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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.
>> Hi, my name's Rich Harrington. >> And I'm Robby Carmen. >> And welcome to this weeks episode of DSLR video tips. Rob, we've talked about getting stable shots during production, right? >> That's the way to do it. Get it on, on set when you can. >> But it doesn't always work. >> No, I mean, everything from poor technique, to equipment that wasn't perfectly stabilized to, hey, maybe we're just run and gun. You know, chasing somebody out on the street, you know? >> Or you, you've done great technique and you're on a platform. And somebody's walking. The platform's shaking. >> Or there was an earthquake.
>> Who knows? >> Right, who knows? >> There's so many things that can get in the way of a stable shot. And this is where post-production comes in. Now, I want to set two really important points that people get. >> Yeah. >> One is is that you could stabilize a shot, but still could look weird because if you've got motion blur because the camera's shaking so much, you basically have a blurry shot that's not moving. >> Yeah, and I also think that there, the second point that I think you're going to about to say, is that there's two approaches to stabilization, right? There's locking something down so it looks like it's on a tripod, which is actually much more difficult than it sounds.
You'd think that, hey I can just lock it down. >> Yeah. >> But if there's even a little bit of motion you're going to have to do things like zoom into the image, framing might change, that kind of stuff. The other methodology that I think is becoming more common and people are sort of appreciating more as the tools have gotten better, is the idea about of smoothing stabilization, so. >> Yeah. >> We might still want a little bit of camera creep, but it's not like this, it's just a little bit of movement. >> Right, so I got smooth camera like this as opposed to hand held jerks like that. >> Right, exactly. >> Great so we're going to take a look at both methods. We're going to start in Final Cut Pro 10, then we'll jump over to Premiere Pro, the same stabilizer in Premiere Pro's available on AfterEffects if that's the way that you prefer to work, but there are just a couple of choices to make and we're going to walk you through the fastest, easiest way to get it done.
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