Adobe Premiere Pro

Do You Shoot Your Footage in Raw? Here’s Why You Should

By Stewart Addison

raw

In this guest post, Stewart Addison explains what shooting raw really means, the different kinds of raw, and when and how to implement a raw workflow.

In case you missed it, Canon recently announced the Canon C200, their first sub-$10,000 cinema camera to shoot raw. As with every announcement for a camera with this capability, folks on the Internet have been quick to point out how simply untenable raw file sizes and workflows are for a large swathe of filmmakers. While it is true that it can be more costly, time consuming and hard drive-filling, the benefits absolutely outweigh the costs. Even for quick-turnaround shooters, the precision, image richness, and future-proofing raw shooting options provide make it a must-have feature for anyone buying a cinema camera today.

What is “raw”, really?

DaVinci Resolve – a free software from Blackmagic Design that can handle raw.

Put simply, raw footage is the plain, unprocessed, data from your camera sensor. To edit raw footage as a moving image, it has to be processed in post with programs like Blackmagic’s DaVinci Resolve, RED Cine-X Pro, ARRIRAW and also, in a limited capacity, Adobe Premiere Pro. When shooting in other formats, the camera or external recorder will process what the sensor ingests into said format, losing sensor data in the process, while with raw, all of the data collected in the sensor is available to use in post. Shooting in H.264 on a Canon 5D Mk III, for instance, compresses the file size to 1/18th of its uncompressed stream by only fully recording one full frame per half second, and taking in only visible changes to cover the other 13 frames (in 24fps) that aren’t being fully captured. Pair this with the baked-in picture profiles you recorded with and you’re left with very little data to play → continue…

From:: Cinema 5d

Here’s Every Single One of the 2,400 Shots in ‘Gone Girl’ and Other Fincher Movies

By Liz Nord

Here’s a new way to study the modern masters.

We recently posted about how the simple exercise of counting a movie’s shots can help improve your own directing. Now, thanks to film editor Vashi Nedomansky, you can take the exercise a step further by taking a bird’s eye view of some popular David Fincher films and analyzing every single shot used.

Nedomansky, who helped Fincher’s team create the post-production workflow for Gone Girl as they made the transition to Adobe Premiere Pro from Final Cut 7, shares some general stats about Fincher’s work before presenting the shot breakdowns. The average of Fincher’s average shot length (ASL) is 3.87 seconds (as opposed to, say, Spielberg’s 6.5 seconds) and, thus, his films have a higher number of shots than most. Nedomansky notes that “the average feature film has approximately 1,200 individual shots,” whereas Fincher’s The Girl With the Dragon Tattoo has 2,964.

Despite that fact, Nedomansky insists that “his films never feel rushed. In my opinion, they bloom and play out at a sublime pace that suits each individual film.”

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From:: No Film School

Audio Mixing in Premiere Pro’s Clip Mixer

By Jason Boone Learn to control your audio mix at the clip level using Adobe Premiere Pro’s clip mixer panel in three easy steps with this video tutorial. → continue…

From:: Premium Beat

Fix Shaky Footage with Warp Stabilizer in Premiere Pro

By Joshua Noel You can now stabilize your shaky footage without having to leave Adobe Premiere Pro. Here’s how you can best use the Warp Stabilizer effect. → continue…

From:: Premium Beat