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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.
Rich Harrington: I found the other day when I went to import. Robert Carman: Mm-hm Rich Harrington: That there's different ways to get my footage into the computer as far as the card reader goes. I was using the built-in card reader on my Macbook Pro. Robert Carman: Yep. Rich Harrington: And seemed fine, it worked, I had an SD card so no big deal. And then I had a second card. So I plugged in an external USB three reader. Robert Carman: Yep. Rich Harrington: What I discovered. What do you think. Robert Carman: It was much faster. Rich Harrington: A lot faster. Robert Carman: Yeah in fact we, we talked about this in, in a previous weeks episode. So that, for what ever reason the internal busing on a lot of laptops of those computers with those memory card readers are not going to give you the fastest transfer speeds.
And in our experience we found that using an external memory card reader In this case, you have a USB3 reader. There are FireWire ones. On older machines, there might be express three four card slot ones. The point is, there are faster options for transferring. Rich Harrington: Yeah, and when you do that, they come up right there, listed. And you really want to go for the faster import here, because it's going to be faster all around, whether we're trans-coding or just importing. Robert Carman: Yep. Rich Harrington: Now I've launched Final Cut and if I'm ready to import, I need to decide where that material is going to go, right? Robert Carman: Yep.
Rich Harrington: Now by default, it's going to choose my internal hard drive. Rob, what's the danger of using your internal hard drive? Robert Carman: Well Rich, there's a lot of dangers of course. If you have, you know? A newer machine, you know? Everybody's moving to SSD's. Well guess what? SSD's aren't that big. Rich Harrington: No. Robert Carman: They'r, they'r surely fast, but their not that big. So before you know it, your 256 gig SSD has gotten filled up with hours and hours and hours of footage and you're having all sorts of computer problems. The other, I think, important consideration is that, you know, fine. You're bringing it into your internal machine, which is a bad idea.
But it's also not redundant, right? Rich Harrington: Right. Robert Carman: I personally like when I'm moving footage to go to a redundant drive, you know, an editing drive. In this case right here, you have a Drobo mini, that's got, what, four drives in it. Rich Harrington: Yeah. Robert Carman: It's redundant. Lose a drive? Guess what? Your footage is still there. So that's another reason not to use the internal drive on your machine. Rich Harrington: And by lose a drive, he doesn't mean that I throw it away or I forget it. Robert Carman: Rich Harrington: Just that a drive fails. Robert Carman: Right. Rich Harrington: And all drives fail. So I'm going to target that, and we're going to make an event. So we've got that set. Now when we go to Import, it'll automatically give us a choice for making the event.
Robert Carman: Sure. Rich Harrington: So that's fine. Robert Carman: You can make it before or you can make it on import. Either way. Rich Harrington: Yeah. So I brought that up, and I'm going to target, I've got a, a Nikon card here. Robert Carman: Mm-hm. Rich Harrington: And my clips show up. Robert Carman: Yep. Rich Harrington: Now, as we start to select those clips, we're seeing different movies. Yes, that is me. And we're just going through. And a recent trip. Robert Carman: Is that you? That's not you, too, is it? Rich Harrington: No, that's not me. Robert Carman: Okay, just checking. Rich Harrington: No, he has magical powers. So you know, had a little family trip and I want to put something together. I don't just shoot video for a living. I actually get recruited to do it for the family from time to time too. I'm sure you have to as well. Robert Carman: Yep.
Rich Harrington: And if I want to select these clips, I could say select all or I could actually be specific and grab just specific clips, right? Robert Carman: Absolutely. Rich Harrington: Now let's take a look here, and if I'm clicking on this maybe I only want to bring in the video and not the stills. Robert Carman: Sure. Rich Harrington: So I sort it by file type. Robert Carman: Well and the cool thing too here is that when you've selected a clip, you'll notice obviously you can see it up there in the preview but then you actually have this little scrubber bar underneath. And the cool part about this is that one of the dangers that people have come into over the years. With transferring DSLR footage, is that you know, you have a lot of stuff.
Rich Harrington: Yeah. Robert Carman: And if you're anything like me, oh, the camera was running for five minutes before you actually decided to call action, right? Or, if you know, in case of a family trip, the camera was looking at the ground at Disney World. Rich Harrington: Yes. Robert Carman: For 12 minutes until you got the shot of you know, your daughter flying around on a Dumbo ride, you know. Rich Harrington: Well, that, or you know, something happened, all of a sudden you had to pay attention and the camera is still rolling on your hip as you're walking for five minutes. Robert Carman: Right, so the beauty about this. Versus sort of a wholesale copy on the OS level, is that you can actually set in and out points before you bring things in. Rich Harrington: Yeah, provided that you are going to do the transcode.
If you're not transcoding, Robert Carman: True. Rich Harrington: Then it's just going to come in with the whole clip. All right, let's go ahead and just sort by file type, and I can go through clip by clip and mark out the parts of the shots that I want. And it makes it very easy to quickly locate your footage. Now, if you see a clip, and you hit delete, nothing's going to happen. Robert Carman: Right. Rich Harrington: Because it's on the card. If you hit Cmd+Delete, nothing's going to happen here. It really. This is not designed to media manage yet. You're just reading what's on the card. Now, you can decide to import everything or, in this case here, like it blows out towards the end.
So I don't need that part. So I can mark that out. And let's assume I've gone through and I've marked out all my in and out ranges. Robert Carman: Yep. So we'll just select all those guys. Rich Harrington: Yep. We've got the clip selected. I could use the Command key to select individual clips. I've marked out the range that I've wanted. But when we come back, the next step Rob, is we actually have to get in the computer, right? Robert Carman: Right, you're simply selecting the clips that you want here. When we come back, we'll show you another window that pops up inside of Final Cut Pro 10 when you choose the option to import selected.
And in that dialogue, you have a whole bunch of options. Things like if you want to trans-code the clip, whether you want to analyze the clip for color balance, audio issues and so on. Rich Harrington: So now that we have our selects we'll be right back. We will actually handle the import process.
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