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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 there, Rodney Carmen >> and I'm Rich Harrington. >> And welcome back to another week of DSLR video tips. And, Rich, last week we discussed using a GoPro Camera to shoot some time lapse. >> Yeah. >> Brought it onto our computer. We did things like batch rename the files, right? >> Yeah. >> We did things like open it up in camera, Adobe Camera Raw. We actually, I was amazed by this. >> Yeah. >> We did some lens correction. because one of the problems that we have with our GoPro time lapse was we had that super wide angle. >> Yeah the horizon was this big curve, it looked weird but in a couple easy steps we renamed that footage, go it over to CameraRaw and actually corrected for the lens distortion.
>> Yeah, and it's amazing what you can do with this and, and if you're shooting time lapse on a DSLR or a Black Magic Pocket Camera, the technique that we are going to show you today is really pretty much the same. You know, it's a bunch of stills, and we're going to process those. Now, the Black Magic camera is going to try to make a movie for you. Some time lapses will, cameras like DSLRs will make a movie as well. My preferred workflow, though, is to try to get a bunch of stills, because you get better control. And we're going to look at three popular tools today, right? >> Yeah, we're going to take a look at Photoshop. And the reason we're going to start in Photoshop is because well, kind of everybody uses Photoshop to one degree or another.
>> Pretty much every video editor on the planet owns a copy of Photoshop. >> Right, and this may be something that's new to your quiver in Photoshop as well. Assembling a time lapse and working from there. We're also going to take a look at the process over in a non-linear editor like Premier Pro. And, by the way Rich, doing it in most non-linear editors is pretty much a similar process. >> Oh, yeah, you're just importing an image sequence and assembling it. Although there is a new trick in the brand new premier pro update that's pretty cool that we're going to show people. >> Cool. And when you want to take it a little further and be a little more sophisticated with what you can do. We're going to jump over to Adobe After Effects where we have even more control for interpreting footage and integrating it with motion graphics and all other sort of things that we might be doing.
>> And for those of afraid of After Effects, don't worry, we're going to be using like one percent of its feature set. So if you've got access to it through the Creative Cloud. You might just go, I'll just download it for that, and get around to learning the rest some other time. Alright so, we'll be right back with Photoshop.
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