From the course: Raw & Log Video Production Workflows

Meet your instructors

- Hi and welcome to this course, where we'll be exploring log and raw work flows. These are going to unlock different options that you may have available in your video cameras to improve efficiency on set and really give you more flexibility as you move through the post-production pipeline. - My name is Robbie Carman and that's Rich Harrington and we're excited to guide you through learning more about log and raw formats, which these days, log and raw dominate the conversation for not only production needs, but also for post-production. - And we're going to cover both of those situations in this course. My background is both in field production. I started as a live television director and I've also done a lot with post-production, having worked with non-linear editing from the beginning. First on Avid, then Final Cut, and Premiere and Rob, you have both a field production aspect and you do a lot of post-color correction. - Yeah, I'm a professional colorist. I own a facility where that's all we do is color correction, and so we're also going to guide you through a lot of the background terms. What do we mean by a lut? What is raw exactly? Where did log come from? And we're going to apply those things to specific cameras. We're going to talk about monitoring these log and raw on set and then we're going to move into the post side of things and talk about working with log and raw in different applications, like Premiere Pro and Final Cut Pro 10 and Da vinci Resolve and along the way, we'll give you some sort of hard won advice about how these formats work, what they're good for, what they're not good for, and different strategies that you can employ in your own projects to get the best-looking footage possible. - So we've got a lot of ground to cover, but let's go ahead and begin by going over what you need to know to get the most out of this course.

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