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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, so we did Final Cut X. Mm-hm. Let's jump over to Premier Pro, another very popular non-linear editing tool. Yep. And, same idea, right? We need to make a sequence that's going to match our deliverable, in this case which is. 2398. Yeah so, I'll just choose File>New> Sequence. Yep. And we get a lot of choices here. But because I'm working with DSLR, and native footage. I'm going to stick with DSLR and go to the 720P 23976. Sure. Or 2399. Now, now just to be, you know, clear you could choose a 1080 sequence preset.
You just have to bump up that footage to fit the frame size. Yeah. So I'll click OK. Let's call this shot slowmo. Yep. And when I drop that clip in, I'll just select part of that shot so we're just getting the part we want. So there's our start, you reach in, you lift, in, pour, down. Perfect. Okay, great. And we'll go ahead and overwrite that to the timeline. And I play it back and it's real time. Yeah it's the same thing that we saw on Final Cut Pro X, right.
Premiere, like Final Cut is saying, oh your sequence is 2398, your footage is 5994. I'm just going to make this happen for you. It's not smart enough to go oh, I knew that you want to slow this down. Right. It's trying to get it to play back in real time just like the original and incidentally in this case, of course, by dropping some frames. Yeah. So I'm going to go ahead and delete that and instead come over to the clip here, and I basically need to go in and interpret the footage by choosing Modify Interpret Footage.
Yeah, and this is a little bit of a hidden thing. It's up there in the main menus, it's there on the right click, but the important thing, think modify right? I'm trying to modify the properties of this this particular clip. I like the right-click, it' really easy to get to. Yep. So it says oh, okay, the frame rate is 59.9401. Yep. Don't know where came from, but whatever. And we want to assume a frame rate of 23.976, right? Yep. And I got that in there. Everything looks good. I'm going to say, you know? Use the field order, it's a progressive file, so that's fine.
Yep. I click OK, and I'll edit that into the timeline. Yup. Now, notice that my in points need to be adjusted because the in points were based on the original time from the start of the clip. Yep. So, you might have to reset your in and out points in order to get the footage that you want. Yep. Here we go. And I'll add that and it definitely looks longer. And let's see. There's the lift. Yep, there's some slow-mo. Yeah.
And it looks pretty good. You know this is just like in Final Cut Pro X, this is just a couple little clicks away, of getting getting that conform working on. And just like in Final Cut Pro X, of course, we could, if we wanted to, you know make this even more dynamic. We could, of course, slow it down even more to a speed or a percentage of our choosing. Yeah, and one of the things that I like to do when I do this change that a lot of people miss, is I go in and I turn on Frame Blend, so it does a better job. Uh-huh. So if we did slow this down, Cmd+R for speed, and I said, well, why don't you play that back at half-speed? Which is, I would normally go in nice, even increments there.
Yep. Let's take a look at that, and with Frame Blending on, it's looking pretty good. Yeah, no. It's, it's not the best that Adobe has. We'll actually do that over in After Effects in a moment, but that pour is nice and clean. We don't see any softening or dissolving between frames. No, it looks pretty good. And just keep in mind, Rich, that just like Final Cut Pro X, which also works with this idea of play whatever you want, whenever you want in real time, you know. You might get the best quality doing a quick render of this clip, but not necessary unless you just notice some problems that might be attributed to an unrendered file.
Alright, great. Well, when we come back, we're going to take a look at the Adobe AfterEffects Workflow. Which is even more precise for slow motion.
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