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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.
Robbie Carman: So Rich, we've sort of determined what a matte box actually is, and one of the benefits that we mentioned about a matte box is being able to quickly add filters to the matte box. Now, one thing that we should be clear on though is that there's really two types of filters that you'll find for a DSLR Camera. And the first is the one that you're holding in your hand right there, is sort of a screw-on type of circular filter. Rich Harrington: Yeah, and these work great. You know, the, the real problem here is that every single lens seems to have a different diameter. Robbie Carman: Yep. Rich Harrington: So when I switch lenses, I need to get a different filter or maybe a step-up ring.
Robbie Carman: Mm-hm. Rich Harrington: And, you know, these are fine. There's nothing wrong with them. And they're very common in a photographic work flow. But it does become problematic in that, unless you match all the brands and you make sure, oh, I've got six lenses, and I'm using the exact same polarizer filter or ND filter on all of my lenses. Robbie Carman: Right. Rich Harrington: You can run into problems when you switch from one lens to the other. They're a little different. Robbie Carman: Well not only that. Because, you know, often times people are not going to invest, you know, thousands of dollars for all the different lenses and lens size. You'll often have to unscrew this all the time.
The threads wear out. You're more prone to getting fingerprints and things of like that. Rich Harrington: Yeah. Robbie Carman: Of that nature, on the actual lens itself. So, now, Rich, the other type of filter that we have is something like this. This is a four by four filter that can be used in a matte box. Now four by four is just a common size that's used in a matte box. But I want to be clear that there are different sized filters that can be used in matte boxes. For example, a four by 5.65, a three by three, and so on. Four by four just happens to be the most common size that you'll find for matte boxes. Now, when we actually come time to use these filters, using them and applying them to the matte box is quite easy.
Rich Harrington: So, I've got the frame here pretty straight forward. And what I want to do is take the filter. So I'll go ahead and set that in place carefully and just lift up on this little pin and let that drop into place and then push it down. And it creates a little bit of tension. Now, after you've done that I recommend you carefully take a gentle rag, wipe it clean because if you're handling that filter it's easy to get fingerprints on it. Robbie Carman: And it's also important to use sort of an optical quality wipe. Please don't use, like, a paper towel or a Kleenex or something like that. That's a bad idea. Rich Harrington: And then we can go ahead and slide this into place.
Robbie Carman: Just like that. Rich Harrington: And it will click in. And you see there once you get that in there, there's actually two of these. So if I needed to, I could stack filters. Robbie Carman: Yep. Rich Harrington: And that becomes useful because you could have ND filters with a one stop or 0.3, 0.6, two stops. Sometimes in different shooting conditions, you might need to stack up ND. And that's a good way to save on money. because for example, if you've got two pieces of glass, you can go ahead and use different combinations of those filters to get a higher value. Robbie Carman: Right, right. You might use an ND filter to stop down the incoming light coming into the camera.
And then let's say you want to add some saturation to a landscape shot in the sky. So, you might put in, say, a polarizer into, into the filter path to get that nice deep blue in the sky. Now Rich, speaking of polarizers, one of the things that you can do in most matte boxes is you can actually rotate the filter inside of the matte box itself. And in the case of a polarizer this is great because it allows you to adjust the filter to cut down on glare. There's one thing I think is important about this though, is that when you're using filters you got to try to test out the filters for the particular use that you have.
Now for things, you know, for special effects you have things like a Pro-Mist filter, right. This Pro-Mist filter gives a nice sort of soft image, kind of gives you that Barbara Walters effect that some people like. But it might not be appropriate for every shooting situation. So not only do you need to test a single filter, if you're going to use filters in combination with one another, it's always a good idea to know what that combination is going to look like on your final image. Rich Harrington: Yeah, so with these filters, I like to take advantage of ND filters because if I am shooting wide open, and I'm letting a lot of light in the camera, sometimes the only way to get the shot is to knock it down with ND.
The special effects filters, the pro-mist, the other things, I'll often turn to things like Tiffen DFX. Tiffen makes the real glass filters, but they actually make software that'll do things like the pro-mist, or some of those Hollywood, or glimmer glass, options that people will use to stylize on fashion or some interviews. So all in all, it comes together pretty straight-forward. The other thing when we come back is, we're going to talk about the French flag here. Robbie Carman: Yep. Rich Harrington: And how this'll cut down on the lens flares and how to set it up. So, we'll be right back. Keep watching.
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