bit of a warble, but you know, that was also the liquid. You've probably seen those crazy videos where people are, you know, boxers shot at high frame rates, and it looks really unusual. Sometimes slow motion looks unusual because your eye is not used to seeing it. Male 1: Right. Male 2: The other thing to realize with this as it builds this out Is that things like flash photography could really screw this up. Male 1: Well in general, anytime you're doing you know slo mo work like this whether you're shooting higher frame rates, you gotta be careful with lighting.
Flickering could be more noticeable with with lights. You know flashes as you mentioned. Something you're needing to pay attention to, for sure. Male 2: So there, we're at a 400 percent stretch factor. So if you think about that, we already slowed it down from 60 to 24, so that went okay 24 frames a second and now at a 400% stretch, we're really playing back 6 frames per second. Male 1: Yup. Male 2: If you do the math, and I know none of us like doing math, that really means that 1 second of reality, has just become 10 seconds of finished footage, and that's a dramatic effect and I would call this air worthy.
I would use this in a national spot at that quality. In fact, I have. For lynda.com my name's Rich Harrington. Male 1: And I'm Robby Carmin. Male 2: Be sure to tune in each week where we'll have more tips on how to get things done with your DSLR camera, as well as post production software.
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