So these are just R3Ds and mxf files, so it's very easy for them to detect. Well, also this has been- again, these files have been ripped out of a camera folder structure, right. And this is really- there's stuff inside the file. And same thing, the RED, it sees the extension. So let's start with this Sony one that's still an mxf file. Now I'm going to go into the other folder, which is Raw, and you'll see here that things are just a little different. So if I say Import, those are added to my project. And you got a nice flavor here of DnXHD and ProRes. And it should be pointed out that Premier Pro has native support of the most popular codecs. The most common types of media that you might import are going to be mxf files, which is media wrapped into a container or the QuickTime movie format. Now these have a couple of different extensions. Right, they're just video- there's nothing special about them. And those log files are pretty simple, Rob, because they're essentially just video clips. And in this case, easy enough, I can just select them all. So if we go into a folder here, for example, the log folder, it saw all of those clips. So I'm just going to go to go to where I put the exercise files, and what we're looking for here is the ability to just see that. And same thing, you can see all of your attached hard drives. So that's why we want to go to the next tab, which is labeled Media Browser. If you went to an actual camera card that has multiple folders of clip and audio and dot this and dot that, this dialog is not going to be able to piece that together. Right, doesn't see it as a single clip. So if we were to point that at some of the media that you put together or that we shot on set- and so I'll just go in here and take a look at some of those raw formats- well, okay, it sees that as a bunch of images. And the reason that this is a little dangerous, as I'm sure you're about to point out to everybody, is that this File Import dialog box can't parse camera folder structure. Yeah, and it should be made clear that double-clicking or the File Import or Command-I or Control-I, that's the same dialog box that you're going to get. Yeah, so we'd say, well File Import, except this is not how it's best to import video. What would you logically go and look for? - My video clips. And this is where it gets a little deadly, like import media to start. ![]() We'll start here with a simple Assembly method, but we're going to bring projects in. And Rob, one of the things that people get confused on when they try to import is sometimes, they do it the wrong way. And you see that that works out well, so that if it haves to do any sort of conform files or preview files, it knows where to put those. And I can set others to there as well, just for the same sort of performance. And I'm just going to browse and actually navigate to my hard drive that I've connected, but this is just going to improve performance, and we'll call that Cache, and I'll choose it. For example, we can store that on the project, or I'll set a custom path here. So you can decide where this is going to get set. If you're concerned for performance, you can change your Scratch Disk. And we are going to work with time code and audio samples, which is fine. Well, you know, I like to live in 1997. But we're not going to be capturing anything. For example, I'm still always amused that DV is the default for Capture Format. So when you have this here, you do have some choices when you make a new project. So we'll just call this Log_Raw_test, and I'll put it in a file, in this case the Desktop, where all files go to die. Click the new project, give it a name, and tell it where you want to store it. We're going to start by making a new project to hold all of our files. We're going to walk you through how to use the Media Browser to bring media into a project. And if you've downloaded the exercise files, you'll be able to follow along. But you know, the first step in any workflow and getting into post-production is properly after you've backed it up and you've done all that kind of stuff, you got to get it into your tool to start working with the footage and start editing. It's had a lot of support very early on for pretty much every RAW format out there and gets updated quite often to support new RAW formats. And Premier Pro, for quite some time- one of its big selling points has been the ability to work with native camera formats, especially when it comes to RAW. ![]() And the first tool that we're going to talk about is a very popular one, and that's Adobe Premier Pro. ![]() So Rich, it's time to move into post-production and talk about some popular software tools.
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