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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: So I've dragged the entire crew out into the woods. Robbie Carman: For mosquito bites really. Rich: Absolutely, yeah. There's lots of really big mosquitoes here. And I've been wandering around looking for power plugs for the last half hour, and I can't find any. Robbie: Well I saw one on a couple trees back. Okay. Rich: Oh. They keep sending me on snipe hunts too. But we gave up on looking for power outlets and instead we're going with some, alternate ways of powering lights. And our first one that we have here. You've got one, I've got one. Are just little micro panels here. And I can turn this on, and using AA batteries, it's puttin' out some light.
Robbie: Yeah, I mean, these as little fills, or you know, in a tight spot. Like we'll be in a moment, like in a car. Make a whole lot of sense. They throw off a nice, you know, relatively soft light. Flattering light. Rich: Yeah. Robbie: And they can go anywhere with these things. Have somebody hold them. You know, put them on a dashboard. Rich: And that's what's great. These will run off of normal batteries. Now there's lots of brands out there. Robbie: Sure. Rich: I would encourage you, since these are going to draw through batteries pretty quick. Go with the ones that use just normal double A batteries, rather than something that you have to recharge. This is going to be a convenient light you can grab out of the bag and drop it where you go.
Anything else you want to say about these as far as color temperature? Robbie: Yeah. I mean, the thing is some of these will have, you know, on the higher end of things, they'll actually have variable color temperature. So you can go from say 5,300 to 5,600 to 6,500 and adjust that. And some of them will also be able to even tint more severely. So, if you wanted a sort of almost a yellow gel, or a blue gel or something like that. The other thing that's interesting about some of these, is the intensity control. So as you turn it on, you can sort of dial in how much light output that you actually want, which is nice.
Sometimes in a small environment or a tight environment you don't want to have too much light onto the subject. You want to have control of it. So that little intensity control is nice. Rich: And I'd be careful when you're shopping. Read reviews, because a lot of the cheaper ones tend to flicker or strobe on camera. Robbie: Yeah. Rich: You don't see it with the naked eye, but these need to be properly balanced to work with cameras. Otherwise you'll see a cycling color temperature. Robbie: Yeah, and actually, one of the other things that you can look for when you're sort of shopping, is what's referred to as a CRI value. Or coloring, or color render index value.
And that just determines how good the quality of light is. And you want to look for values of, generally 90 or higher is going to give you the surest quality of light.
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