From the course: Raw & Log Video Production Workflows
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Working native or transcoded
From the course: Raw & Log Video Production Workflows
Working native or transcoded
- You know, Rich, there was a time where every time you thought about moving into post-production, the first thing you thought about was, oh great, I'm going to take all of my original, kind of raw footage, whether that be actual true raw or original camera footage and I'm going to trans-code it to something that's edit-friendly. - Yeah and it wasn't just for raw footage. It used to be for all types of footage. - Everything, yeah. - You would take a 256 gig memory card and that would turn into two terabytes of footage once you trans-code it to something like Pro Res. - Right and these days, it's not really a necessity to do that for technical reasons so much anymore. Pretty much every NLE, whether it's Premiere Pro or Final Cut or the Avid or Resolve can support the raw or the native formats of pretty much any camera out there. - But many television stations and groups sometimes choose to have a house standard. - Absolutely. - So there may be trans-coding and one issue that I know…
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