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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: Hi, my name is Rich Harrington. Robbie Carman: And I'm Robbie Carman. Rich Harrington: On an earlier episode we took a look at a back lit shot and back lighting is one of those problems that just brings out everything that's wrong with video, which is to the human eye, the scene could look great. You're like oh, that's a nice window oh, there's our subject. And everything looks good, but in the camera it just doesn't work, right? Robbie Carman: Yeah, you know, it's one of those things that we discussed previously that it can be a very challenging situation And to be honest with you, if you're having this problem with back light situations, don't, don't you know feel bad about it, because you're not the only one who has these problems.
You know, I know professional gaffers and grips that have been battling these issues for, for decades, and they still occasionally come across situations that it's a problem. But, you know, as we discussed previously, Rich, you know, doing things like adding a little bit of fill. And those kind of things maybe potentially even gelling windows or blocking the light source that's causing the back lighting. It can help but often times you'll be in a running gun situation, where you just need to be like yeah, I got it. I know it's not great, the ugly middle as I believe you call it, and get things in and get them recorded and have to fix them afterwards.
Rich Harrington: Well, I'm going to say the phrase that I hate saying, which is we're going to fix it in post and. And that's what we're going to do this weekend. In a second we're going to take a look at fixing it within the NLE, using some of the built in tools. We'll use Premiere Pro in this case. And we'll do a shadow highlights adjustment and we'll add a digital light. Then we're going to jump into an application like AfterEffects and use a third party plug in. That works in a variety of hosts including Final Cut Pro X. And then, we're going to do a dedicated color grading application, like Speed Grade but a lot of that same knowledge would translate over to something like resolve as well, right? Robbie Carman: Absolutely, I mean just providing different options to enhance these images.
Rich Harrington: But before we do that I think it's important that we actually pull the shot up that we're going to fix and take a look at it on some of the scopes and just do a quick overview of what the problem is. Both what we can see with our eye, and what the scope can tell us.
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