Every video editing application has a way to stabilize
that shaky handheld footage, but the results are not always great.
And new Sony cameras like the ZV-E10, the ZV-1, the A7 C,
the A7 siii, the Fx3, Fx6, Fx9, RX0 ii.
They all record gyroscopic metadata
into the files to help you fix it in post using their free software.
Swiss Army Knife.
Sony Catalyst Browse.
The results are really incredible.
So let me show you how to take advantage of this new technology for your next video
before you plan on taking advantage of the new Sony gyro metadata.
Here are three key things to keep in mind before you film shoot wide.
Sony Catalyst Browse
will decrease your image resolution by punching into the image.
So make sure your frame has a lot of room around the edge for this.
The cool thing about doing this and post is that you can actually control
how much of the image gets cropped in
which I'm going to demo in the next section of this video.
If you can't manage to lose a single 4K pixel, then it's a good idea
to pick up a gimbal instead.
And this is my Ronin-S right here that pretty much never gets used anymore.
Increase your shutter speed,
toss out every rule you've been taught about 180 degree shutter speeds.
Instead, we want no motion blur.
Think Saving Private Ryan.
This is a side note, but the same thing actually holds true
for green screen VFX shoots.
The less motion blur you have, the better off you're going to be in post
aim for about a 45 degree shutter angle if you have enough light for it.
I'd say at least one over one hundred twenty fifth second shutter would be good.
But even better is if you can go like one over two hundred.
Be mindful of interior shoots that have flickering lights.
This can't always be avoided.
So this could be a deciding factor
if you're going to plan to use the gyro metadata when you're shooting inside.
Always turn your lights up to 100 percent if they're on a dimmer.
And that's going to help a little bit.
And now you want to disable all stabilization.
That's on the camera. The lens stabilization ibis. Turn it off.
You don't need it.
And now go and download install catalist, browse software.
Make sure you don't get the catalyst
prepare it requires a paid fee and it's not necessary.
So I put a link down in the description to get Catalyst browse
if you don't already have it over here.
And so any catalyst browse on my 2015 iMac.
You can see I've copied my entire cards folder structure onto the hard drive.
So if I double click into this folder right here and I go into private
and for route, that's where Sony is storing all my video clips.
And I just want to be stabilizing the one that I need,
because this does take some time, especially on an older computer.
So if I double click this one right here, I want to be stabilizing the 781 clip.
All you need to do
is find this section of the clip that you want to be stabilizing.
OK, so I've already done that here with these little marks.
If you hit Mark in right there and drag to the part
where you are done with your shot, you can mark it out with that.
That's going to save you a lot of time when you go to export,
because it's only going to do that little range.
Now, over on the left side, you'll see these little icons
here, these little stabilization things.
This lets you know, this is a clip that can be stabilized.
Well, basically, everything on this camera
could be stabilized because I didn't shoot any 120FPS footage.
So basically, the limitation to the catalyst browse, as far as I understand
right now, is anything 60 FPS and under you can stabilize.
It just has to be on one of these newer cameras.
So we stabilize it. Super simple.
You can either have it selected here and hit stabilize,
which is this button right here, or you could right
click on it and say stabilize clip, which we're going to do right now.
So it analyzes it.
It goes super fast
because it's just taking that metadata, that gyro metadata, that X, Y, Z.
All that stuff, that information in it on the left side, it shows us
the before the right side shows us the after by default.
And we can click and play
to see what it has decided on its own that it should be doing to stabilize it.
And you can see it's taking out big giant shakes right off the bat.
So the way I film this, it was hand-held off the back of a pickup
truck on a dirt road around the campground.
So obviously it's not going to be very stable
and it's not with a stabilized lens either.
It's with the the Sony GM 16-35 Lens.
Now, there's a couple of other options up here.
You can look at two up, which shows you had before and after.
You can also just look at the after if you're just interested in the results,
which is often the time the thing you want to be looking at.
So that's an option.
And then the other thing
I was going to point out here is this did it all automatically, right?
It's kind of like active stabilization on the camera.
But we actually have manual control with using the software, and that's
what's so powerful about it.
So if I just flip back up here to the two up, so we have the before
and the after displays and you go over to the right, it's right now it's at auto.
So it's diminished our resolution, which was 3840x2160.
It's taken down to twenty six, ninety four by 15, 15.
So it's it's lowered the resolution substantially.
But if you click manual right there, this is where you get the control.
If you want to have a little bit more of that resolution
back at the expense of having more camera shake.
So by default on this specific clip, it's said I need to go in 70 percent.
But you can dial this back.
It's just a. Slider, so if I pull this back and say, hey, I only want to go in 80
percent of the original or approximately, let's say eighty one point one percent.
You can do that just like that.
Take it back to the beginning, the clip with this button hit play.
See if you're happy with it.
If you're happy with the results, which generally I've been happy
with, I think it goes a little bit too aggressive with some of the smoothness.
I like a little bit of, you know, human movement and my shots.
I just don't want to be herky jerky.
That's how you do that.
Next up, all you need to do is kick this sucker out and export.
And that's what I'm going to show you next.
Let's hit pause and to export the shot.
Once you get that set to whatever cropping ratio
that you like, hit this button right here, the export button,
you can export to your desktop because that's what you should do in a tutorial.
Maybe you rename it to put a suffix of,
you know, stabilized or something like that.
And then by default, I believe it kind of sets it up
with pretty good settings for you.
So this as S-Cinetone shot, it's 3840x2160.
So the render preset is going to
give me the same thing right back out at 100 megabits per second.
There is a little caveat here.
If you shot 10 bit, you're
only going to get a bit out of Catalyst browse the free version.
So just know that when you go to stabilize, maybe this is something you do
after a color grade.
And then the the other thing to know is if you just want to do
the selected range that in and out points that we had selected,
there's a checkbox down here to make sure you do that.
The rest of this is all really good.
It's encoding for image quality, not speed, because, of course,
we want the best quality as possible.
You export and it starts.
Kokan, the file for you.
OK, looks like Catalyst Browse just finished up.
If I jump over here to my finder, to my desktop, we've got our stabilized clip.
If I open it up, we can check it out.
We can hit info so we have a thirty
eight forty by twenty one sixty clip that it created.
It just punched into it and it's just like I said, it's
just that range is just that section that we had taking a look at before.
And it's nice and smooth.
All those micro jitters and whatnot from being in the back of a truck
and holding are gone. That's pretty freaking amazing.
Super quick, before I move on to the to quick bonus tips I have is
Sony Catalyst Browse is that I want to welcome you if you're new here.
This is Creativity Tips.
I'm Chadwick and this channel is all about
helping you create videos to make a difference and stand out.
Lately, I've been putting a lot of Sony camera tips up on the channel,
but I have a huge passion for post-production.
And DaVinci Resolve, Final Cut Pro.
So if you're into any of that, please subscribe right down below right now
so you don't miss out on the next new tips.
One thing I love about Catalyst Browse is as you're scrubbing clips,
you can actually save any frame as its own jpeg.
And the way you do that, it's underneath this more menu.
So if you click this, you can say save snapshot.
And just like that, boom, it has automatically created a JPEG ready
to be used as a thumbnail or email to someone
that might be interested in that little frame from your video shoot.
The other thing the other bonus step I wanted to give you is
as long as you save your full card structure,
all the metadata with those clips is here for you
for when you need to use it for color management and DaVinci
Resolve later on, or if you need to know what LUT do I need to apply to it.
So if you scroll down here,
I can see that the captured gamma equation on this was s-cinetone.
But if it was s-Log3 or s-Log2, it would tell me that.
So that's really, really useful information to give to a colorists.
Or if you're yourself, there are colorists and you forgot how you shot something.
This is where you can find that information out.
And it's kind of the only place you can find that information out,
as far as I know, other than opening the XML file in a text program.
But this is a much nicer way to do it.
And now, you know, one of the best kept secrets
to smoother footage without using a gimble.
If you learn anything new in this video, please give it a like.
And if you want to learn more about using Sony cameras
or filmmaking in general,
I have some playlists on screen right now that'll help you out.
And since there's so much more to learn, I'll see in that next video.