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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: So, I wanted to talk about the part that everybody tends to forget with the slate. They hold it up, they clap it down, but they actually forget to call out the key information on the slate because, that's great that you got a sync point but you get one of these audio recorders and you don't have a good filename, you don't have time codes, so if you don't actually call out the roll number or the scene number or the take number, if you are doing a sync sound workflow, you are kind of screwed. Robbie: Oh yeah, and it happens all the time, right? You have all this great information on your analogue slate or your digital slate, but you know, in the case of a multi-camera shoot, you might have not positioned the slate so where the other camera could see it, might be something like this.
So you know in our case, our center camera here can see it just fine, but the camera that's on me, tied on me can't really see it, right? So calling out that information is definitely sort of a thing that you have to do in combination with all the information that you put on the actual slate itself. Rich: Now, when I go on locations, I don't always bring this. It makes you feel powerful. Robbie: You have to--everybody has to know that Rich is the boss, we have already gone over that. Rich: Yeah, so but what actually happens if I am on a large set, like a commercial set and we are spread out and there is crews, the ability to just take this off, keep it mounted on you while you have this over the shoulder, you could actually call out information, so everybody gets it.
There are times that it's very difficult to get that information to each camera or very difficult to get a sync point. I could just go ahead and say, you know, we are going to just going to take this right here, marker. Everyone picks that up, it gets really easy to have that, I can make a whistle noise, I click, I can snap my fingers and even those cameras that are far, far away are going to get that. You have to realize when it comes to synching, you want that extra information, you want every single camera to capture the metadata, hopefully visually and with audio data, because if you don't, you are going to have a really hard time down the line, because cameras become separated.
Maybe it's a project, somebody open up the sequence, they copy that clip, they don't have it, you need it on every single take. Now there is one other thing I'd like to suggest, I'll actually use my smartphone, I have a little app called PANASCOUT from Panavision. Robbie: It's very cool. Rich: I try to remember to take photos on set, it's going to give me the time of day stamp, the geo location. The more metadata you capture on location, the happier you are down the road. Robbie: Yeah, I mean, we started off this discussion today about having more metadata, the better.
Sometimes it can become a little bit of a burden to capture all of these things, but if you sort of develop your own system and the things that you know that you'll need later on in post, having more of this data is never a bad thing. Rich: So what we are talking about here is not a lot of money, a couple of bucks to add some apps to the tablet or smartphone you already have, less than 100 bucks to get a good high-quality slate, if you don't go digital. For lynda.com, my name is Richard Harrington. Robbie: And I am Robbie Carman. Rich: Thanks for joining us.
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