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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's Rich Harrington. Robbie Carman: And I'm Robby Carman. Rich Harrington: And Rob, we've recently explored the exposure triangle in-depth. We've managed our aperture to control the amount of light. We've adjusted the shutter speed to really see how much light comes through and the sensitivity of the sensor. And sometimes it still doesn't work. Robbie Carman: Yeah, that, that happens, and it's just really funny. I had a client the other day say to me well, I'm like, these cameras are so good these days. Why do I need lights? And I just kind of looked at him, kind of dumb expression on my face.
Rich Harrington: Photography. Robbie Carman: Right. Rich Harrington: Means capturing light. Robbie Carman: Yeah. And there are, there are going to be situations that you're going to find yourself a lot of times where you have to go above and beyond just these simple controls of the exposure triangle like exposure speed, aperture, and ISO. And you're going to have to think about doing things like lighting in the scene and adding some filtration perhaps if you're getting too over-exposed, pop in an ND filter or something like that. Rich Harrington: Well, too that end I'm just going to give you a really simple illustration here. I've got a light and I'm going to hit the backdrop.
The backdrop's fine, the cameras are exposed. But if it's not bright enough, if we were to tweak the cameras, it wouldn't give us the results. But if I needed more light on the backdrop, I can get more light on the backdrop. Let's just crank that up. And you see there it is. And I can dial that in to what we need. However, if I had too much light and I needed to knock it down Well, here I've got an ND filter. Look. It's essentially gone. All that light is basically removed that easily. And that's the simplest of the illustrations.
Robbie Carman: Mm-hm. Rich Harrington: Sometimes, you just can't get it in camera. It's not going to work. Robbie Carman: And there are a lot of situations that you know, also come up besides just lighting, besides just filtration. And some things to think about is you might have to bounce light or shape a light in a scene to get more light on the subject. We've explored that in previous episodes. You might have to do other techniques, like using silk or some sort of blocking device on set to sort of block out or cancel out light. So, there's a lot of ways that you can shape and do things when it comes to light in terms of exposure and that kind of stuff.
But I think the point really is, Rich, that a lot of people get frustrated with I got this awesome camera. Rich Harrington: Mm-hm. Robbie Carman: I got a great lens. And the footage still doesn't look the way that I want it to look. And in those situations, you have to think about going a little further with the ability to light a scene and be able to shape light a little bit. But also be able to use things like filters and other techniques to be able to cut down light when necessary. Rich Harrington: Yeah, so it's all about control. And with that in mind let's go out into the field where I work with the director of photography. And make some adjustments. We're going to explore situations when the camera settings just won't cut it.
And give you some ideas for both big budget and low budget, and how to still get great results.
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