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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 Harrington: Now Jim, we're shooting indoors. So obviously, we had lots of room to add light. But on an outdoor shoot, sometimes these cameras we want to shoot with a lotta light coming in. We want that really shallow depth of field. But you get too much light to the camera. You're overexposing. So at that point, if you've dialed in the camera settings how you like. But the shot's overexposed. What are some steps that you take to pull off the shot. Jim Ball: Well, if you're trying to maintain a consistent camera setting.
For all of your shooting. You want the shutter speed to stay the same. You don't want it all over the place. And you may want to work with a stop that you want to keep consistent depths of field. Filters are a great way to keep those where you want them. For creative effect, and vary the exposure without changing all that stuff. You can change your ISO too, but maybe you want to keep it in a certain spot or you don't want to keep dialing through that. So filters, ND filters, these, especially for these cameras, variable ND filters, which offer you a seamless way to change exposure without seeing clicks and jarring exposure changes.
Rich Harrington: And you could even adjust that while operating, right? Like if you were panning into a sun or changing light? Jim Ball: I often do that. With a lot of these cameras, especially the Canons. Not so much the Nikons. There is no focusable iris ring. So, in order to change exposure, you're actually, seeing the change, which the editors can't really use unless they want some funky effect. So, those variable ND's offer me, basically, an iris, but now it's on the front of the lens. And if, with a little skill and practice, you can sort of do stop changes like we do in film and on bigger shoots, without it being noticeable, which extends the range of shots that can be used all in one take.
Rich Harrington: Excellent. Well, make sure you master the exposure triangle, and when you've got that down, just dig a little bit deeper and think about how adding light or subtracting light will let you dial in exactly what you need.
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