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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: Hey there, I'm Robbie Carman. Rich: And I'm Rich Harrington. Robbie: And welcome to another installment of DSLR video tips and Rich, this week we're going to pick up where we left off talking about multiple cameras out there in the field. Rich: Yeah, in our previous episode we went all the way through scouting the location, figuring out the existing light that was there, how to supplement it. And you heard from DP Jim Ball on sort of his thoughts about the venue, and how to make it look great. Once the room is ready, we've got to figure out what we're going to do with all these cameras. We wanted to get good coverage of the performance. So, in this case, the good news was we really only had a single subject, which was the performer.
But in a way, we sort of had a secondary character of the venue. We needed to get this feeling that he was in a club performing. Robbie: Yeah, and you know, it's, it's not just as easy as putting the camera on tripod and hitting record and there is lot of things that go into this from making sure the camera settings are similar, right that you have the same everybody is recording the same frame rate that you know, our ISOs are all within a similar range of each other, things of that nature. So, we'll discuss this we talk them on getting the camera set up we'll also talk about syncing the camera. That's an important thing. How do you make sure that everybody is working off the same moment in time.
Rich: Yeah. It's a lot easier when you go to edit if all the cameras have pretty similar start and stop times. Now with DSLR cameras, the option for time code, preset time code is not always there. Some of the new cameras are starting to get it. But we can do things like make sure we use a slate and get all the cameras to know, oh, this was take three, and all the cameras are sort of jam synched off of that slate making it easier to do the multi camera edit. Robbie: Yeah, and besides that Rich, the other thing that we really need to pay attention to is besides all this technical stuff, who's the crew's director on set.
Having a bunch of independent camera operators all shooting what they want and what the feel like and all that kind of thing is kind of to be honest with you a recipe for disaster we need a director one unifying force on set that's saying, hey, Camera A, go after this. Camera B, go after that, so that a complete, you know, sort of holistic creative vision is realized, and we'll talk a little bit about directing a multi-camera shoot as well. Rich: Yeah, so there's lots of pieces, let's jump out in the field and show you how good direction, good technical setup and making sure you get the proper coverage through good planning is going to lead to a great end product.
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