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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Rich: Hi, my name is Rich Harrington. Robbie: And I'm Robbie Carmen. Rich: And welcome to this week's episode of DSLR video tips. We're jumping into the post-production side. We've been out in the field to get an all sorts of great footage for the music video, it's really starting to come together. Robbie: Yep. Rich: And we're now getting to the point where, we want to make all that hard work, look better. And, and Rob, this is your area of expertise. Robbie: Well, it's a little bit of experimental, right? You know, just kind of push some pixels around the screen see what, see what happens. Rich: Yes, well, unlike all, some of us, Rob gets paid frequently to experiment with pushing pixels around on the screen.
Robbie: Yeah, I know. This week, we're talking about the sort of, I, I call it the unicorn the mythical-film-type look. And I just want to be clear right off the bat that, that means a lot of different things to different people, right? Rich: Yeah. Robbie: So to some people it means exposure. To some people it means how the colors are working. Rich: Well. Robbie: To some people it means grain. Rich: Right. And, and a Super 8 film stock looks very different than a 70 millimeter film stock. Robbie: Yeah. And I think that one, one of the things that I'm going to advocate and please tell all your friends this. Is to stop requesting the film look and just ask for a look, right? Because the fact of the matter is unless you're shooting the project on film, which nobody is anymore, because most of the film stocks are not available a lot of the labs are not there anymore stop trying for the film look, but I get what you mean.
Rich: Yeah. Robbie: In this week I think Rich, we just want to. Rich: We're going to give you what you want, not what you asked for Robbie: Right, and I thing, that I think, what I want to stress more than anything else is that, there's no right or wrong. When clients come into my suite and they say, hey we want this or, we want that. A lot times they are using terminology that really refers to a sort of photochemical process, right? Rich: Sure. Robbie: Like, I want a bleach bypass or, I want a 2 strip or a 3 strip kind of look and these are things that just don't happen anymore. But at the end of the day there's no right or wrong about it if you like shifted shadows that are you know, yellow great if that makes you gives you that sort of music video feel that's filmish that you like, want to Have at it.
This week I think though, we'll, I'll just give you a couple things to think about. Robbie: Some techniques you know, to think about. Maybe develop a bleach bypass, maybe we'll do something more of like sort of a 70s kind of you know, kind of Polaroid kind of style on stuff. And we're going to really take a look at all this, not in a dedicated color application, but in tools that you might, you're using to cut the story anyway. Rich: Yeah. Robbie: Tools like Final Cut Pro or Premiere. Rich: Yeah, we're going to work in the non linear editing space, where most of you spend the bulk of your time, putting your pieces together So this week, we're only going to use what ships with Final Cut 10 and Premiere Pro.
No third party stuff. On a show a little later on, we will take a look at some dedicated plugins that are quite popular. Robbie: Yeah. Rich: But you can get a lot done with what's in the box. So with that in mind, when we come back, we'll start with Final Cut 10.
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