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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: Jim, you've just about got the camera set. What aperture are you going to use today? Jim Ball: well, I'm going to set a base aperture of probably around a four, and the reason I picked that one is I want sort of a healthy stop to get a nice depth of field falloff, that's one thing. And the second thing is to make it not so wide open that certain cameras that need to carry focus a little farther are in bad shape, like this jib shot, where I can't really get my hands on the focus. So I want a decent stop that'll carry some depth of field without having to touch the lens.
Rich Harrington: So because the camera's actually moving here, you don't want to have to try pull focus while you're operating the jib, right? Jim Ball: Right. There are ways to do that. There are all kinds of wireless remotes and I could even have an assistant in there. He probably can put his hand on it, but when we're working on this sort of simpler level and it's generally a wider shot, because focal length has a direct effect on depth of field and focus, it's not necessary. I just set a decent stop. Some of the other cameras, we have four, four cameras going here today, they'll get the wider open stop, because we want that compressed falloff for the closeups.
So, there's some variance there but I do set that base stop based on ISO, shutter, and aperture, when we, before we go. Rich Harrington: Okay, can you just walk and just step through a couple of the apertures, here, so folks can see the difference? Jim Ball: Yeah, so this is a, a four stop right now. With this wider lens, you're probably not going to see that much of a depth of field difference. Rich Harrington: So, as you go down, the shot's getting brighter. So the aperture could actually be used to control exposure, but we've got other things that are probably better for that.
Are you just driving the aperture, sort of on the artistic and technical needs here? Jim Ball: Yeah, the aperture, I mean, there's always a sweet spot on a lens, right. Somewhere in the middle is usually what they recommend. Better quality lenses are, are better quality in sharpness and resolution on the wider end. These still lenses, somewhere in the middle is a better place to be. So, I consider that. I do consider depth of field aperture as a direct factor of depth of field, as well as exposure. But as we said, we have other ways to control exposure, but only one way to control depth of field, and that's setting your aperture.
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