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About extreme compression

From: Up and Running with DSLR Filmmaking

Video: About extreme compression

Chad Perkins: Another big problem with these DSLRs is how they compress the video files that they create. Initially, they were meant to be deliverable files. You would just record the videos and then post them online or turn them in to your boss or whatever. But with the proliferation of DSLRs, we often want to use them in post. But because they're already so heavily compressed, there is really not much room to play around with them when you're in post-production. For example, this heavy compression makes it really challenging if you're trying to remove green screen.

About extreme compression

Chad Perkins: Another big problem with these DSLRs is how they compress the video files that they create. Initially, they were meant to be deliverable files. You would just record the videos and then post them online or turn them in to your boss or whatever. But with the proliferation of DSLRs, we often want to use them in post. But because they're already so heavily compressed, there is really not much room to play around with them when you're in post-production. For example, this heavy compression makes it really challenging if you're trying to remove green screen.

While more pure footage removes green screen more cleanly and evenly, even the best green screen footage shot on a DSLR is still really compressed and creates artifacts that are just a beast to remove. And then when you want to composite that footage with other material, it's so compressed that you really can't adjust the colors very much without destroying the footage. That being said, it can be done. When the Canon 7D first came out, I shot a huge series of visual effects shot for an iPad app that I made before I realized how horrific the compression was.

I made it work, but it was a chore. In some of these DSLRs, like the Panasonic GH2 for example, they have a mode that will allow you to choose an alternate means of compression such as Photo JPEG. This is definitely preferable to using the usual H.264 if it's at all possible. Again, as I pointed out, you can make these files do some work in post with light visual effects work, compositing, and so forth, but it can be difficult if not impossible to get these extremely compressed files to do what you want them to do.

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This video is part of

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Up and Running with DSLR Filmmaking

43 video lessons · 25811 viewers

Chad Perkins
Author

 
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  1. 2m 10s
    1. Welcome
      1m 25s
    2. About the camera used in this course
      45s
  2. 11m 35s
    1. Understanding photography
      44s
    2. Understanding aperture
      1m 51s
    3. Trade-offs with aperture adjustment
      2m 32s
    4. Understanding shutter speed
      1m 26s
    5. Trade-offs with shutter adjustment
      2m 41s
    6. Understanding ISO
      44s
    7. Trade-offs with ISO adjustment
      1m 37s
  3. 6m 37s
    1. Understanding sensor size
      1m 19s
    2. Protecting highlights and native ISO
      1m 24s
    3. Getting a custom white balance
      2m 27s
    4. Focusing for video
      1m 27s
  4. 9m 24s
    1. Using lenses
      1m 51s
    2. Understanding wide lenses
      2m 39s
    3. Understanding long lenses
      2m 32s
    4. Getting shallow depth of field
      2m 22s
  5. 12m 34s
    1. Using graphs to gauge exposure
      2m 1s
    2. Recording audio
      2m 42s
    3. Using a clapperboard
      1m 13s
    4. Shooting a "flat" image
      51s
    5. Using custom color profiles
      54s
    6. Shooting slow motion
      1m 19s
    7. Getting a beautiful shot
      3m 34s
  6. 13m 33s
    1. Why use Premiere Pro for editing?
      1m 21s
    2. Transcoding video
      2m 29s
    3. Combining video and audio streams
      2m 7s
    4. Cleaning up noise and adding grain
      3m 26s
    5. Color correcting footage
      4m 10s
  7. 6m 1s
    1. About DSLR pitfalls
      30s
    2. Avoiding rolling shutter
      51s
    3. Avoiding moiré
      1m 6s
    4. About limited latitude
      1m 56s
    5. About extreme compression
      1m 38s
  8. 7m 27s
    1. Why you need a monitor
      58s
    2. Using a viewfinder
      52s
    3. Stabilizing your camera
      1m 43s
    4. Moving your camera
      35s
    5. Using a follow focus
      37s
    6. Using a matte box
      1m 8s
    7. Using neutral density filters
      1m 34s
  9. 1m 17s
    1. The future of DSLR video
      54s
    2. Final thoughts
      23s

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